Podcasts about haydn

In this episode of Brand Growth Heroes, Fiona Fitz is joined by one of the most influential figures in UK brand building over the last 30 years:  the incredible Perry Haydn-Taylor, the creative mind behind one of the most famous brand consultancies in the business big fish®.Fiona first met Perry in 2006 during her time heading up Gü France, and this conversation is full of the same sharp insight, warmth, and strategic clarity that made their early boardroom chats unforgettable.With a client list that includes some of the UK's most beloved challenger brands - think Gü, Charlie Bigham's, Dorset Cereals, Clipper Teas, Sipsmith, Tyrrells, St. Pierre, Freddy's Flowers, sofa.com, and more! Perry and his team at big fish® have consistently helped founders transform big ideas into commercially successful, category-defining businesses.In this episode, you'll learn:Why the most successful founders are “restless in pursuit of better”The Power of Three framework: clarity × focus × effort = sustainable growthHow to articulate your unfair advantage and make the right choice the easy oneThe role of charisma and storytelling in building buy-in from investors, retailers, and consumersHow Big Fish has reframed entire categories — from tea and chocolate to salad and flowersWhy hiring, values, and strategic simplicity are key to scaling wellThis is a candid and insightful deep dive into what matters when building a brand, not just design and packaging, but conviction, focus, and a deep understanding of your customer.If you're navigating the messy middle of your growth journey, this episode is packed with practical frameworks and fresh perspective.Useful Links:big fish websiteConnect with Perry on LinkedInConnect with big fish on LinkedIn============================================================Thanks to Brand Growth Heroes' podcast sponsor - Joelson, the commercial law firm=============================================================If you're a founder, you already know how much of your energy goes into building the perfect product, creating standout branding and connecting with your consumers.But don't forget that scaling a CPG business also comes with a maze of legal complexities that can make or break your business journey. From contracts, term sheets and regulatory compliance to protecting your brand's intellectual property as you expand, it's essential to get it right.And that starts with the right legal partner.So we're thrilled to introduce Joelson, a leading commercial law firm that specialises in guiding the founders of scaling CPG brands, as Brand Growth Heroes' sponsor.With long-term relationships with clients like Little Moons, Trip, Eat Natural, Bear Graze, and Pulsin, Joelson is also famous for advising the innocent founders in their landmark sale to Coca-Cola! As a female team, we are especially impressed by Joelson's commitment to championing female founders in CPG.Not many law firms are also BCorps, nor do they specialise in helping founders navigate the legal challenges of scaling without stifling the creativity and momentum that got you here in the first place. So thanks, Joelson—we're delighted to have you on board.If you'd like to get in touch to find out more, why don't you drop them a line at hello@joelsonlaw.com!==============================================A tiny favour: If this episode inspires you to think about new ways to drive business growth, please could you click FOLLOW or SUBSCRIBE on your favourite podcast app and leave a review?This small gesture from you means the world to us, and allows us to share these nuggets of insight and value with you more often.You won't want to miss the next episode, in which Fiona Fitz talks with another successful founder of a challenger brand who shares more valuable insights into driving growth.Please don't hesitate to join our Brand Growth Heroes community to stay updated with captivating stories and learnings from your beloved brands on their path to success!Follow us on our Brand Growth Heroes socials: LinkedIn, Facebook, Instagram and YouTube.Thanks to our Sound Engineer, Gyp Buggane, Ballagroove.com and podcast producer/content creator, Kathryn Watts, Social KEWS.

durée : 01:28:52 - Grigory Sokolov, la puissance et la rigueur - par : Aurélie Moreau - Pour Grigory Sokolov, immense pianiste, « l'essence de l'interprétation, c'est l'amour profond que l'on porte à une pièce, assorti à la liberté intérieure de l'interprète. » (L'Humanité). Aujourd'hui : Brahms, Haydn, Mozart, Rachmaninov, Schubert… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Er gilt als musikalischer „Papa“ von Mozart und Beethoven, wird aber ständig vergessen: Was man über Joseph Haydn wissen muss.

durée : 01:27:55 - Marc-André Hamelin, compositeur et pianiste au répertoire très étendu - par : Aurélie Moreau - Marc-André Hamelin est connu dans le monde entier pour sa musicalité accomplie et sa maîtrise du piano, celle d'un « interprète aux prouesses techniques quasi surhumaines ». (New York Times). Aujourd'hui : Albéniz, Strauss/Godowsky, Haydn, Schubert… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

He signed a two-year deal to stay in Winnipeg and then spent 20+ minutes chatting with us.

durée : 01:28:53 - Le Quatuor de Jérusalem, la tradition de l'excellence - par : Aurélie Moreau - 2025 marque les 30 ans du Quatuor de Jérusalem qui a très vite acquis une renommée mondiale, jouant avec passion, précision et chaleur un large répertoire. Aujourd'hui : Chostakovitch, Brahms, Haydn, Dvořák, Schubert, Debussy, Schumann et Korngold. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Brinkmann, Sigrid www.deutschlandfunk.de, Büchermarkt

Brinkmann, Sigrid www.deutschlandfunk.de, Büchermarkt

Depois do terror, segundo ouvi dizer, as crianças aprendem a ver no escuro. É uma espécie de talento que nasce da necessidade de controlar a proliferação de imagens que o medo nos sugere. São cineastas dessa circunstância intolerável. Porque o escuro admite o pior. Da mesma forma há quem fale consigo mesmo, procure uma ordem qualquer de que se possa ocupar, às vezes retoma uma conversa mal resolvida, responde a alguém, confronta uma e outra vez o seu exausto repertório de truques, vai buscar cenas, planos de filmes e investiga tudo aquilo que sem se ter dado conta aprendeu de cor, a posição de cada objecto, que agora adquirem uma estranha densidade, um peso extraordinário. Saber convocar o sono é um dom, combater uma circunstância desfavorável, escavar um túnel a partir da cela do tédio. Era assim que Cyril Connolly explicava a necessidade da arte, defendendo que esta “é a tentativa mais nobre do homem para preservar a Imaginação do Tempo, para fabricar brinquedos mentais inquebráveis, bolos de lama que durem”… O cinema é um assunto das infâncias que mais foram obrigadas a escarafunchar certas feridas, a aguentar a imensa desolação da realidade, sobretudo para quem tem uma natureza atenta. O cinema é esse território dos mudos, dos que aprendem o valor de um enquadramento, de uma sequência, dos cortes, da montagem. Os que se deram ao trabalho de fazer do olhar uma lição de história. Se a uma criança, quando lhe perguntam o que quer ser quando for grande, nunca ouvimos a resposta – “Vou ser crítico de cinema” –, como notou, certa vez, François Truffaut numa entrevista, talvez isso se explique por estar longe de supor que haja outros que não precisam de mais estímulos, pois fizeram da memória o seu projector, e tiram prazer de fazer do cinema o motivo de longas exposições, conversas infinitas. São muitos, na verdade, os que se encontram na mesma situação, consideravelmente treinados desde crianças a ver filmes, a pensar sobre eles e, mais tarde, com os anos, ao encontrarem a sua tribo, a falar deles, a discorrer durante horas sobre cada detalhe, mas depois, até por esse excesso, são incapazes de passar para o outro lado, ter a audácia ou a veleidade imbecil de fazer um filme. Há uma espécie de erudição culpada, que em vez de iluminar, pesa intimamente. Em vez de se transformar num balanço atrevido, acumula-se como dívida, pede imensas desculpas, retira-se. É o saber do crítico que lê demais, vê demais, anota demais — e escreve de menos ou escreve como se estivesse sempre a dever explicações. É um saber que se constrange, que se encurva. Em vez de cortar na carne da obra, contorna-a com aparato técnico, com um dicionário em punho e medo de parecer ingénuo. Esquece, assim, que a verdadeira erudição é leve, ofensiva, cortante. Esta é a condição do espectador que perdeu a inocência e, com ela, a coragem de errar, de improvisar, de sentir sem aparato. Guillermo Cabrera Infante fala-nos de um crítico que sentia necessidade de atafulhar cada texto de um tal excesso de referências que, para lá do alarde da erudição, lhes emprestavam uma morbidez própria de quem gosta de arrastar cadáveres ou trocar restos entre túmulos, fazer combinações bizarras nas horas de tédio em que lhe é dado zelar por um desses arquivos que aguardam a completa digestão das larvas. Vale a pena reproduzir o texto… “Caín gostava de fazer frequentemente um grande alarde erudito. A sua erudição chegava ao ponto de dizer que H. C. Robbins Landon estava a completar o catálogo total da música de Haydn; que Tchékhov conheceu Tchaikovsky em São Petersburgo, no início de Dezembro de 1888; que a modelo preferida de Delacroix se chamava Émilie Robert; que, se o jazz nasceu nos bordéis de Nova Orleães, foi a ordem da Secretaria da Marinha norte-americana, em 1917, ao encerrá-los, a ocasião para a sua difusão e desenvolvimento posterior. Etc. Parece-me que Caín encontrava estas citações ao acaso, nas suas leituras caóticas e, por isso mesmo, múltiplas, e que as ia anotando nas críticas à primeira oportunidade, viessem ou não a propósito. Um dia disse-lho. A resposta dele deixou-me gelado (tão gelado que, se tivesse tido sabor, não estaria aqui a contar isto: estávamos à porta de uma escola), porque respondeu-me com uma citação de Chesterton: ‘Afinal, creio que hoje não me vou enforcar', foi o que disse.” Onde queremos chegar? Essa costuma ser uma interrogação bastante cruel. Talvez ainda seja o mesmo problema do início, a criança que faz filmes para si, inventa o cinema para não ser absorvida pelo escuro. Neste episódio, vamos traçar um percurso entre esse desejo de ser encantado, entre a descoberta do cinema como arte produtora de uma memória defensiva, e um enredo formidável de correspondências, imagens que nutrem uma espécie de sistema imunitário e de resposta da imaginação contra circunstâncias infamantes. Nessa linha que vai de um cinema paraíso à degenerescência dos que só conseguem tratar as fitas como oportunidades para levarem a cabo processos de dissecação, contámos desta vez com Beatriz Silva Pinto, que além de trabalhar no Cinema Batalha, tem uma relação empenhada com esta arte, e uma perspectiva pouco cínica das possibilidades de expansão que nos oferece, desde logo enquanto antídoto face à dissolução das comunidades, e ao retrocesso dos espaços de encontro e resistência a um quotidiano cadaveroso.

Jeremy Summerly chooses his favourite recording of Haydn's The Seasons.

"Er durchbrach die Grenzen des Himmels", das steht auf dem Grab von William Herschel geschrieben. Der in Hannover gebürtige Herschel ist uns als Musiker bekannt, aber berühmt wurde er als Astronom. Er entdeckte Sternenbilder und zeigte die auch seinen Zeitgenossen. Der Blick ins Weltall konnte allerdings wahrhaft schockierend sein. Davon zeugt ein wichtiges musikalisches Dokument. "Die Schöpfung". Bevor Joseph Haydn die zu komponieren begann, erlebte er diesen Schock - den Blick in die Ewigkeit.

durée : 01:58:34 - Alfred Brendel, les enregistrements des années soixante - par : Philippe Cassard - Celui qui, né en 1931 et s'est retiré de la scène en 2008, a été sans doute le grand interprète des classiques viennois (Haydn, Mozart, Beethoven) et de Schubert, a, dans ses jeunes années, joué la musique du XXème siècle et Liszt de manière transcendante. - réalisé par : Davy Travailleur Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

For some time, marketing hydrogen in an affordable way has been a challenge to say the least. One company, Grimes Carbon Tech, says that assertion is untrue and they have the technology to prove it. On this episode of Alternative Power Plays, Buchanan's Alan Seltzer and John Povilaitis welcome Joseph Maceda, founder of Grimes Carbontech, and Haydn Palliser, Principal at green energy transition advisory firm Pivotal 180 and Grimes Carbontech advisor, to talk about their company and its hopeful technology.Grimes Carbontech was founded in 2022 and offers scalable technology that uses low-temperature waste heat to produce hydrogen in a liquid solution. The company says their technology is 80% cheaper than the electrolysis method and doesn't come with the need for pipelines or electrical grid infrastructure, enabling the firm to market hydrogen at the site of its use and convert carbon to sustainable fuel while also capturing and recycling carbon profitably. Grimes Carbontech calls it “Caustic Aqueous-Phase Electrochemical Reforming" or "CAPER.”During the episode, Joseph and Haydn talk about the ins and outs of their technology, how it works, why it's so valuable and what the future for this technology looks like. While the company is in its early stages, the future looks quite promising and our guests are thrilled about what its true potential could look like.To learn more about Grimes Carbon Tech visit: https://grimescarbontech.com/To learn more about Joseph Maceda and Haydn Palliser, visit: https://grimescarbontech.com/about-us To learn more about Alan Seltzer, visit: https://www.bipc.com/alan-seltzer⁠ To learn more about John Povilaitis, visit: ⁠https://www.bipc.com/john-povilaitis

Aufkleber sind oft verführerisch. Denn sie sind so schön einfach, ihre inhaltliche Botschaft leicht verständlich. Doch oft führt dieser Inhalt am Kern der Wahrheit auch vorbei. So wie bei Joseph Haydn. Oft hat man ihm das Etikett vom „Papa Haydn“ angeheftet und damit den Eindruck erweckt, seine Musik sei gemütlich und betulich. Ein großer Irrtum. Der Faszination Haydns möchte nun ein neues Buch auf die Schliche kommen. Dieses Buch ist weder Biografie noch wissenschaftliche Abhandlung. Was also? Christoph Vratz hat die Antwort.

We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition: Aesthetics, History, and the Canon (Oxford University Press, 2025), Dr. Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Dr. Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s.Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past while also proposing active steps that scholars and musicians can take to better identify deceptive compositions in the future. Pursuing his topic from case to case, Dr. Reece observes that fake historical masterpieces have often seduced listeners not simply by imitating old works, but rather by mirroring modern cultural beliefs about innovation, identity, and meaning in music. Here forged compositions have important truths to tell us about knowing and valuing works of art precisely because they are not what they appear. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition: Aesthetics, History, and the Canon (Oxford University Press, 2025), Dr. Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Dr. Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s.Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past while also proposing active steps that scholars and musicians can take to better identify deceptive compositions in the future. Pursuing his topic from case to case, Dr. Reece observes that fake historical masterpieces have often seduced listeners not simply by imitating old works, but rather by mirroring modern cultural beliefs about innovation, identity, and meaning in music. Here forged compositions have important truths to tell us about knowing and valuing works of art precisely because they are not what they appear. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition: Aesthetics, History, and the Canon (Oxford University Press, 2025), Dr. Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Dr. Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s.Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past while also proposing active steps that scholars and musicians can take to better identify deceptive compositions in the future. Pursuing his topic from case to case, Dr. Reece observes that fake historical masterpieces have often seduced listeners not simply by imitating old works, but rather by mirroring modern cultural beliefs about innovation, identity, and meaning in music. Here forged compositions have important truths to tell us about knowing and valuing works of art precisely because they are not what they appear. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition: Aesthetics, History, and the Canon (Oxford University Press, 2025), Dr. Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Dr. Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s.Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past while also proposing active steps that scholars and musicians can take to better identify deceptive compositions in the future. Pursuing his topic from case to case, Dr. Reece observes that fake historical masterpieces have often seduced listeners not simply by imitating old works, but rather by mirroring modern cultural beliefs about innovation, identity, and meaning in music. Here forged compositions have important truths to tell us about knowing and valuing works of art precisely because they are not what they appear. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition: Aesthetics, History, and the Canon (Oxford University Press, 2025), Dr. Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Dr. Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s.Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past while also proposing active steps that scholars and musicians can take to better identify deceptive compositions in the future. Pursuing his topic from case to case, Dr. Reece observes that fake historical masterpieces have often seduced listeners not simply by imitating old works, but rather by mirroring modern cultural beliefs about innovation, identity, and meaning in music. Here forged compositions have important truths to tell us about knowing and valuing works of art precisely because they are not what they appear. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

We all know about art forgeries, but why write fake classical music? In Forgery in Musical Composition: Aesthetics, History, and the Canon (Oxford University Press, 2025), Dr. Frederick Reece investigates the methods and motives of mysterious musicians who sign famous historical names like Haydn, Mozart, and Schubert to their own original works. Analyzing a series of genuinely fake sonatas, concertos, and symphonies in detail, Dr. Reece's study exposes the shadowy roles that forgeries have played in shaping perceptions of authenticity, creativity, and the self within classical music culture from the 1790s to the 1990s.Holding a magnifying glass to a wide array of phony works, Forgery in Musical Composition explains how skillful fakers have succeeded in the past while also proposing active steps that scholars and musicians can take to better identify deceptive compositions in the future. Pursuing his topic from case to case, Dr. Reece observes that fake historical masterpieces have often seduced listeners not simply by imitating old works, but rather by mirroring modern cultural beliefs about innovation, identity, and meaning in music. Here forged compositions have important truths to tell us about knowing and valuing works of art precisely because they are not what they appear. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

durée : 01:28:28 - Relax ! du vendredi 13 juin 2025 - par : Lionel Esparza - Une émission relaxante, un patchwork qui se construit tranquillement entre Lassus et Chabrier, Haydn, Liszt et... du plaisir ! - réalisé par : Antoine Courtin

durée : 01:28:28 - Relax ! du vendredi 13 juin 2025 - par : Lionel Esparza - Une émission relaxante, un patchwork qui se construit tranquillement entre Lassus et Chabrier, Haydn, Liszt et... du plaisir ! - réalisé par : Antoine Courtin

Esteban Batallán, the CSO's principal trumpet since 2019, makes his much-anticipated debut as a soloist with the Orchestra in a pair of brilliant, high-flying concertos. Riccardo Muti frames the program with Joseph Haydn's tempestuous Symphony No. 48 and Schubert's Haydn-inspired Tragic Symphony. Learn more: cso.org/performances/24-25/cso-classical/muti-and-esteban-batallan

This week, Seb and Verity are joined by trumpet sensation Aaron Akugbo. From unwittingly making it to the finals of a trumpet competition to playing the Haydn Concerto from memory and then smashing out Jolivet's Second Concerto with basically zero prep, Aaron embodies an entirely admirable cool, can do attitude!We also chat about:✈️ Touring the US with Chineke! (hello, business class)

Stress, Erschöpfung, Atemlosigkeit: Wir alle machen viel zu selten Pausen. Dabei wussten es schon Haydn, Bach und Cage besser - ihre Musik wäre ohne Pausen undenkbar. Ohne Stille kein Klang! Was Pausen mit Dad-Jokes zutun haben, warum gerade die stillen Momente oft die spannendsten sind und weshalb auch High Performer Pausen brauchen, erfahrt Ihr in dieser Folge. Zu Gast ist die Starpianistin Hélène Grimaud! Link zur Podcast-Umfrage: https://forms.office.com/e/rAc8Di52BT?origin=lprLink

Den Namen Georges Bizet verbindet man vor allem mit seiner berühmten Oper Carmen und seiner Arlésienne Suite. Bizet hat aber bereits als 17-jährig eine Sinfonie komponiert, ein Werk voller jugendlicher Frische und Spielfreude. Die C-Dur-Sinfonie entstand 1855 während seines Studiums am Pariser Konservatorium – als Übungsstück, das zu seinen Lebzeiten nie aufgeführt wurde. Erst 1935, fast 60 Jahre nach Bizets Tod, wurde die Partitur wiederentdeckt und in Basel (!) uraufgeführt. Die Sinfonie überrascht durch ihre Leichtigkeit und die melodischen Einfälle, die an Haydn und Gounod erinnern, aber auch bereits den unverwechselbaren Stil Bizets erkennen lassen. In vier Sätzen entfaltet sich ein farbenreiches Klangbild voller Esprit und Eleganz. Heute gilt die Sinfonie als eines der bedeutendsten Frühwerke der französischen Romantik. Zum 150. Todestag von Georges Bizet, der bereits im Alter von 37 Jahren verstorben ist, stehen in der Diskothek fünf Aufnahmen von Bizets Jugendwerk zur Diskussion. Gäste von Eva Oertle sind der Cellist Joachim Müller-Crepon und die Musikjournalistin Corinne Holtz.

This Day in Legal History: Trump Guilty on All CountsOn this day in legal history, May 30, 2024, President Donald J. Trump was convicted on all 34 felony counts in a criminal trial related to a hush money scheme during the 2016 presidential campaign. The case centered on falsified business records used to conceal payments made to adult film actress Stormy Daniels, intended to silence her allegations of an affair in the run-up to the election. The charges—each tied to entries in the Trump Organization's internal ledger—were elevated to felonies on the basis that they were committed in furtherance of another crime, namely influencing the outcome of a federal election.The trial, held in New York State Supreme Court, marked an unprecedented legal moment in U.S. history: a former president, and presumptive candidate in the upcoming election, being found guilty of criminal conduct. Prosecutors argued that Trump orchestrated the payments to suppress damaging information and maintain his electoral chances, while his defense claimed the case was politically motivated and the records reflected routine legal expenses.The conviction did not bar Trump from running for office again, but it did raise serious constitutional, electoral, and logistical questions about the rule of law and the separation of powers. The verdict was reached by a jury of 12 New Yorkers after weeks of testimony from former aides, prosecutors, and key witnesses like Michael Cohen, Trump's onetime fixer.Trump's sentencing was scheduled for a future date, and appeals were expected. Reactions across the political spectrum were predictably polarized, with critics calling it accountability at last, while supporters denounced the trial as a miscarriage of justice. Legal scholars noted the symbolic weight of the decision in reaffirming that no one—including a former president—is above the law.The U.S. Department of Justice and several states are wrapping up a major antitrust case against Google, with closing arguments scheduled for Friday. At issue is whether Google must sell its Chrome browser and stop default search engine deals with companies like Apple and wireless carriers, which the DOJ says stifles competition. These proposals follow a prior court finding that Google unlawfully monopolized online search and advertising markets.Judge Amit Mehta, who is presiding over the case, expects to issue a ruling by August. The DOJ is also pushing for Google to share its search data, which could benefit AI companies. OpenAI has expressed interest in purchasing Chrome if a divestiture occurs and noted that access to Google's search data would improve its AI responses.Google argues that the DOJ's proposed remedies overreach and would unfairly advantage competitors. The company has already taken some steps, such as loosening default search engine deals with phone manufacturers like Samsung. However, the government wants a full ban on payments that secure Google's search dominance on devices.Google and DOJ to make final push in US search antitrust case | ReutersA federal appeals court has temporarily reinstated President Trump's wide-ranging tariffs after a lower trade court ruled they exceeded presidential authority. The stay, issued by the U.S. Court of Appeals for the Federal Circuit, allows the tariffs—targeting imports from most trading partners and specifically Canada, Mexico, and China—to remain in effect while the appeals process unfolds. The plaintiffs and the government must submit legal arguments by early June.The U.S. Court of International Trade previously found that Trump misused the International Emergency Economic Powers Act (IEEPA), which is designed for national emergencies, not trade disputes. The panel emphasized that Congress, not the president, holds constitutional power to impose tariffs. Trump and his administration remain defiant, vowing to pursue alternative legal pathways if needed. Trump criticized the ruling publicly, warning it would weaken presidential power and harm national interests.Financial markets responded cautiously, factoring in the likelihood of a drawn-out legal process. Some companies, like small businesses represented by the Liberty Justice Center, argue the tariffs threaten their survival due to disrupted supply chains. Broader economic impacts include $34 billion in losses and stalled negotiations with key partners. Notably, separate national security-based tariffs on steel, aluminum, and cars remain unaffected.Trump's tariffs to remain in effect after appeals court grants stay | ReutersTrump's latest tax-and-spending bill, dubbed the "One Big Beautiful Bill Act," includes a provision that could significantly limit federal courts' power to enforce contempt orders against the government. The measure, buried in the 1,100-page bill, would block courts from enforcing contempt if plaintiffs did not post a monetary bond when seeking an injunction—a practice rarely required in lawsuits against the government.The provision applies retroactively and would affect both lower courts and the Supreme Court. Critics say it could effectively prevent courts from holding government officials accountable for ignoring judicial orders, as most past injunctions didn't involve posted bonds. While the administration says the measure is aimed at deterring frivolous lawsuits, legal experts warn it undermines judicial authority and incentivizes noncompliance.This change comes after a Trump administration memo encouraged agencies to request bonds in litigation. Judges have previously flagged possible defiance of court orders by administration officials but have stopped short of issuing contempt rulings. In one recent case over tariffs, a judge set a bond at just $100, overruling a higher request by the government.The House narrowly passed the bill without any Democratic support. It now moves to the Senate, where some Republicans have expressed intentions to amend it. A group of House Democrats has already called for the contempt provision to be removed, arguing it would render courts ineffective in enforcing lawful orders.Trump's sweeping tax-cut bill includes provision to weaken court powers | ReutersThe U.S. Justice Department has asked a judge to dismiss the criminal fraud charge against Boeing tied to two deadly 737 MAX crashes that killed 346 people, following a new agreement with the company. Under the deal, Boeing avoids a felony conviction but will pay an additional $444.5 million into a victims' compensation fund and a $243.6 million fine, bringing the total to $1.1 billion. The sum includes investments in safety, compliance, and quality enhancements.This resolution has drawn strong criticism from families of crash victims and some lawmakers, who argue that Boeing should face trial. While most families have settled civil lawsuits and received billions in compensation, several legal representatives are planning to challenge the agreement. The Justice Department defended the deal, stating it ensures accountability and public benefit while avoiding a potentially uncertain trial outcome.As part of the agreement, Boeing's board must meet with victims' families, and the company will hire a compliance consultant instead of facing court-appointed oversight. The deal halts a planned June 23 trial over Boeing's alleged deception of U.S. regulators regarding a key flight control system implicated in the crashes.US asks judge to dismiss Boeing 737 MAX criminal fraud case | ReutersThis week's closing theme brings us to one of the towering figures of Classical music: Joseph Haydn. Born in 1732 and known as the “Father of the Symphony” and “Father of the String Quartet,” Haydn's influence shaped the musical landscape of his time and set the foundation for generations of composers to come, including his younger contemporaries Mozart and Beethoven. Though widely celebrated for his symphonic and chamber works, Haydn also made remarkable contributions to keyboard music—works that showcase both his wit and structural innovation.Our selection is the first movement, Vivace, from his Keyboard Concerto in D major, Hob. XVIII:11, arguably his most famous and frequently performed keyboard concerto. Composed in the mid-1770s, the piece bursts with energy and clarity, reflecting Haydn's mature style. The Vivace movement is bright, spirited, and rhythmically engaging, with a dialogue between soloist and orchestra that feels playful yet assured.What makes this concerto particularly special is its balance of accessibility and sophistication. The melodies are immediately appealing, but the musical craftsmanship runs deep—complex harmonic turns, sparkling ornamentation, and a joyful momentum that never wanes. In the Classical tradition, this was written for the harpsichord or fortepiano, but it's often performed on modern piano today, bringing a different resonance and brilliance to the sound.As we close the week, Haydn's Vivace offers a fitting send-off: lively, inventive, and rooted in a composer who, even two centuries later, continues to surprise and delight.Without further ado, Joseph Haydn's Vivace – Keyboard Concerto in D Major. Enjoy!  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

durée : 01:28:38 - Dietrich Fischer-Dieskau, un chant sensible et incarné - par : Aurélie Moreau - Nous fêtons aujourd'hui le centième anniversaire de la naissance de Dietrich Fischer-Dieskau, baryton inoubliable qui a magnifié l'interprétation du lied et triomphé à l'opéra. Au programme : Schubert, Mozart, Schumann, Mahler, Beethoven et Haydn.

Episode OverviewThis week, I consider the Stoic philosophy of Marcus Aurelius' Meditations and Epictetus' Enchiridion, part of Ted Gioia's Humanities List (link below!). Moving from Greek dramas to 2nd-century Roman Stoics, we first talk about the move from Greek lit to Roman, how the mindset and history will impact what we read. I cover Marcus Aurelius and Epictetus in depth, mention Admiral Stockdale (a modern Stoic) and end the episode with Rudyard Kipling's poem "If." Marcus Aurelius' MeditationsMeditations, the private journal of a Roman emperor, emphasizes self-focus, humility, and inner peace. Key takeaways include: Focus on your own mind and skills, not others' actions or opinions. Embrace nature to cultivate curiosity and appreciation for the world. Accept life's brevity and smallness, acting virtuously without expecting rewards. Find peace within, not in external escapes like vacation homes. Hold pleasures loosely to achieve contentment in the present moment.I note the surprising modernity of Aurelius' advice but question its contradictions, like the futility of life versus the call to virtue.Epictetus' EnchiridionEpictetus, a former slave turned philosopher, offers a direct, practical guide in The Enchiridion. I prefer Epictetus' straightforward style, finding it more relatable than Aurelius' introspections. Highlights include: Distinguish what harms the body from what affects the will—Epictetus' own lameness adds poignancy to this teaching. Know your limits and operate fully within them, committing wholeheartedly to your purpose. Avoid excess in speech, laughter, or indulgence, embracing simplicity.Consider the parallels to Biblical teachings like Colossians 3:17.Reflections and ChallengesI don't love Stoicism, as I think it sacrifices deep love and beauty. But there's no doubt that its ideals have a place in society--Stockdale and Kipling both reflect that. Translation struggles (George Long's arcane 1877 version versus Gregory Hays' readable Meditations) and time management issues due to travel delayed this week's reading. Classical music (Haydn's Symphonies 45, 94, and 104) enriched the experience, though I skipped the art.What's NextNext week, I explore Suetonius' Twelve Caesars with Mozart's symphonies and Italian art by Botticelli and Caravaggio. Subscribe to follow the journey! LINKSTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)Haydn's Surprise SymphonyAdmiral James StockdaleSpencer Klavan (Modern Classicist)CONNECTTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify -

Pieces by Haydn, Beethoven, Mendelssohn, Brahms, Debussy, Dohnányi, Shostakovich & Casarrubios performed by groups from Merit School of Music and the Music Institute of Chicago Academy. The post Chamber music for strings: Spizella Quartet, Luscinia Trio, Vermilion String Quartet appeared first on WFMT.

We heard from the pending UFA following his first full season in Winnipeg.

Mariam Batsashvili zeigt, wie Komponisten wie Haydn und Beethoven, die einander gekannt haben, die Klaviersonate immer weiter entwickelten.

The MusicaNova Orchestra presents its "Laughing with Prokofiev, Stravinsky & Haydn" concert May 18th at the Musical Instrument Museum....

In a special edition of the podcast, Dre Harrison sits down with F1 writer Jake Boxall-Legge and News Editor Haydn Cobb to break down two shock stories from Alpine's F1 Team. Last night, Oliver Oakes has resigned as Alpine team principal with immediate effect, with executive advisor Flavio Briatore taking his duties on an interim basis. Flavio released a statement earlier today dismissing rumours that there was a rift between the pair and instead cited "personal reasons" for Oakes departure. Also announced this morning was that Alpine reserve driver Franco Colapinto will be taking Jack Doohan's seat for at least the next five races, starting with next weekend's Emilia-Romagna Grand Prix. Dre, Jake and Haydn discuss whether Doohan was unfairly dropped from the team after a rocky start to life in F1, whether Colapinto will be an improvement in the short-term at Alpine, the managerial merry-go-around from Enstone after hiring their sixth team principal in five years, and ponder what could be coming next for a team that seemingly cannot avoid drama. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Classical meets jazz. Featuring: John Kirby Sextet, George Gershwin, James P. Johnson, Duke Ellington, Carl Maria von Weber, Benny Goodman, Sergei Rachmaninoff, Art Tatum, Fats Waller. Music: Mr. Haydn Gets Hip, Beethoven Riffs On, Rhapsody in Blue, You've Got To Be Modernistic, excerpt from Black, Brown, and Beige, excerpt from Invitation to the Dance, Let's Dance, Rhapsody on a Theme of Paganini (Var. 15), Honeysuckle Rose.

Michael Haydn - Divertimento: RondoAlessandro Baccini, cor anglais Sandro Simoncini, violin Luca Simoncini, cello Luca Stevanato, double bassMore info about today's track: Naxos 8.570178Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

The writer Colum McCann isn't afraid to take on big subjects – and his ambition has delivered a shelf full of awards, from both sides of the Atlantic. He grew up in Dublin but moved to the United States in the mid-1980s and now lives in New York. That city is the setting for his international bestseller Let the Great World Spin, in which Philippe Petit's tightrope walk between the Twin Towers in 1974 plays a key role. He's also written a novel about both sides of the conflict between Israel and the Palestinian people, from the perspectives of two fathers.He collaborated with Diane Foley, whose son James was executed by Islamic State militants, to create a memoir, American Mother, which was published last year. Most recently his novel Twist focuses on the vulnerability of the undersea cables carrying the world's internet data. Colum's music includes Gorecki, Prokofiev, Brahms and Haydn.

durée : 01:28:34 - En pistes ! du jeudi 24 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Arabella Steinbacher n'en est pas à son premier coup d'essai et offre sa seconde lecture de l'œuvre ! En Pistes part aussi ce matin à la découverte de l'œuvre du compositeur et théoricien Vicente Lusitano et poursuit l'écoute des grands concertos pour violoncelle par Jacqueline Du Pré avec Haydn. - réalisé par : Antoine Courtin

durée : 01:28:34 - En pistes ! du jeudi 24 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Arabella Steinbacher n'en est pas à son premier coup d'essai et offre sa seconde lecture de l'œuvre ! En Pistes part aussi ce matin à la découverte de l'œuvre du compositeur et théoricien Vicente Lusitano et poursuit l'écoute des grands concertos pour violoncelle par Jacqueline Du Pré avec Haydn. - réalisé par : Antoine Courtin

Javier Gastón explora los sonidos de la Semana Santa en la música clásica. Suenan Liszt, Haydn, Miklós Rózsa, Vivaldi o Pergolesi, entre otros.

We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

I've already done a Lententide episode devoted to contraltos singing the music of Bach, but it seemed to me that in the upheaval of today's vengeful and war-hungry world, we could use another contemplative episode to provide us with meditative (and even tuneful!) music to calm our spirits. The tunefulness comes especially from recordings of favorite religious music by Gounod, Franck, and other 19th-century French composers sung by Camille Maurane, Marcel Journet, Richard Verreau, and Françoise Pollet. Also included are a live excerpt from Parsifal with Jon Vickers and Hans Knappertsbusch; the miraculous yet voiceless Hugues Cuénod performing an excerpt from the first of Couperin's Leçons de Ténèbres; the unsung German-British soprano Ilse Wolf in a live performance of the Bach Johannes-Passion conducted by Pablo Casals; Gundula Janowitz in a searing but brief aria from Mendelssohn's Paulus; excerpts from settings of the Stabat Maters of Haydn and Dvorák, sung by Alfreda Hodgson, Sena Jurinac, and Heinz Hoppe; the original version of Hendrik Andriessen's exquisite Miroir de Peine cycle for voice and organ featuring our beloved Elly Ameling; and Jennie Tourel in an excerpt from her ultra-rare recording of Hindemith's Das Marienleben preceded by Lotte Lehmanns's recitation of the same Rilke poem. The episode begins and ends with realizations by Benjamin Britten and Michael Tippett of Baroque masters Henry Purcell and Pelham Humfrey sung, respectively, by Peter Pears and John Shirley-Quirk. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Dancers from Chicago's world-renowned Joffrey Ballet join the CSO with newly commissioned choreographies. Symphonies by Haydn and the Chevalier de Saint-Georges abound in witty and joyful melodies while two 20th-century works are full of popular influences: Perkinson's jazz-tinted Sinfonietta No. 1 and Milhaud's rollicking Brazilian postcard, The Ox on the Roof. Learn more: cso.org/performances/24-25/cso-classical/cso-and-the-joffrey-ballet

Debussy and Ravel are often described as the prototypical musical impressionists. It is often said that the two composers are the closest equivalents to the artistic world of Monet, Renoir, Pisarro, Degas, and others. But both Ravel and Debussy (like Monet for that matter), vehemently rejected the term Impressionism, and they both felt that they were striking out on their own individual paths in their msuic. That didn't stop the public and critics from constantly comparing the music of these two shining lights of French music, despite the fact that Ravel and Debussy are actually quite different. Comparing Ravel and Debussy is a bit like comparing Haydn and Mozart. At first glance, there are many similarities, but if you look and listen more closely, Ravel and Debussy(like Mozart and Haydn) had totally different approaches, goals, and styles. All of the constant comparisons and attempts at making the composers compete with each other had a real impact on Debussy and Ravel. Initially they were friends and mutual admirers of each others work, but they slowly drifted apart over time until they stopped speaking to each other altogether. We'll talk about this complicated personal relationship, as well as looking at these differences in their music, not from a critical standpoint, but from the perspective of bringing out what is so wonderfully unique about their music. We'll also talk about Ravel's arrangements of two Debussy's greatest orchestral works: his two piano arrangement of Debussy's Nocturnes, and his piano 4 hands arrangement of the legendary Prelude to the Afternoon of a Faun. Join us on another collaboration with G Henle Publishers! Recordings: Nocturnes Claudio Abbado with London Symphony Anne Shasby, Richard McMahon, Piano Prelude to the Afternoon of a Faun Ravel arrangement: Jean-Pierre Armengaud and Olivier Chauzu Debussy Arrangement: Charles Badami and Anthony Olson 

Today:U.S. Representative Ayanna Pressley calls into the show to discuss the detention of Tufts University grad student Rumeysa Ozturk.And, the Handel and Haydn Society join ahead of a show celebrating Boston's LGBT community. We talk with violinist Carmen Levita Johnson-Pájaro and Alexandria Ebernhardt from the state's LGBT Chamber of Commerce.

Will I dare ask myself if greed is an issue in my life? Will I dare ask myself if greed is an issue in my life? What is keeping me away from God today? Could greed be a problem? There's a French saying: some people are so poor, all they have is money. Today we are talking about replacing greed, and all forms of idolatry, with joy. Greed. What does the Bible say about it?  Proverbs 1:19 - Such are the ways of everyone who is greedy for unjust gain; it takes away the life of its possessors. Proverbs 11:28  -Whoever trusts in his riches will fall, but the righteous will flourish like a green leaf. Greed doesn't give. Greed robs. Greed robs YOU of joy. Make sure to check out the optional-but-oh-so-helpful mini e-book to go along with the series at gospelspice.com/wisdom To start us off, Stephanie challenges us--and herself--with seven questions to self-diagnose if we have unknowingly fallen victim to greed, in one form or another: 1.     Is it MY money or God's? 2.    What would I do differently if I knew I would be dead in a year? 3.     WHY do I want more money? 4.     How do I spend my time? thinking of ways to earn more, or of ways to advance God's Kingdom? 5.     How would I behave if I lost everything? 6.     Am I truly generous? 7.     Do I compromise character to make more money? Then we ponder the link between joy and righteousness and the only true cure against greed. Idolatry is misplaced worship.  Proverbs describes where joy cannot be found. The summary of the entire book of Proverbs can be found in Mark 8:36: "For what does it profit a man to gain the whole world and forfeit his soul?" That's the definition of unrighteousness. Joy "must be sharply distinguished both from happiness and from pleasure" - CS Lewis Joy is “unsatisfied desire, which is itself more desirable than any other satisfaction.” – CS Lewis again. God promises to give us a joy that surpasses anything this world has to offer. Here's the question: how much of your life to do you spend experiencing this joy, vs looking for joy elsewhere? Psalm 35:27 - Let those who delight in my righteousness shout for joy and be glad and say evermore, “Great is the Lord, who delights in the welfare of his servant!” Haydn, the great musician, was once asked why his church music was so cheerful, and he replied: "When I think upon God, my heart is so full of joy that the notes dance and leap, as it were, from my pen ; and since God has given me a cheerful heart, it will be pardoned me that I serve Him with a cheerful spirit." Joy is the juice of gladness that comes from the fruit of peace, itself springing up from the ground of righteousness – our righteousness in Christ. Matthew Henry defines joy as "a constant delight in God." Who does the work of transforming our hearts to find satisfaction in God? God Himself is the One who transforms our heart to increasingly see Christ as our supreme treasure, even as we seek to find our satisfaction in Him. Cyprian was a third-century North African. As he was anticipating death, he penned these last words to his friend Donatus in 258AD: “It's a bad world, an incredibly bad world. But I have discovered in the midst of it a quiet and holy people who have learned a great secret. They have found a joy which is a thousand times better than any pleasure of our sinful life. They are despised and persecuted, but they care not. They are masters of their souls. They have overcome the world. These people are the Christians—and I am one of them.” This is an episode you do not want to miss. We look forward to serving you through it this week! MEET OUR CHARACTER OF THE WEEK  It had been a good year for John. He had managed to obtain a bonus packet worth a small fortune. It would go towards the purchase of his new beach house. Despite this formidable win, it bothered him that others in his industry made more. After all, he deserved every Benjamin, and then some. Sure, his recent promotion had come by a lot of backstabbing. Good for him. The corporate pie was only big enough to share among the most ruthless sharks, and he wants the biggest slice he could get his teeth on. John was determined to keep his focus on multiplying his assets this year, and fast. Today is all that matters. Faster, stronger, better. Last week, in the middle of a heated discussion about a takeover bid that was going to earn him that next nice bundle, John had a stroke. He is now on his hospital bed, slowly recovering. For the first time since he can remember, he has time to think. He is wondering if big money really is all that it is cracked up to be. He loves life with money, but what would money be without life? Hum. Would you say that John has reaped joy from the money he is accumulating? There's a French saying: “some people are so poor, all they have is money.” John is plagued with a self-imposed case of greed. Greed is idolatry: it is valuing something—anything—more than God. It's the “just-a-bit-more” mentality: “if only I had this, then…” The problem is, it is a moving target that never satisfies. Greed is the agony of “never enough.” It makes us ignore or forget God in our pursuit of “more.” Eventually, it slowly brainwashes us to believe that God, like everything else we've tried, is “never enough.” Greed makes us forget about eternity; it replaces our God-given perspective of Heaven with a world-centered focus on today. The change can be so subtle, though, that it is almost never self-diagnosed. Let's be the exception! Whether the Holy Spirit whispers it to us through our time in prayer, or in the study of His word, or through a true friend, let's identify any seed of idolatry in our heart. Greed, like any form of idolatry, never gives. Greed robs. It robs us of joy. The alternative to greed is joy—joy in God Himself. It is joy in our relationship with Him, not for what He can give us, but for the sheet delight of relationship. As C.S. Lewis puts it, joy in God is “unsatisfied desire, which is itself more desirable than any other satisfaction.” This is what I would wish to tell John: God promises to give us a joy that surpasses anything this world has to offer. Scripture challenges us to embrace the universe through the lens of faith. This perspective from Heaven promises us hope and joy. And yet, how often do we look for joy elsewhere? As Christians, we easily acknowledge that God is the almighty, living, ruling Lord of all. He is one God, Father, Son, and Holy Spirit, who dwells in heaven, a place of eternal joy. The psalmist says, "You make known to me the path of life; you will fill me with joy in your presence, with eternal pleasures at your right hand.” (Psalm 16:1, NIV). But do we really experience this? Joy has been God's ambition since Day One—literally. God created the universe for His own pleasure and enjoyed doing it. He created planet earth as our breathtaking dwelling place. He fashioned man and woman in His image to glorify Him, to live and rule in peace and joy. The totality of His creation made Him smile and He called it "very good." Then something went very wrong. Iniquity appeared, and earth became a place of sorrow, a troubled segment of the universe where idolatry and greed now reign in humans' hearts. God knew it would unfold so. The plan was already in place: at the appointed time, His Son Jesus came on a pre-planned mission to free the earth from its curse and return its people to an abundant life of hope, joy, and faith. Nothing could be further from puny greed. "For the joy set before Him," Jesus endured the cross. It means that He took our sin from us, accomplished our salvation, died, and rose again to everlasting life in the kingdom of heaven. To those who receive Him as Lord and acknowledge Him as Savior, Jesus Christ promises forgiveness, redemption from sin, a new birth, answers to prayer, the outpouring of His Holy Spirit of love, victory over death, and the everlasting joy of heaven. Jesus lives today at the Father's right hand in resurrected glory and fullness of joy; He has promised to come back for His church and to take us where He is. That is the essence of joy in God, and it is ours to cling to. We invite you to listen to this week's episode of the Gospel Spice Podcast to find out what happened to John, and to unpack the deeper truth of abiding in God's joy today. Make sure to check out the optional-but-oh-so-helpful mini e-book to go along with the series at gospelspice.com/wisdom We invite you to check out the first episode of each of our series, and decide which one you will want to start with. Go to gospelspice.com for more, and go especially to gospelspice.com/podcast to enjoy our guests! Interested in our blog? Click here: gospelspice.com/blog Identity in the battle | Ephesians https://www.podcastics.com/episode/74762/link/ Centering on Christ | The Tabernacle experience https://www.podcastics.com/episode/94182/link/ Shades of Red | Against human oppression https://www.podcastics.com/episode/115017/link/ God's glory, our delight  https://www.podcastics.com/episode/126051/link/   Support us on Gospel Spice, PayPal and Venmo!

Hi friends! Have you ever wondered what makes a sonata different from other pieces of music? In today's episode, we're diving into the world of sonatas—one of the most important forms in classical music! You'll learn: ✅ What the word "sonata" means and where it comes from ✅ How composers like Mozart, Beethoven, and Haydn used a special structure called sonata form ✅ How to listen for the exposition, development, and recapitulation in famous sonatas

With the pending May 9th release of the 40th anniversary Deluxe Edition of Listen Like Thieves, Bee and Haydn couldn't wait to provide their listeners around the globe a deep dive preview into the formats, track listings, special features and bonus material. But before we do, we revisit and discuss the original 1985 album release in all of its glory as the album represented INXS' first genuine international commercial success spearheaded by the infectious funk groove of “What you Need” that soared up the charts providing the musical template of things to come. Listen Like Thieves seemed like a guitar tour-de-force response to the perceived over- produced but iconic and brilliant The Swing album, re-creating the “live sound” that Producer, Chris Thomas, wanted to encapsulate. With tracks like Good & Bad Times, This Time and the eponymous title track, this mission was achieved. The 40th anniversary Deluxe Edition release features the brilliant Giles Martin and Paul Hicks on production, remixing and engineering duties utilize the modern Atmos Dolby Mix, brilliant liner notes by famed music journalist Paul Sexton and a remastering of the forgotten but famed Royal Albert Hall gig INXS performed in unison with the BBC. With pre- orders on vinyl and CD's available, get in early and place your orders to avoid missing out. Order via the INXS Website https://www.inxs.com Catch up on all our episodes https://www.inxsaccessallareas.com/ Email us if you would like more info about the “On A Bus” Tour and or “The Strangest Party” which will be on the 10th May, in Sydney Australia. We would love to meet you

Listen like Thieves vs Elegantly Wasted Time to get back to the music that filled our heads, hearts & eardrums over the years with our song showdown episode. With the 28th anniversary of Elegantly Wasted single upon us, the Bee contends that it's the greatest INXS song that namesakes an album title. Haydn, takes the contrary view that Listen Like Thieves is the greatest single release that namesakes an actual album release. “So Houston, we have a problem” that requires a deep dive debate with opposing thoughts, views and opinions. Etched in pour collective minds and souls, both tracks managed to traverse INXS' recording career at starkly different times. Listen like Thieves, the last ever single released that was a full band songwriting compilation and Elegantly Wasted, recorded uniquely in Ireland at a time post a Michael & Andrew night out on the town with Bono from U2. Either way, both songs serve as a signpost of INXS' incredible versatility in musicianship and songwriting. With a jam packed news section to add, there is no other place to be this week than with the INXS: Access all Areas Podcast team! Love and peace Make you vote below and lets see who you agree with. Obviously we love them both but this is just a bit of fun. check out our facebook page to make your votes plus email the podcast if you would like to know more about the event on the 10th May  INXSAAA@gmail.com   https://www.inxsaccessallareas.com