Podcast appearances and mentions of Henry Purcell

Évszázadokon átívelő zenetörténeti elemzések, kortárs popzenei leágazások és személyes kapcsolódások érnek össze Fazekas Gergely zenetörténész írásaiban, melyek közül az elmúlt években számos a 444-en jelent meg, és melyeket idén egy kötetben fogott össze. Így adta magát, hogy a Nem rossz könyvek podcastban a komfortzónánkból kissé kimozogva, zenetörténeti és zenehallgatási kérdésekről beszélgessünk Fazekas Gergellyel, aki nemcsak a Zeneakadémia tanára, de mellette a popdalokat szétszedő Dalszerelőműhelyt is vezeti. A tartalomból: 00:00 Készülve már az évzáró részre, most csak egyetlen könyvet említünk röviden: Veronica Pacini - A nő teste. 02:30 Vendégünk Fazekas Gergely, akit elsőnek a zenéhez vezető útjáról és az első emlékezetes lemezről kérdezünk. (Otto Klemperer - Bach H-moll mise) 07:40 Mit csinál egy zenetörténész? És mit ad ehhez a filozófia? 14:00 Mennyit számít, hogy gyerekként mit hallgatunk? A klasszikus zene közönsége nem öregszik, hanem alapvetően nem fiatal. 16:45 Hogyan lehet egyáltalán zenéről írni? Az élményt magát írásban visszaadni nem feltétlen lehet, de az élménynek megágyazni meg lehet a szöveggel. És a zenekultúra, amiben benne élünk, akkor is, ha nem tudunk róla: John Williams, mint zseniális 19. századi szerző. 26.30 Mitől hat ránk a zene? Pogány Induló, aura és bongortól az Apa. 30:00 A zenei kánon, amit ismerünk, és ki az, aki megérdemelné, de még sincs igazán benne? Például Henry Purcell. És mi lenne velünk, ha többé nem hallgatnánk 1985 előtti zenét? Még egy zeneszerző, akit érdemes ismerni: Jan Dismas Zelenka. 34:50 A 20. század egyik legfontosabb zeneműve: John Cage 4'33-ja, és Paul McCartney új néma dala az AI ellen. És a feltételezés, hogy a klasszikus zene még mindig inkább védett övezet az AI-jal szemben, legalábbis a popzenéhez képest biztosan. 42:30 A megszelídülő popzene és a gyerekek által mutatott zenék jelentette kihívások. Az emlegetett Carson Coma-cikk, és a szintén emlegetett Jean-Baptiste Lully. A szintén szóba hozott Rosalía albumról pedig írtunk is. 49:30 Hogyan hallgassunk zenét? Zenehallgatási típusok 53:30 Három lemez és három könyv Fazekas Gergely ajánlásában: Víkingur Ólafsson - Opus 109, Concerto Copenhagen - Bach H-moll mise, és Beyoncé - Cowboy Carter, valamint David Szalay - Flesh, Biró Zsombor Aurél - Visszatérő álmom, hogy apám vállán ébredek (podcastunk a szerzővel itt), és Jón Kalman Stefánsson életműve. See omnystudio.com/listener for privacy information.

The Revolution has come and it's interrupting a team meeting. Who are these brave men and women fighting for freedom, wherever there's trouble? Will Falk stand with them or against them? Would you believe I'm a cyborg? Listen to find out!When the Revolution Scrums, episode 142 of This Gun in My Hand, was produced by the means of Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Sisyphus, Eat Your Heart Out, available in paperback and ebook from Amazon. How do I signal the beginning or end of the two week intervals by which we measure progress in the revolution? With This Gun in My Hand!Show Notes:1. Thanks to W. Town Andrews for pointing out the mispronunciation of “Tagalog” in episode 140.2. The Witchy Lion Closet was published in 1950, so Billy must have heard the story from Catch-2022.Credits:The opening music clip was from The Sun Sets at Dawn (1950), and the closing music was from Killer Bait (1949), both films in the public domain. Most of the music and sound effects used in the episode are modified or incomplete versions of the originals.Sound Effect Title: gavel-double.flacBy zerolagtime (Sen. John Kerry recorded from C-Span)License: Creative Commons Attribution 3.0https://freesound.org/people/zerolagtime/sounds/70069/Sound Effect Title: 38 Caliber Gun Shot 5xRecorded by Mike KoenigLicense: Creative Commons Attribution 3.0http://soundbible.com/375-38-Caliber-Gun-Shot-5x.htmlSound Effect Title: Kicking/Forcing/Breaking Wooden DoorLicense: Public Domainhttps://freesound.org/people/qubodup/sounds/160213/Sound Effect Title: Running in boots on wood floors by ayse.j.e License: Creative Commons Attribution 4.0https://freesound.org/s/785429/ Commercial Song Title: The Fairy Queen, Z. 629Composed by Henry Purcell, 1692.Performed by Carl Pini, John Tunnell, Anthony Pini and Harold Lester.License: Public Domainhttps://musopen.org/music/11140-the-fairy-queen-z629/Sound Effect Title: Wind-up Crank by RICHERlandTVLicense: Public Domainhttps://freesound.org/s/265614/ -- License: Creative Commons 0Sound Effect Title: R02-06-Medium Crowd Applause.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/480682/ Sound Effect Title: Gun Fire by GoodSoundForYouLicense: Creative Commons Attribution 3.0http://soundbible.com/1998-Gun-Fire.htmlSound Effect Title: G32-08-Buzzing Sparks.wav by craigsmithLicense: Public Domainhttps://freesound.org/s/438492/ The image accompanying this episode is a modified detail from The Uprising by Diego Rivera, 1931.Image Alt text: Painting of a battle between men in beige uniforms and workers in newsboy caps and blue overalls waving red flags or banners. In the foreground, an angry woman in an orange dress carrying a baby pushes away a sabre thrust by one of the soldiers. A man next to her pulls away to avoid the thrust. There's a man on the ground behind them clutching his stomach or chest.

In deze aflevering van Kalm met Klassiek wordt het thema 'Dankbaarheid' afgerond. De eer is net als afgelopen week aan Henry Purcell en zijn opera 'Dido en Aeneas'. Daaruit hoor je dit keer de aria 'Thanks to these lonesome vales', "Bedankt voor deze eenzame valleien". Het heeft een mooie tekst, die Ab graag aan je voordraagt. Vervolgens mag je luisteren naar én ontspannen bij het laatste muzikale bedankje van deze week. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37). 

This Day in Legal History: Mississippi BurningOn November 21, 1964, a federal grand jury convened in Meridian, Mississippi, and indicted 19 men in connection with the murders of James Chaney, Andrew Goodman, and Michael Schwerner—three civil rights workers abducted and killed by the Ku Klux Klan during Freedom Summer. The brutal killings had shocked the nation, but Mississippi officials refused to pursue murder charges, prompting the federal government to step in. Lacking jurisdiction over homicide, federal prosecutors turned to a rarely used provision of the Reconstruction-era Civil Rights Act of 1870, charging the defendants with conspiracy to violate the victims' civil rights.This legal maneuver led to United States v. Price (1967), a pivotal Supreme Court case that affirmed the federal government's authority to prosecute state actors and private citizens working in concert to deprive others of constitutional rights. The Court unanimously held that the Due Process Clause of the Fourteenth Amendment could be enforced through criminal prosecution when state officials or their proxies engaged in unlawful conduct.At trial, seven of the defendants, including a deputy sheriff, were convicted—though none received more than ten years in prison. Several of the most notorious perpetrators, including Edgar Ray Killen, evaded justice for decades. Still, the case marked one of the first successful federal efforts to hold white supremacists accountable for racial violence in the Jim Crow South.The Mississippi Burning case revealed both the limits of federal power—since murder charges were off-limits—and its emerging role as a necessary backstop when local justice systems failed. It signaled a new willingness by the Department of Justice to engage in civil rights enforcement, even in the face of deep local hostility. The grand jury's action on this day helped set legal and moral precedent for future federal interventions in civil rights cases.Google is making a final argument in federal court to avoid a forced breakup of its advertising technology business, as the U.S. Department of Justice (DOJ) wraps up its antitrust case. U.S. District Judge Leonie Brinkema already ruled in April that Google maintains two illegal monopolies in the ad tech space. Now the court is weighing remedies, with the DOJ and several states pushing for the sale of Google's AdX exchange, a key platform where digital ads are auctioned in real time.During an 11-day trial that began in September, the DOJ argued that only a forced divestiture would effectively curb Google's anticompetitive conduct. In response, Google contended that breaking up its ad business would be technically disruptive and harmful to customers. The company also emphasized that it would comply with less drastic remedies.The trial represents one of the most serious legal threats to Google's ad empire to date. While Google has largely avoided major penalties in previous antitrust actions, this case—and others still pending against Meta, Amazon, and Apple—could mark a turning point in federal enforcement against Big Tech.Google has pledged to appeal any adverse ruling, including Judge Brinkema's earlier decision and a separate finding in Washington that declared Google's dominance in online search and advertising unlawful. In that case, Google was not forced to sell its Chrome browser but was ordered to share more data with competitors.The outcome of this trial could have lasting implications for the structure of the digital ad industry and the future of antitrust enforcement in the tech sector.Google aims to dodge breakup of ad business as antitrust trial wraps | ReutersAs the federal government considers limiting state regulation of artificial intelligence, many U.S. states are moving in the opposite direction—introducing legislation to curb algorithmic pricing practices that may be inflating costs for consumers. These laws target the growing use of software that sets prices based on personal data, such as location, browsing history, and past purchases. Critics argue this enables businesses to charge consumers what they're perceived to be willing to pay, not a fair market rate.Former FTC Chair Lina Khan, now advising New York City's incoming administration, is helping shape efforts to leverage state authority to combat such practices. Laws already passed in New York and California prohibit algorithmic collusion in rental markets, and 19 other states are considering similar bills to restrict price-setting based on competitor data.The issue has attracted bipartisan concern. Utah Republican Tyler Clancy plans to introduce legislation aimed at giving consumers more control over the data companies collect and use to personalize prices. Advocacy groups like Consumer Reports warn that AI-driven pricing risks exacerbating inequality, allowing companies to charge different prices based on who they think the buyer is—effectively punishing certain groups of consumers.Meanwhile, President Trump is reportedly considering an executive order that would block state-level AI rules, escalating the tension between federal deregulation efforts and state-led consumer protection initiatives.US states take aim at data-driven pricing to ease consumer pain | ReutersIn a landmark decision, the New Jersey Supreme Court has become the first high court in the U.S. to ban prosecutors from introducing expert testimony that shaking alone can cause the internal injuries typically attributed to Shaken Baby Syndrome (SBS). The 6–1 ruling came in two separate child abuse cases involving fathers accused of harming their infant sons. The court held that the state failed to show sufficient scientific consensus across relevant fields, particularly from biomechanical engineering, to justify presenting SBS as a reliable diagnosis in the absence of external trauma.While SBS has long been used to explain serious injuries like brain swelling and internal bleeding in infants—forming the basis for thousands of abuse prosecutions—the court emphasized that scientific evidence must be broadly accepted and reliable, not speculative or limited to select disciplines. Pediatricians and neurologists largely support the SBS diagnosis, but the court noted that the foundational research stemmed from a 1968 whiplash study, and the biomechanics field has not confirmed that shaking alone, without head impact, can produce the injuries.One of the defendants, Darryl Nieves, had his case dismissed, while the other, Michael Cifelli, remains charged but plans to seek dismissal based on the ruling. The decision opens the door for challenges in past SBS convictions and may limit future prosecutions relying solely on SBS testimony.Justice Fabiana Pierre-Louis wrote that the door isn't permanently closed—if future research can establish consensus, such testimony may be admitted. But for now, the ruling significantly raises the bar for the use of SBS in court. Justice Rachel Wainer Apter dissented, warning that the majority gave too much weight to a single scientific field over others.New Jersey high court first in US to ban Shaken Baby Syndrome testimony | ReutersA piece I wrote for Forbes this week examined how Foreign Bank and Financial Account (FBAR) reporting enforcement has evolved into a penalty system wildly out of sync with the actual harm caused. I opened with the United States v. Saydam decision, where a dual citizen was hit with a $437,000 civil penalty for failing to file FBAR forms—even though the government's tax loss was only about $29,000. There was no fraud, no evasion, and no criminal behavior, yet the punishment looked like something reserved for offshore tax schemers. I argued that this case shows how FBAR has drifted far from its original purpose under the Bank Secrecy Act, which was aimed at serious financial crime, not routine reporting lapses.In the article, I explained how the concept of “willfulness” has morphed into something elastic enough to include recklessness or even simple inattention, giving the IRS license to impose penalties of up to 50% of an account's highest balance per year. That structure means the punishment often bears no relation to any underlying tax obligation. Saydam's case illustrates this perfectly—the government simply took his highest‑balance year, sliced it in half, spread it across the years he didn't file, and ended up with a crushing figure.I also emphasized that the people being hit hardest aren't drug traffickers or money‑launderers; they're ordinary taxpayers with overseas ties—dual citizens, immigrants, retirees—whose “wrongdoing” is usually limited to missing a form. The court's acknowledgment that FBAR penalties are indeed “fines” under the Eighth Amendment should have prompted a stronger proportionality analysis, but instead it set a very forgiving standard for the government, effectively blessing massive penalties for paperwork lapses.In my view, when penalties exceed the actual tax loss by a factor of fifteen, we're no longer talking about a compliance tool—we're talking about a punitive revenue mechanism. The system now incentivizes extracting large sums from people who pose no threat to the tax base. Saydam didn't hide money or lie about his income; he just didn't file a disclosure. Yet he now faces nearly half a million dollars in liability. As I wrote, if this is the precedent, FBAR has stopped being a transparency measure and has become a blunt instrument aimed at immigrant taxpayers.The Rise And Proliferation Of Excessive FBAR PenaltiesThis week's closing theme is by Henry Purcell.This week's closing theme comes from Purcell, the brilliant English Baroque composer often called “the Orpheus Britannicus” for the beauty and depth of his music. Born in 1659 and active during the late 17th century, Purcell's work bridged the gap between Renaissance polyphony and the emerging Baroque style, blending French elegance, Italian expressiveness, and a distinctly English sensibility. Though he died young at just 36, his influence on British music would echo for centuries.While his “Ode to Saint Cecilia”—written for the patron saint of music—is his most direct connection to November 22, the official feast day of Saint Cecilia, Purcell's music is appropriate listening for this week. His compositions often graced the St. Cecilia Day festivals held annually in London, celebrating music itself as a divine art.The Overture in G minor, which closes our episode today, is not among his ceremonial odes but showcases many of his signature strengths: tight contrapuntal writing, a dark, dignified mood, and striking harmonic shifts that feel centuries ahead of their time. The overture begins with a slow, solemn introduction before launching into a more vigorous section, where rhythmic vitality meets melodic restraint.It's a concise, powerful piece that reflects Purcell's talent for writing music that is both emotionally direct and structurally refined. Though originally composed for a larger suite or theatrical context, it stands on its own as a miniature masterwork. As the week draws to a close and Saint Cecilia's Day approaches, Purcell's music reminds us that even in constraint—of time, of scale, of form—there can be grandeur.And with that, enjoy Purcell's Overture in G minor! 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

In deze aflevering van Kalm met Klassiek genieten we nog eenmaal van instrumentale muziek, zonder tussenkomst van tekst of zang. En wat voor muziek dit keer... Het is een ware klassieke hit: de aria 'When I am laid in earth' uit de opera 'Dido en Aeneas' van Henry Purcell. Een tranentrekker, dat is het ook, maar bovenal is het wonderschoon. Dit arrangement voor cello en orkest geeft de klaagzang een nieuwe dimensie.  Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37). 

John Dryden was an English poet and playwright who was the first person to hold the title of Poet Laureate.Many of Dryden's lyrics were designed to be set music and this was done by a number of composers including Henry Purcell and George Frederick Handel.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

durée : 01:28:49 - Relax ! du mardi 11 novembre 2025 - par : Lionel Esparza - Les feuilles se font rares, les jours raccourcissent, l'air se rafraîchit... En ce mois de novembre annonciateur, avançons jusque dans les tréfonds de l'hiver, un thème particulièrement porteur chez les compositeurs comme Franz Schubert, Henry Purcell et bien sûr Antonio Vivaldi. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:49 - Relax ! du mardi 11 novembre 2025 - par : Lionel Esparza - Les feuilles se font rares, les jours raccourcissent, l'air se rafraîchit... En ce mois de novembre annonciateur, avançons jusque dans les tréfonds de l'hiver, un thème particulièrement porteur chez les compositeurs comme Franz Schubert, Henry Purcell et bien sûr Antonio Vivaldi. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Ein bayerischer Konditor macht im New York der 80er Jahre aus einer 300 Jahre alten Arie einen Kultsong. In dieser Folge entdeckt Roland Klaus Nomis "Cold Song" neu – und findet magische Versionen von Henry Purcells Original-Arie "What Power art thou".

Send us a textDescriptionBenjamin Britten's The Young Person's Guide to the Orchestra: A Musical Who's Who in 60 Seconds. Take a minute to get the scoop!Fun FactWhen The Young Person's Guide to the Orchestra premiered, Britten wasn't sure audiences would take it seriously. He needn't have worried—it's now one of the most-performed orchestral works ever written for education. Ironically, it's also one of the most sophisticated fugues in the entire 20th-century repertoire.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.Support the show

Send us a textFirst I have a confession to make. I plan to do an episode regarding a musician every day, but my right hand started hurting and I mean excruciating painful. I worried about what to do, and realized if I continue to overdo it on an already injured hand/ I would have serious problems. I thought about giving up this podcast altogether but eventually decided to take a day by day approach. It seems to be getting much better than it was yesterday, so if I notice improvement I will certainly do a podcast/. I have already written the Scripps with voice control on the Macintosh, so I didn't really need to use my hands that much in what I consider the hardest part of doing a podcast, but there's no way that you can really use Voice control with an audio program.  So I'll just take it one day at a time, and I'm asking you to bear with me.Second,When I recorded my episode on Monteverdi, something unexpected happened. I'd worried I might not have enough to say, but as I began speaking in his rhythm — my approximation of his  lilting Italian cadence — the words seemed to sing themselves. I found myself moving my hand in slow circles as I spoke, and somehow the motion gave the voice its own kind of melody. The pauses stretched naturally, almost like rests in a score. What I thought would be a short reflection became nearly forty minutes, not because of the facts or analysis, but because Monteverdi's spirit reshaped the way I spoke.That experience stayed with me. It reminded me that a voice can be musical, even when it isn't singing — that the phrasing, the breath, the stillness between words are as expressive as the words themselves. And that's the insight I've carried with me into Purcell — another composer who understood that silence, rhythm, and human feeling are inseparable.”Today, we move forward in time — from Venice to London — to meet another spirit who carried that torch into a new century. Henry Purcell took the lessons of Monteverdi and shaped them into something deeply English yet profoundly human: the marriage of reverence and drama, sacred and stage.If Monteverdi taught us how to breathe through music, Purcell teaches us how to speak through it — to find the eternal note that echoes across time.Support the showThank you for experiencing Celebrate Creativity.

Israel has marked the second anniversary of the 7 October attacks. We speak to two parents - one Israeli, one Palestinian - about the impact that day has had on their families Also on the programme:We visit a school that scores high marks for its inclusive approach to special educational needs. And the team of musicologists who have found previously unheard music by Henry Purcell in a local archive.

I november 1679 kliver kung Karl XI iland på Trossö i Blekinges skärgård. Redan året därpå får Karlskrona sina stadsprivilegier. Här ska ett nytt nav för Sveriges sjömakt växa fram – långt från huvudstadens hamnar, men närmare ärkefienden Danmark.Bakom beslutet låg dyrköpta lärdomar från det skånska kriget (1675–1679), där Sverige nästan förlorade Skåne och flottan led ett förödande nederlag vid Ölands södra udde. I samband med detta gick regalskeppet Kronan under, och över 800 man omkom.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med, historikern Olle Larsson, om varför Karlskrona grundades, varför platsen valdes och hur stadens unika historia formades av flottan och samtidens marinstrategi. Detta är ett betalt samarbete med Destination Karlskrona.Det svenska riket var ett sjörike där vattenvägarna förenade stormaktens alla delar. Flottans uppgift var att skydda dessa förbindelser och möjliggöra snabb truppförflyttning. Därför blev en örlogsstad längre söderut inte bara önskvärd, utan absolut nödvändig.Efter freden i Roskilde 1658 – då Danmark avträdde Skåne, Halland och Blekinge till Sverige – blev behovet av en stark närvaro i södra Östersjön uppenbart. Det Skånska kriget visade dessutom att Stockholms hamn låg för långt norrut, och flottan där var ofta oförmögen att rycka ut – fartygen frös fast om vintern och underhållet var bristfälligt.Den 10 augusti 1680 kungör Karl XI stadsprivilegierna för Karlskrona – Sveriges första systematiskt planerade stad. Den byggdes främst för militära ändamål och utstrålade stormaktstidens storslagna ambitioner och var utformade efter barockens ideal—monumentalitet, symmetri och breda, raka gator. Stadens formgivning hämtade inspiration från andra stora europeiska anläggningar, bland annat Versailles och antikens Rom, samt örlogsstäder i England, Frankrike och Holland.Här skulle flottan husera, men också en helt ny befolkning leva, handla och arbeta i nära samspel med kanoner, kaserner och skeppsvarv. För att snabbt få igång stadens liv tvingades borgare från Ronneby, Kristianopel och andra orter att flytta hit. Dessutom omplacerades 3 000 finländare – varav över 1 100 båtsmän med familjer – till Blekinge. Skeppstimmermän och hantverkare hämtades från Österbotten, Roslagen, Bohuslän och till och med från Skeppsholmen i Stockholm, som stod tom på både material och manskap. Under 1690-talet bodde omkring 4 000 personer i Karlskrona som skulle bli rikets tredje stad efter Stockholm och Riga.På Trossö såg Karl XI och hans rådgivare chansen att skapa något helt nytt: en kombination av flottbas och barockstad, både strategiskt placerad och symbolisk för svensk dominans.År 1683 utformades stadsplanen av Erik Dahlbergh, Hans Wachtmeister och Carl Magnus Stuart enligt barockens ideal: raka gator, stora torg och en tydlig uppdelning mellan civilt och militärt. Fästningar, broförbindelser till fastlandet och ett av Europas mest moderna skeppsvarv började ta form. För att locka handel erbjöd staten tullfrihet.Musik Dido och Aeneas tredje akten av Henry Purcell, inspelad 1935 med dirigenten Clarence Raybould, sångarna Nancy Evans, Roy Henderson, Mary Hamlin, Mary Jarred, Gwen Catley, samt Boyd Neel String Orchester. Internet Archive, Public Domain.Källor:Ericson Wolke, Lars & Hammar, AnnaSara (2022). Sjömakt och sjöfolk: den svenska flottan under 500 år. Lund: Nordic Academic PressHillbom, Rune (1979). Karlskrona 300 år: en återblick i ord och bild. [D. 1] 1679-1862. Karlskrona: AbrahamsonKlippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

durée : 00:25:19 - Salomé Gasselin, violiste - Après un deuxième album "Mystères" consacré à Bach et Biber, la violiste Salomé Gasselin sera demain à la Philharmonie de Paris pour un autre diptyque, plus surprenant, faisant dialoguer Henry Purcell et Keith Jarrett. Celle qui était Révélation aux Victoires 2024 prend aujourd'hui son envol. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:58:03 - Musique matin du jeudi 02 octobre 2025 - par : Jean-Baptiste Urbain - Après un deuxième album "Mystères" consacré à Bach et Biber, la violiste Salomé Gasselin sera demain à la Philharmonie de Paris pour un autre diptyque, plus surprenant, faisant dialoguer Henry Purcell et Keith Jarrett. Celle qui était Révélation aux Victoires 2024 prend aujourd'hui son envol. - réalisé par : Phane Montet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:26 - En pistes ! du vendredi 26 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Léa Desandre et Thomas Dunford chantent l'amour sur un nouvel album mettant en lumière des œuvres de John Dowland et Henry Purcell. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:26 - En pistes ! du vendredi 26 septembre 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Léa Desandre et Thomas Dunford chantent l'amour sur un nouvel album mettant en lumière des œuvres de John Dowland et Henry Purcell. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

King Arthur stands astride the intersection of history, myth, legend, and politics.  In every age of the history of Britain, he is reinterpreted for new audiences and new purposes.  When composer Henry Purcell and poet-librettist John Dryden set out to write their opera about Arthur, they did so following a century in which England had seen monarchs rise, fall, be beheaded, exiled, returned in triumph, and driven out in disgrace.  King Arthur takes place not in Camelot, but in a world of clashing cultures and ideals.  Arthur finds his Britons beset by Saxon invaders, but after his victory, he is able to lead as both peoples transition from fighting one another, to become a stronger people together. Join us for a close look at this fascinating work or art, and enjoy (in English, of course!) Dryden's poetry and Purcell's rich and tuneful music. Hosted by Pat with guest co-host Gerald Malone. Gerald Malone's website, TheRestIsOpera.com is brimming with commentary on opera productions that he has seen around the world, and “scuttlebutt” about opera from a suspiciously well-informed little dog. Gerald Malone is also the Opera Critic of ReactionLife, a UK-based online current affairs and cultural publication.

La nueva fecha de la Temporada 2025 del Centro Cultural de Música nos sorprende con, Les Arts Florissants, bajo la dirección de William Christie, presentan una innovadora versión de The Fairy Queen de Henry Purcell, con coreografía de Mourad Merzouki y las voces de Le Jardin des Voix. Una semiópera inspirada en El sueño de una noche de verano, estrenada en 1692 y hoy reinventada para el siglo XXI.Una experiencia lírica total, en la que dialogan y se mezclan las artes y las culturas de ayer y de hoy, para el mayor placer de los sentidos. Un espectáculo sin duda alegre y lleno de esperanza, que desde su creación no deja de inspirar.Las funciones se realizan en el Auditorio del Sodre, el próximo domingo 21 de setiembre. Entradas A la venta por Tickantel.

durée : 00:10:36 - Le Disque classique du jour du mardi 26 août 2025 - L'ensemble Leviathan continue son exploration de la musique anglaise à travers la figure fascinante d'Anne Bracegirdle, actrice star de la fin du 17è londonien. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:10:36 - Le Disque classique du jour du mardi 26 août 2025 - L'ensemble Leviathan continue son exploration de la musique anglaise à travers la figure fascinante d'Anne Bracegirdle, actrice star de la fin du 17è londonien. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Die Operngeschichte Englands beginnt mit einem Paukenschlag: Ende des 17.Jahrhunderts bringt Henry Purcell die Geschichte von Dido und Aeneas auf die Bühne. In der Diskografie des Stücks gibt es mehrere gelungene Interpretationen, und jetzt kommt beim Label Erato eine weitere, prominent besetzte hinzu: Joyce DiDonato, Michael Spyres und Fatma Said sind am Start, es dirigiert Maxim Emelyanychev.

Nach seinem Debüt bei den Händel-Festspielen in Halle spricht der Countertenor Constantin Zimmermann offen über seinen Karrierestart und dessen Schwierigkeiten, sowie sein neues Konzertprogramm mit Musik von Henry Purcell und Barbara Strozzi.

Kontrapunktische Kompositionsstudie oder geistreiches Gespräch unter Instrumentalisten? Die Fantasien von Henry Purcell zählen heute zu den beliebtesten Stücken für Gambenconsort – auch wenn sie die letzte Komposition für diese Art Ensemblemusik sind. Henry Purcell ist einer der letzten Komponisten, der Musik für Gambenconsort komponiert hat. Danach starb die Gattung aus; die Violine und ihre Virtuosität eroberte die Musikwelt. Henry Purcell ist in seinem kurzen Leben eigentlich mit anderen Werken berühmt geworden: seinen Opern, Schauspielmusiken und Songs. Doch seine Fantasien für drei- bis siebenstimmiges Gambenconsort sind heute so beliebt, dass sie in zahlreichen Aufnahmen vorliegen. Die komplexen kontrapunktischen Studien mit spannungsgeladenen Dissonanzen lassen den Interpretinnen und Interpreten in der Gestaltung viele Freiheiten, die von den Ensembles in den letzten Jahren immer weiter ausgereizt wurden. Jenny Berg diskutiert gemeinsam mit der Gambistin Jane Achtman und dem Cembalisten Thomas Leininger neuere Einspielungen. Erstausstrahlung: 13.03.2023

William Shakespeares Komödie „A Midsummer Night's Dream“ spielt zur Sommerzeit im antiken Athen und einem nahen verzauberten Wald und hat viele Komponisten inspiriert: Henry Purcell hat den Stoff in „The Fairy Queen“ vertont. Auch Carl Maria von Weber, Ambroise Thomas und Benjamin Britten, ebenso Michael Tippett und Carl Orff haben sich eine musikalische Umsetzung gewagt. Am berühmtesten aber ist die Musik von Felix Mendelssohn-Bartholdy. Jetzt liegt das Werk in einer neuen Aufnahme mit dem Freiburger Barockorchester vor. Christoph Vratz findet: eine 5/5.

Fot-li, que és del Sónar! Crítica teatral de l'obra «Hannibal», de Michael De Cock i Junior Mthombeni. Dramatúrgia: Gerardo Salinas. Intèrprets: Dora Almeleh, Moha Amazian, Pierre Anganda, Abel Baeck, Mirko Banovic, Marios Bellas, Justine Bourgeus, Ibrahima Cissoko, Gala Dragot, Raphaële Green, Kirezi Kalisa, Tom Kestens, Alix Konadu, Tonic Mendi Jacobs, Aymará Parola, Nina Plantefève-Castrick, Emma Posman, Zach Swagga, Bahar Temiz, Jutta Troch i Cor de Cambra de l'ESMUC (Escola Superior de Música de Catalunya). Dramatúrgia musical: Tom Swaak. Escenografia: Stef Stessel. Vestuari: Marie Szersnovicz. Il·luminació: Dimi Stuyven. So: Bram Moriau. Vídeo: Francesc Isern, Thibaud Decoene. Moviment: Alesandra Seutin. Coach de moviment: Lisi Estaras. Pintura: Elke Gijsemans. Sobretítols: Inge Floré, Isabelle Langendries. Traducció: Trevor Perri, Anne Vanderschueren, Alex Stockman. Ajudant de so: Kasper Dumon. Confecció del vestuari: Hélène Beccavin. Taller de vestuari Théâtre de Liège, CiLAB. Equips tècnics i de gestió de la companyia: Regidora: Caroline Wagner. Tramoista: Justine Hautenauve. Producció executiva: Miek Scheers, Jeroen Deceuninck. Producció: KVS de Brussel·les, Teatre Nacional de Catalunya, De Munt/La Monnaie, Théâtre de Liège, Compagnie du Théâtre National Daniel Sorano, Madame Fortuna, Opera Ballet Vlaanderen, Perpodium. Amb especial agraïment a Theater Arsenaal. Amb el suport de Govern Federal de Bèlgica via Cronos INV, Unió Europea (Programa Horizon 2020). Equips tècnics i de gestió del TNC. Direcció: Michael De Cock i Junior Mthombeni. Sala Gran, Teatre Nacional de Catalunya, Barcelona, 2025. Veu: Andreu Sotorra. Música: Ah, Belinda, I Am Press'd with torment. Interpretació: Cristina Pluhar (arpeggiata) i Raquel Andueza. Composició: Henry Purcell. Àlbum: Dido and Aeneas, 2014.

Anthem: "Rejoice In the Lord" By Henry Purcell Soloists: Cynthia Mellon, Mezzo-Soprano, Mark Hale, Tenor, and Robert Lussier, Bass The South Church Chancel Choir Director, Organist, and Pianist: Frank R. Zilinyi

Pinchgut Opera Artistic Director Erin Helyard takes is into the glittering world of Restoration England with The Fairy Queen, a rich and whimsical semi-opera by Henry Purcell. Created in 1692 for the lavish court of William and Mary, this masterpiece fuses Shakespeare's A Midsummer Night's Dream with the era's love of spectacle, music, and myth. In this episode, we explore how The Fairy Queen reflects the politics, tastes, and theatrical innovations of late 17th-century London—where dazzling masques met the genius of Purcell's music. Discover how this enchanting work entertained elite audiences while subtly commenting on order, chaos, love, and monarchy in a time of political restoration and artistic renewal.

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.

Dearly beloved,It is with heavy heart that we gather to say our final goodbyes to a legend: the Yamaha YZR-M1. Its life seemed short to us, but way too long to others. After a long struggle with a clinical lack of competitive edge and a distinct lack of aero, its family at Yamaha has decided to pull the plug and let its beloved inline-engined legend pass with dignity. The YZR-M1 is survived and will be missed by its V4 successors. You are hereby cordially invited to attend the wake of the Yamaha YZR-M1. The ceremony will be held by your hosts, Mat Oxley and Peter Bom, and all attendees are asked to bring along at least one beverage of their choice. Want more? Visit our website or support us on Patreon. With big thanks as always to Brad Baloo from The Next Men and Gentleman's Dub Club for writing our theme song. Check out The Nextmen for more great music!  Additional music in this episode: "Funeral March for Queen Mary", written by Henry Purcell, performed by Bablung Music.

John Weldon, born in 1676, was an English composer and pupil of Henry Purcell. Keyboardist Julian Perkins and soprano Anna Dennis join Hattie Butterworth to discuss the world premiere recording of Weldon's opera 'The Judgment of Paris', recorded by the Academy of Ancient Music and Cambridge Handel Opera

"I think in many ways the pattern is the least important part of conducting. It's much more about showing what the music should be doing, not beating four. If it were just a matter of keeping time, we could use a flashing red light. That's not what your job is. Your job is to encourage and show the music physically. I believe very strongly that the conducting gesture is nothing more than your vocal process externalized.”Chester L. Alwes holds degrees in music from Hanover College, Union Theological Seminary School of Sacred Music, and the University of Illinois at Urbana-Champaign. Before joining the University of Illinois faculty in 1982, he taught at the College of Wooster and the University of Rochester/Eastman School of Music. Prior to his retirement in 2011 from the University of Illinois, Dr. Alwes taught graduate courses in choral literature, seminars on the works of J. S Bach and Henry Purcell and graduate and undergraduate conducting. From 1982-2009, he was conductor of the U. of I. Concert Choir, taking over the Women's Glee Club prior to his retirement. In addition, he frequently conducted the University's Oratorio Society, Summer Chorus, and the Illinois Summer Youth Music Senior Chorus.In 1996, he founded the Baroque Artists of Champaign-Urbana (BACH), an ensemble drawn from the University and local community that specialized in music of the 17th and 18th centuries. As a choral conductor, Dr. Alwes was known for his innovative programming, his sensitivity to tone and musical line, and his dedication to the musical growth of his singers. He is the author of A History of Western Choral Music (2 vols., Oxford University Press, 2015-16), Handel's Messiah: the Complete Solo Variants (Roger Dean Music, 2009), the chapter on Choral Music of the Romantic era in the Cambridge Companion to Choral Music, Andre De Quadros, ed. (Cambridge University Press, 2012), articles on choral music and numerous choral compositions and arrangements (70+).To get in touch with Chet, you can find him on Facebook (@calwes) or email him at calwes@illinois.edu.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace HudsonSights N Sounds with Allen KigerInterviewing music and racing royalty.Listen on: Apple Podcasts Spotify

Donald Macleod explores Henry Purcell's LondonHenry Purcell was the most important English composer of the era, described as the "Orpheus Britannicus" for his ability to combine Baroque counterpoint with dramatic settings of English words. He composed music for the church, the royal court, the theatre and for England's newly emerging concert scene, with an intelligence and creativity that marked him out as one of the most original composers in all of Europe. More than anything, though, he composed music for London – the city where he lived all of his short life. This week, Donald Macleod explores the city during Purcell's lifetime and London's effect on a man who lays claim to being England's greatest composer. During Purcell's childhood, it was a city reeling from civil war, the disastrous spread of disease, and the destruction wreaked by the Great Fire. We'll explore London's churches, and music Purcell wrote for them, especially Westminster Abbey, where Purcell was organist, the state of London's theatre scene in Purcell's day, and the changing demands for music from the various monarchs of the composer's lifetime. Music featured: Fairest Isle from King Arthur Hail Bright Cecilia (Symphony & Closing Chorus “Hail! Bright Cecilia”) Welcome Song from Swifter, Isis, Swifter Flow, Z 336 What hope for us remains now he is gone?, Z 472 Suite from Abdelazer An Evening Hymn ‘Now that the sun hath veiled his light', Z 193 Voluntary in D minor, Z 719 O God, thou art my God, Z 35 Beati Omnes qui timent Dominum, Z 131 My Beloved Spake Te Deum & Jubilate Cold Song ‘What Power art Thou' (from King Arthur) They that go down to the sea in ships Sighs for our late sovereign Charles the Second, Z 380 ‘If pray'rs and tears' My heart is inditing Sefauchi's Farewell, Z 656 Love's Goddess Sure Was Blind, Z 331 (VI May Her Blessed Example Chase) Come ye sons of art (excerpt) Timon of Athens, . 632 (Curtain Tune on a Ground) Dido and Aeneas, Act II (excerpt) Theodosius, or the Force of Love (Overture; Prepare the Rites Begin) King Arthur (excerpt) The Fairy Queen (excerpt) Indian Queen, Act 4 ‘They tell us that you mighty powers above' When I am laid in earth from Dido and Aeneas Trumpet Sonata in D Major, Z 850 Burial Service, Z 58c ‘From Rosy Bow'rs' from Don Quixote Oedipus: incidental music, Z 583 (No 2, Music for a While (Arr B. Britten)Presented by Donald Macleod Produced by Sam Phillips for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Henry Purcell (1659-1695) https://www.bbc.co.uk/programmes/m0024x77And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Welcome back to Busy Kids Love Music! In this episode, we continue our three-part series on the British composer Benjamin Britten. Today, we're diving into one of his most exciting and educational pieces, The Young Person's Guide to the Orchestra. This composition is beloved by music teachers and conductors alike for its engaging way of introducing listeners to the various sections of an orchestra. Benjamin Britten created The Young Person's Guide to the Orchestra in 1946 to help kids learn about orchestral instruments. He based the main theme on a melody by composer Henry Purcell, and then used variations and a lively fugue to let each section of the orchestra shine. Join us as we explore the sounds of woodwinds, brass, strings, and percussion, learning how each contributes to the orchestra's full and layered sound. In this Episode, You'll Learn About: Britten's commitment to composing for young performers How he used Henry Purcell's theme to introduce listeners to the orchestra What a “variation” is and how it changes a theme in small but creative ways The unique sounds of each orchestra section: woodwinds, brass, strings, and percussion How Britten uses a “fugue” to bring all the instruments together at the end Music Excerpts Featured: Benjamin Britten - The Young Person's Guide to the Orchestra Listen & Learn: If you'd like to hear The Young Person's Guide to the Orchestra in its entirety, I've linked a full performance here. Next Episode: In our next episode, airing in December, we'll explore Britten's A Ceremony of Carols, a beautiful Christmastime piece featuring a children's choir and a harp. Don't miss it! Thank You for Listening! Thank you for joining us today! Tune in again in two weeks as we continue discovering the magical world of classical music with our series on Benjamin Britten. Subscribe & Review  If you enjoy the podcast, please subscribe and leave a review on your favorite podcast platform. Your support helps us reach more music-loving families!  

durée : 00:15:04 - Disques de légende du jeudi 07 novembre 2024 - Gardiner est encore un jeune homme en 1979, mais il s'affirme avec force dans la musique ancienne et, en particulier, dans celle de Purcell.

John Bartram was a Quaker farmer near Philadelphia in the mid 18th century. So how did he become North America's first great botanist? And how did he and his son William find themselves in the wilds of southeastern Georgia, fighting off rain, hunger and mosquitos, in order to find the rare and beautiful Franklin Tree (Franklinia alatamaha)? Come hear the story about why this tree at Bartram's Garden symbolizes the spirit of science and discovery. GuestTom ReberDirector of Landscape and FacilitiesBartram's GardenPhiladelphia, PAReadersNigel HolmesMike SavardMike SweneyJosh AbramsHarpsichord Music performed by Miyuke Tsurutani"The Saint Catherine," John Barrett"Saraband," John Barrett"Hornpipe," Henry Purcell"Ground," John BlowReferences"The Life and Travels of John Bartram: From Lake Ontario to the River St. John," by Edmund Berkeley and Dorothy Smith Berkeley. University Presses of Florida, 1982."Franklinia alatamaha, A History of That 'Very Curious' Shrub," by Joel Fry. Bartram's Broadside, Winter 2000. Theme MusicDiccon Lee, www.deeleetree.comArtworkDahn Hiuni, www.dahnhiuni.com/homeWebsitethisoldtree.showTranscripts available.Follow onFacebook or Instagram We want to hear about the favorite tree in your life! To submit a ~3 or 4 minute audio story for consideration for an upcoming episode of "Tree Story Shorts" on This Old Tree, record the story on your phone's voice memo app and email to:doug@thisoldtree.netThis episode was written in part at LitArts RI, a community organization and co-working space that supports Rhode Island's creators. litartsri.org

Interpreten: Grigori Sokolov Label: DG EAN: 0028948662630 Auch diesmal ist Klaviermusik auf unserer CD der Woche zu hören. Werke von Henry Purcell und Wolfgang Amadeus Mozart in der Interpretation von Grigori Sokolov. Wie bei Sokolov üblich, handelt es sich um Liveaufnahmen die in diesem Fall im Rahmen von Konzerten in Spanien im Jahr 2023 entstanden sind. Wie Purcell zu Mozart passt und was das Besondere an dieser Doppel CD ist, erfahren Sie heute wieder von Michael Gmasz. Nicht viele Künstlerinnen und Künstler können es sich in der heutigen Zeit erlauben, keine Konzerte mit Orchester zu spielen, nicht im Studio aufzunehmen und kaum, bzw. wenn dann ungern, mit den Medien zu plaudern. Einer, der sich all dies leistet und dessen Konzerte trotzdem regelrecht gestürmt werden, ist Grigori Sokolov. Im Saal ist das Licht immer etwas gedimmt und bisweilen wirkt es ein wenig eigenwillig, was Auf- und Abtritte betrifft. Aber bei der Musik geht Sokolov keine Kompromisse ein. Ist einmal ein Programm gefunden, dann tourt er ein ganzes Jahr lang mit den gleichen Stücken um die ganze Welt. In der Saison 22/23 waren es Werke von Purcell und Mozart und diese Aufnahme liegt nun bei der Deutschen Grammophon vor. Grigori Sokolov gibt den Musikstücken in seinem Purcell und Mozart Programm zurück, was sie über die Jahrhunderte verloren zu haben scheinen – die Einfachheit und Lockerheit, die sowohl der Musik von Henry Purcell als auch jener Mozarts eigen ist.      Sokolov hat seine kleine Freude an den verschiedensten Ornamenten in Purcells Suiten entdeckt und trillert, prallert oder „mordentisiert“ sich durch die teils von traditionellen Klängen inspirierten Werke. Diese Leichtigkeit und Unbeschwertheit spürt und hört man auch bei Mozart von den ersten Tönen an. Sokolovs absolut gestochen scharfer aber unglaublich leichter Anschlag vermittelt dieser Musik etwas Schwebendes, wie es sonst kaum zu hören ist. Dass Grigori Sokolov vor allem auch ein Meister und offenbar auch Liebhaber der leiseren Töne ist, beweisen die Interpretationen der langsamen Sätze bei Purcell wie auch bei Mozart, aber vor allem auch seine Auswahl an Zugaben, die nicht virtuoses Tastengerase und Akkordgedräsche sondern filigrane, intime Tonkunst bieten. Manchmal lässt sich Grigori Sokolov sehr lange Zeit, bis er eine Aufnahme zur Veröffentlichung freigibt. Diesmal hat er sich zum Glück sehr rasch dazu entschieden. (mg)

Er is weer een nieuwe aflevering en het is Tim gelukt: de kaartjes voor Oasis zijn binnen! Het was een rib uit zijn lijf en die ticketprijzen houden de gemoederen flink bezig in het Verenigd Koninkrijk. We blijven deze week ook aan de andere kant van de Noordzee want Arjen van der Horst is te gast over de eerste twee maanden van de nieuwe premier Keir Starmer. Met de enorme racistische rellen gericht op migranten kreeg Starmer het meteen voor zijn kiezen. En ondertussen blijkt de staat van de Britse economie ook allerminst rooskleurig. Wat voor Verenigd Koninkrijk gaan we de komende jaren zien? Daarnaast aandacht voor 'spionage-dolfijnen' en de laatste ontwikkelingen van de oorlog in Oekraïne. Shownotes: France's Macron mulls relatively unknown Thierry Beaudet as PM (https://www.youtube.com/watch?v=dVmElLFGblo) Poland scrambles planes as Russia strikes western Ukraine (https://www.aljazeera.com/news/2024/9/4/poland-scrambles-planes-as-russia-strikes-western-ukraine) Keir Starmer speech in full: ‘This is our country, let's fix it together' (https://www.youtube.com/watch?v=k2jzhCT8jpw&t=842s) Hvaldimir, beloved beluga whale and alleged Russian spy, found dead (https://www.washingtonpost.com/world/2024/09/02/russian-spy-whale-beluga-dead-norway/) Henry Purcell, Grigory Sokolov - A ground in Gamut, Z. 645  (https://open.spotify.com/track/329uKKtmnizEkuwnhteCjv?si=0935bf917c0242a8)

For their first visit to the Beverley and East Riding Early Music Festival, Ensemble Augelletti - the newly appointed BBC New Generation Baroque Ensemble focus their musical lens on a curious and well-connected local clergyman and musician – Edward Finch. Specialising in making musical arrangements of the most popular music of his time, including Henry Purcell's wonderful ‘Golden Sonata', Ensemble Augelletti tell Finch's singular story and they perform some of his compositions and arrangements alongside music by his friends Purcell, Handel, and Geminiani.

In gratitude for his assistance, Lord and Lady Pelennor invite Falk to visit their estate. Is there no end to their generosity? Is there no escape? Is chili better than rashers for your supper? Listen to find out!Zildjian's Away to Shropshire, episode 108 of This Gun in My Hand, was lorded over by Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Little Heist in the Big Woods and Other Revisionist Atrocities. How do I resolve the endless yearning between two hearts and bring them together? With This Gun in My Hand!Show Notes:1. This episode is a spin-off from the fake commercial “Henley's Away to Shropshire” in episode 73, and partly inspired by season one of Sanditon.2. Another example of rich or middle class Brits taking strange children into their homes is Wuthering Heights. I'm aware of the fan theory that Heathcliff is an illegitimate son of Mr. Earnshaw, which explains why Earnshaw would favor the boy over his own children. But the cover story Earnshaw apparently expects everyone to believe is that he adopted a kid off the street at random. As Eighteenth Century Brits were wont to do, I guess?3. Lord Pelennor uses the word “arse,” so it's not cussing by American standards even though they pronounce it exactly the same way as that other word. Not going to mark this episode as having “explicit language.” Credits:The opening music was from The Sun Sets at Dawn (1950), and the closing music was from Killer Bait (1949), both films in the public domain. Most of the music and sound effects used in the episode are modified or incomplete versions of the originals.Song Title: The Fairy Queen, Z. 629Composed by Henry Purcell, 1692.Performed by Carl Pini, John Tunnell, Anthony Pini and Harold Lester.License: Public Domainhttps://musopen.org/music/11140-the-fairy-queen-z629/Song Title: Consolation, Songs Without Words, Op. 30, No. 3, Adagio non troppo (E major)Composed by Felix MendelssohnPerformed by AnonymousLicense: Public Domainhttps://musopen.org/music/348-songs-without-words-op-30/Sound Effect Title: Outdoor ambience near a forest with birdsong (Midlands, England)License: Public Domainhttps://freesound.org/s/727609/ Sound Effect Title: R22-05-Two Horses on Dirt Road.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/479790/Sound Effect Title: G52-10-Horse and Buggy.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/437081/Sound Effect Title: 20070918.galloping.horse.waveBy dobroide License: Creative Commons Attribution 4.0https://freesound.org/s/41180/Sound Effect Title: S01-01_Horse trots in on hard dirt; stops; trotting out.wavLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/675422/?Sound Effect Title: Horse-drawn carriage - Approach and stop.wavBy Sirderf License: Creative Commons Attribution 4.0https://freesound.org/s/333680/Sound Effect Title: stomp01.wav By JanKoehlLicense: Creative Commons Attribution 4.0https://freesound.org/s/85600/Sound Effect Title: G38-03-Horse Gallops Through Leaves.wav License: Public Domainhttps://freesound.org/s/437096/ Sound Effect Title: horse snort breathe eat recordingLicense: Public Domainhttps://freesound.org/s/531429/Sound Effect Title: Horse Whinny 1.wav By GoodListener License: Creative Commons Attribution 3.0https://freesound.org/s/322445/Sound Effect Title: Fist banging on wood surface.wavBy 221339License: Creative Commons Attribution 4.0https://freesound.org/s/655133/The image accompanying this episode is a modified detail of a panel from Stories by Famous Authors Illustrated #1, August 1950, in public domain, pencils and inks by Jim Lavery.

In this episode, we focus in on the day of May 24, 1738, from start finish and read together the scriptures and prayers which John Wesley encountered before his Aldersgate Rd. experience. We also listen to a public domain excerpt from Henry Purcell's setting of Psalm 130, which was sung at evening prayer that Wednesday. Please give us a five star rating and subscribe.You can find us online at www.historyofmethodism.com.You can support us online at patreon.com/historyofmethodism. 

Rachel Podger talks about the joys of consort music, the Brecon Baroque Festival, and "The Muses Restor'd", her new album with Brecon Baroque with music from George Frideric Handel, William Lawes, John Blow, Matthew Locke, Henry Purcell, John Jenkins and many others.

Il y a eu un changement de temps en début de semaine, le soleil qui était enfin revenu a de nouveau cédé la place à la pluie. Ça correspond bien à la morosité ambiante depuis les élections. Je n'ai plus envie d'écouter les informations ou la radio alors pour me changer les idées, j'ai réécouté le concert de Lea Desandre, Thomas Dunford et l'ensemble Jupiter qui ont joué des pièces de John Dowland et Henry Purcell mardi dernier, à la maison de la radio. Felicia et moi avons assisté à ce concert dont le thème était la mélancolie amoureuse. www.onethinginafrenchday.com  

There was a change in the weather at the start of the week, with the sun that had finally returned giving way once again to rain. It's in keeping with the gloomy mood I've been in since the elections. I don't feel like listening to the news or the radio any more, so to take my mind off things I listened again to the concert by Lea Dessandre, Thomas Dunford and the Jupiter Ensemble, who played pieces by John Dowland and Henry Purcell last Tuesday at the Maison de la Radio. Felicia and I attended the concert, the theme of which was melancholy in love. I'd had the tickets for a long time, hoping that she would be able to come. Everything becomes uncertain as the end of the year approaches.  In the notes that come with the transcript, we'll look at three very natural expressions in French that I want to tell you about. I'll also share with you some practical phrases relating to culture: going to the theatre, a concert, etc.  So to cultivate your French without melancholy and benefit from all the positive effects of having the exact text of the transcript, you could subscribe to the Cultivate Your French transcript at www.cultivateyoufrench.com. The subscription costs 4 euros a month and each new subscriber receives the 10 latest episodes.

In the third episode about issues facing female singers, Eamonn again talks to Dr Jenevora Williams and Charlotte Mobbs about how physical and mental changes affect singing, with contributions from several female colleagues.TRACKS : (1) Tomás Luis de Victoria - Ne timeas Maria; The Sixteen / Harry Christophers - Listen on Apple Music https://apple.co/3UWHBHg (2) Hilary Campbell - Ave Maria; The Marian Consort / Rory McCleery - Listen on Apple Music https://apple.co/3UTcJr4 (3) Imogen Holst - I. Welcome Joy and Welcome Sorrow / VI. Shed no Tear; The Sixteen / Harry Christophers - Listen on Apple Music https://apple.co/4dCFb7E (4) Henry Purcell, arr. Susanne Blache - Music For A While; Sjaella - Watch on YouTube https://youtu.be/8TTjw2tGbtgSupport this show http://supporter.acast.com/choral-chihuahua. Hosted on Acast. See acast.com/privacy for more information.

Henry Purcell - I will sing unto the Lord, as long as I liveOxford CamerataJeremy Summerly, conductor Laurence Cummings, organMore info about today's track: Naxos 8.553129Courtesy 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

Was it only a dream? Baroque composer Henry Purcell was on his way to establishing a national operatic tradition based on the dramatic and musical traditions of the English, when, alas, his life was cut short after just 36 years.  Join us as we explore Purcell's musically and emotionally rich “The Fairy Queen,” a delightful twist on the Bard's “A Midsummer Night's Dream.” Shakespeare was content to end his tale with ambiguity, and so must we content ourselves with what Purcell has given us, and not indulge in the fantasy of what might have been had he enjoyed additional years composing. Hosted by Pat and Kathleen For more cultural and arts commentary by Kathleen Van De Wille, visit Constructive Criticism on Substack.

Donald Macleod explores the life and music of Charles Villiers Stanford. With Jeremy DibbleMarking the centenary of his death, Composer of the Week explores the remarkable life and music of Sir Charles Villiers Stanford. Stanford was one of the leading musicians of his generation and, along with Parry and Mackenzie, he was one of the main protagonists in Britain's musical renaissance at the end of the 19th century. Born in Dublin, Stanford rose to the very top of the British music scene, as both a conductor and composer. He also maintained strong links to Germany, following his studies in Leipzig and Berlin. Stanford's works were popular in Europe, as well as Britain, with conductors such as Hans Richter promoting his music. Today, Stanford is largely remembered for his sacred works, however his prolific output covers most genres and he had a particular passion for opera. He was an influential teacher at the Royal College of Music and Cambridge University; many future musical luminaries passed through his classes, including Gustav Holst, Ralph Vaughan Williams, Rebecca Clarke and Samuel Coleridge-Taylor. Stanford was a tremendous force for good in British music, and in honour of his contribution to British culture, his ashes are interred in Westminster Abbey close to the remains of Henry Purcell. This week, Donald Macleod is joined by Stanford biographer, Jeremy Dibble to explore Stanford life and music.Music Featured:The Bluebird, Op 119 No 3 (excerpt) Three Intermezzi, Op 13 No 1 (Allegretto scherzando) The Resurrection, Op 5 Symphony No 1 (Scherzo) The Veiled Prophet (Act 2 Love Duet) Service in B flat major, Op 10 (Magnificat) Symphony No 2 ‘Elegiac' (Lento espressivo) To the Rose, Op 19 No 3 Piano Trio No 1, Op 35 (Allegretto con moto) Elegiac Ode, Op 21 (The night, in silence, under many a star) The Lord is my Shepherd Symphony No 3, Op 28 “Irish” (Allegro molto Vivace) Piano Quintet in D minor, Op 25 (Allegro risoluto) A Child's Garland of Songs, Op 30 No 9 (My ship and me) The Clown's Song from Twelfth Night', Op 65 No 3 Six Irish Fantasies, Op 54 No 3 (Jig) Symphony No 5, Op 56 ‘L'Allegro ed il Pensieroso' (Andante molto tranquillo) Shamus O'Brien, Op 61 (Act 2 Captain Trevor's Song) Requiem, Op 63 (Agnus Dei et Lux aeterna) Te Deum, Op 66 (Judex crederis) Ten Dances, Old and New, Op 58 No 1 (Valse) Songs of the Sea, Op 91 No 3 (Devon, O Devon, in wind and rain) Magnificat in G, Op 81 String Quartet No 4 in G minor, Op 99 (Allegro molto vivace) Stabat Mater, Op 96 (Virgo virginum praeclara) String Quintet No 2 in C minor, Op 86 (Andante) A Song of Hope, Op 113 No 3 Six Songs from ‘The Glens of Antrim', Op 174 No 2 (The sailor man) String Quartet No 7 in C minor, Op 166 (Allegro molto) Irish Rhapsody No 4, Op 141 (The Fisherman of Loch Neagh and What he Saw) An Irish Idyll in Six Miniatures, Op 77 No 2 (The Fairy Lough) Mass Via Victrix, Op 173 (Agnus Dei) How beauteous are their feetPresented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Charles Villiers Stanford (1852-1924) https://www.bbc.co.uk/programmes/m001xdr0And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

The French baritone Gérard Souzay was born Gérard Tisserand on 8 December 1918 and died in Antibes on 17 August 2004. This episode was one of my first episodes, originally posted in honor of his then 101st birthday. It has been chosen by my friend Randall Scarlata as his Listeners' Favorite episode in the last of this month's Great Baritones series, and this is particularly appropriate and moving, because from the age of 19 until Souzay's death, Randall had a close association with Souzay as both teacher and mentor. He tells some wonderful stories about their work together, shares some of Souzay's bon mots and also presents with great compassion some of the personal challenges that Souzay faced. He also discusses some of Souzay's other artistic pursuits, one in particular of which may surprise you! The episode itself explores Souzay's recorded legacy, with particular emphasis on his earliest recordings. Repertoire ranges from Jaime Ovalle to César Franck, and Robert Schumann and Franz Schubert to Maurice Ravel, Henry Purcell, and Claude Debussy (including an excerpt from his 1955 radio performance of Golaud in Pelléas et Mélisande), many of them accompanied by Souzay's musical and personal partner Dalton Baldwin. We also hear performances by his teachers and mentors Claire Croiza, Vanni-Marcoux, Pierre Bernac, and Lotte Lehmann, as well as his sister, Geneviève Touraine. And Randall's jewel of an introduction is a testimonial and tribute you'll want to turn to again and again. I am proud to present again for your listening pleasure a singer who means as much to me as any other who has ever lived. 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 support at whatever level you can afford.  

Compositeur britannique le plus célèbre depuis Henry Purcell, Edward Elgar, bien que marqué par le modèle allemand, sut donner une nouvelle impulsion à la vie musicale de son pays. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.