Podcasts about imslp

Play Episode Listen Later Feb 17, 2025 26:04

This is an in-between ‘extras' episode. Our episodes are normally not more than an hour in length, which means that we usually have to cut a certain amount of material in the editing. But for Episode 3, we had much more material than usual. So we kept the episode down to an hour, but decided to release an ‘extras' episode, with some of the bits we edited out.It's a bit disjointed, but we hope you enjoy it.THINGS WE MENTIONCharacter discussion:Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)Historical discussion:The Aubrey & Maturin novels of Patrick O'BrienAdmiral Thomas Cochrane (1775-1860)Popular culture discussion:BBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsThe Bounty (1984)CREATIVE COMMONS MUSIC USEDExtract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

S05E03 Persuasion, Chapters 7 and 8

Play Episode Listen Later Feb 3, 2025 59:59

In this episode, we talk about how how Jane Austen tells us about the feelings of Anne and Captain Wentworth, and how the narrator captures Anne's emotions; the building up of the relationship between Charles and Mary, and their reaction to Little Charles' accident; Mrs Musgrove's feelings about her son; and Mrs Croft's travels.The character we discuss is Captain Wentworth. In the historical section, Harriet's partner Michael talks about the Navy, and for popular culture both Harriet and Michael discuss 1995 BBC film adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Character discussion:First Impressions podcast, ‘Ep 17: Persuading Kristin to Like Persuasion‘, 22 January 2017.Historical discussion:Security to Merchant Ships Act 1707 (6 Ann. c. 65), generally known as the Cruisers and Convoys Act 1708Distribution of prize money: see table on our websitePopular culture discussion:BBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsWatch on YouTubeStairs on the Cobb (photo)Louisa's fall (this YouTube video shows the same scene from four different adaptations of Persuasion)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

S05E02 Persuasion, Chapters 4 to 6

Play Episode Listen Later Dec 17, 2024 59:55

In this episode, we talk about how the backstory of Anne and Wentworth is presented without comedy, and yet is absolutely enjoyable. We then move on to the introduction of Mary, and why she is the way she is, the generational change we see in the Musgrove family, and the very unsympathetic portrayal of Dick Musgrove.The character we discuss is Lady Russell. In the historical section, Ellen talks about social precedence, and for popular culture Harriet has watched the 1972 Spanish television adaptation of Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)George Eliot, Middlemarch(1872)Maria Edgeworth, The Good French Governess (1801)Charlotte M. Yonge, The Daisy Chain (1856)Ethel Turner, Seven Little Australians(1894)Historical discussion:Anthony Powell, The Acceptance World (1955)The Right Hon. the Countess of *******, Mixing in Society: A Complete Manual of Manners (1870)Debrett's Tables of PrecedencePopular culture discussion:TVE, Novela: Persuasión (1972) – starring Maite Blasco and Juan DiegoWatch on YouTube: PlaylistCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

S05E01 Persuasion, Chapters 1 to 3

Bons becs • Le podcast dédié à la flûte à bec

Play Episode Listen Later Nov 24, 2024 57:44

In this episode, we talk about the publishing history of Persuasion, the precise dates we are given in the book, the fact that we learn very little about Anne in the first chapters, and how well Mr Shepherd is managing Sir Walter.The character we discuss is Sir Walter Elliot. In the historical section, Ellen talks about baronets, and for popular culture Harriet gives an overview of the screen adaptations of Persuasion, and then talks in more detail about the about the 1971 BBC adaptation.Things we mention:Historical discussion:John Debrett, The Baronetage of England, containing their Descent and Present State (1808)William Dugdale, The antient usage in bearing of such ensigns of honour as are commonly called arms (1682)Thomas Wotton, The English Baronetage : containing a genealogical and historical account of all the English baronets, now existing (1741)John Burke, A Genealogical and Heraldic History of the Landed Gentry (1838)Popular culture discussion:BBC, Persuasion (1960) – starring Daphne Slater and Paul DanemanBBC, Persuasion (1971) – starring Ann Firbank and Bryan MarshallWatch on YouTube: Part 1 and Part 2Stairs on the CobbTVE, Novela: Persuasión (1972) – starring Maite Blasco and Juan DiegoBBC Film, Persuasion (1995) – starring Amanda Root and Ciarán HindsClerkenwell Films, Persuasion (2007) – starring Sally Hawkins and Rupert Penry-JonesNetflix, Persuasion (2022) – starring Dakota Johnson and Cosmo JarvisCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

#071 • Héritage et avenir de la flûte à bec, avec Michel QUAGLIOZZI, Joseph GRAU et Vincent BERNOLIN

Play Episode Listen Later Nov 3, 2024 56:29

Dans cet épisode de Bons Becs, nous explorons rien de moins que l'héritage et l'avenir de la flûte à bec… et pour ce faire, je suis accompagnée par trois invités particulièrement qualifiés pour cet exercice :• Joseph GRAU, flûtiste, improvisateur, pédagogue et observateur de l'évolution de notre instrument depuis plusieurs décennies• Michel QUAGLIOZZI, flûtiste, enseignant et fin connaisseur de l'histoire de la flûte• Vincent BERNOLIN, facteur de flûtes à bec et héritier d'une tradition flûtistique familiale..Nous avons abordé, entre autres, plusieurs questions qui nous ont semblé capitales :• Comment la flûte à bec a-t-elle évolué depuis sa redécouverte au début du 20e siècle ?• Quels ont été les acteurs clés de son renouveau ?• Comment la facture instrumentale a-t-elle évolué ?• Quel est l'impact de la standardisation sur la créativité ?• Quels sont les défis et les opportunités pour les flûtistes, les facteurs, les enseignant et tout simplement : pour l'avenir de l'instrument ?Nous sommes aujourd'hui à la croisée des chemins entre l'héritage et l'avenir de la flûte à bec… il ne nous reste plus qu'à écouter l'épisode pour nous préparer à prendre part à la suite de l'histoire de notre instrument !

dans quel ils quels gesti mus xv avenir grau arrangements recevoir la fl luciano berio frle imslp musique ancienne

Giovanni Battista Rogeri Part I

The Violin Chronicles Podcast

Play Episode Listen Later Apr 23, 2024 47:30

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri. This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini. Transcript Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery. As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter. The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal. It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side. Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws. As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast. Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases. This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio. Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history. I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin. Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country. But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself. To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors. So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown, you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed. In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur. Why not? Because, you know, that's sort of what they could afford. It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed. Indeed. Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time. Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related. No, it was time to move on, and he knew the place he was headed. Emily Brayshaw. So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri. Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini. And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit, so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea, into town and then adopted features of Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block. And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion. When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style. The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants. And then you'd just stand around. I did find some discussions of fashion in the time as well. Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera. In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state. This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business. Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk. Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato. Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show. Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera. Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together. And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players, who just had a limited vocal range, but could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life. And That's how opera started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth. Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage. And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment. Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme. Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed. And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred. And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments. But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya. And what you've got is less than chords, you've got a baseline. Just a simple bass line, a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know, look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open. And this brings us to an end of this first episode on Giovanni Battista Rogeri. We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.

jesus christ new york learning church europe english business france england french germany canadian italy spanish italian spain greek rome saints fall in love atlantic catholic new england dutch shakespeare apocalypse renaissance holland opera commissioners dress virgin venice nero revolutionary beneath antoine trained artistic bologna naples libya protestant broad vinci commentators improvisation singers garde a1 st george stiff baroque outfits henry viii popes fanta venetian bergamo blessed virgin mary mula brescia chords papaya new amsterdam salo commedia oliver cromwell strolling cremona orfeo saint george monteverdi globe theatre san marco lombardy gesamtkunstwerk romanesque mantua ruggeri farinelli giovanni battista san giorgio guarneri sydney conservatorium la fenice royalists antonio stradivari silene ascalon luthiers new netherlands imslp

S04E10 Emma, Chapters 46 to 50

Play Episode Listen Later Apr 7, 2024 59:31

In this episode, we are joined by Harriet's partner, Michael, and read chapters 46 to 50 of Emma. We talk about Emma's emotional roller coaster, reactions to the Frank-Jane revelation, the proposal scene and Emma's commitment to her father.The character we discuss is Frank Churchill, and then Michael talks about the changing lifestyle of Regency gentleman. In the popular culture section, Harriet talks about three books that are modernised versions of Emma.Things we mention:Character discussion: Serene, The Piano Scene: through Jane's eyes (11 December 2023) – and some other posts about EmmaPopular culture discussion:Alexander McCall Smith, Emma: A modern retelling (2014)Sonali Dev, The Emma Project(2022)Audrey Bellezza and Emily Harding, Emma of 83rd Street(2023)Mäda Primavesi by Gustav KlimtCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

S04E08 Emma, Chapters 37 to 41

Field Notes on Music Teaching and Learning

Play Episode Listen Later Dec 28, 2023 59:40

In this episode, we read chapters 37 to 41 of Emma. We talk about the parallel narratives, the ball at the Crown, Emma's awareness of Mr Knightley, the section from Mr Knightley's point of view and the tension between Jane and Frank.The character we discuss is Mr Knightley, and in the historical section Ellen talks about poverty and the labouring classes. In the popular culture section, Harriet talks about the 2017 YouTube series The Emma Agenda.Things we mention:General and character discussion:Pod and Prejudice podcastTea with Cassiane YouTube videos about Regency dancingSomerset MaughamHistorical discussion:The Speenhamland systemAnthony Trollope, The Warden (1855)Robert RaikesHannah MorePopular culture discussion:Main version considered:YouTube, Quip Modest Productions, The Emma Agenda (2017) – starring Selis Maria Vargas and Angela Wong CarboneOther referencesYouTube, Pemberley Digital, Emma Approved (2013) – starring Joanna Sotomura and Brent BaileyITV, Emma (1996) – starring Kate Beckinsale and Mark StrongWorking Title Films, Emma (2020) – starring Anya Taylor-Joy and Johnny FlynnCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

063 - When the Teacher Becomes the Student

Play Episode Listen Later Aug 9, 2023 11:01

"I found this piece that I'd like to learn," one of my high school students said to me in a lesson earlier this summer. He carefully laid out the pages of the score of Alexander Scriabin's Prelude in C Major, Op. 11, No. 1 that he'd downloaded from IMSLP. "I have a question about it, though," he said turning toward the score. "How do you count this?"He pointed at the first line written in flowing quintuplets straddling the barlines. I leaned in to take a closer look. My student is very mathematically-minded, so we talked about how the beats are organized and divided into groups of 2+3. The way that it's notated in cut time creates tension—a feeling of pushing or transcending the boundaries to create something free and expressive.Next, we studied the tonal structure, the repeated use of 4ths, moments of tension and resolution, the way the hands sweep in toward the center in contrary motion. We talked about the formal structure, the technical challenges inherent in the left-hand octave leaps and open arpeggios.The more we analyzed the score together, the more intrigued I was to take it home and learn it myself. So I pulled up a copy of the same edition on my iPad that day and saved it to my forScore library for later.Scott Price once said, "The teacher is always and forever the student and the student is the teacher.” What does this look like in practice? In this episode, I'm sharing a glimpse into a project I've been working on this summer and what it looks like to be a student again.For show notes, click here.Resources Mentioned*Disclosure: I get commissions for purchases made through links in this post.Scriabin's 24 Préludes, Op. 11IMSLPforScoreSchoenberg's Drei Klavierstücke (1894)Ep. 060 - How Do We Approach Mistakes in Music Teaching & Learning?A Piano Teacher's Legacy (Richard Chronister)

learning pr teacher student ipads c major scriabin scott price music teaching alexander scriabin imslp

Mass in B minor: Confiteor/et expecto (part 2 of 2)

A Moment of Bach

Play Episode Listen Later Jul 10, 2023 22:04

Welcome back -- this is Part 2 of our 2-part series on a pivotal moment during the "Et expecto" section of the Mass in B minor. If you haven't caught Part 1 yet, which was released last week, we suggest you start there. In this episode we go more in-depth with harmony than we ever have on this podcast. If you want to follow along with the twists and turns, get out your Mass in B minor score and read along with us! (Or use this link for a vocal score reduction from IMSLP. The "Et expecto" bridge starts on the bottom of page 118.) Jump to the "Et expecto" bridge, where we start this episode (performance, as always, courtesy of the Netherlands Bach Society)

jump mass expecto imslp mass in b minor

S04E05 Emma, Chapters 22 to 26

Play Episode Listen Later Jul 10, 2023 59:50

In this episode, we read chapters 22 to 26 of Emma. We talk about Frank's arrival, the dinner at the Coles, and the way so much looks different in a second reading, The characters we discuss are Mr and Mrs Weston, including a consideration of what we know of Mrs Weston's pregnancy. Ellen talks about social customs, including calling and dinner parties. In the popular culture section, Harriet talks about the 2020 Working Title Films adaptation of Emma.Things we mention:General discussion:Richard Cronin and Dorothy McMillan [Editor], The Cambridge Edition of the Works of Jane Austen: Emma (2005)Character discussion:Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)Historical discussion:‘Regency Dinner Parties and Etiquette‘, The Jane Austen Centre (2011) Popular culture discussion:Main version considered:Working Title Films, Emma (2020) – starring Anya Taylor-Joy and Johnny FlynnVideos and web pages about costumingYouTube, Bernadette Banner, ‘5 Historical Films That Got the Costumes RIGHT‘ (2020)YouTube, Karolina Żebrowska, ‘Are “Emma.” (2020) Costumes Historically Accurate? aka What Makes Good Period Drama Costumes‘ (2020)‘Emma (2020)‘, Frock Flicks (2020)Filming locations:Firle PlaceWilton HouseCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

The Cellist's Journey #5 Life with Sheet Music

Play Episode Listen Later May 1, 2023 7:24

'What to play?' is the topic of this episode, now that we have 1) our intention in order2) everything we need to get started 3) a cello teacher4) an idea of how to practiceI know it's a bit weird that I'm talking about this as if you already have a cello teacher, cause why would you be here in that case? I'm here just aiming to give you an impression of how the cellist journey might look like in the beginning.So.The common way to start is to acquire a teaching book. There are many of them to choose from. Any of them will get you started, it's hard to go wrong.I'd say you can browse the internet and get the book that your gut feeling approves of. Any teaching book for a beginner cellist will have the same basic information and very similar first tunes based on open strings, advancing one new tone and one new rhythm at a time. Here is one publisher, here's another one.I love it when a new student comes to me with a book that I've never seen before. And so far I have not seen a book that was better or worse than any other. One that I have is called Abracadabra published by Collins Music, if you want a specific title to start your search with.As an adult, you might want to find a book that doesn't look too childish, and of course you want to make sure the book is in a language that you understand. If you're interested in playing along with backing tracks, check if the book comes with a cd or a playlist on the internet.Also bear in mind the possible taxes that are added if you're ordering something from abroad. I always prefer to use my local music shop instead of ordering online, but shops with sheet music have been rapidly disappearing for the last couple of decades because of the popularity of online stores.If there's a shop you can visit, you can compare the different books easily, and having a smaller selection to choose from isn't necessarily a bad thing. I you're lucky, you might even be living in a place where you can buy sheet music second hand. Getting your first book second hand is not a bad idea because your very first teaching book isn't used for a very long time. It really depends on how quickly you understand the basics. You'll be using it for maybe a year, depending on the scope of the book. If you don't want more paper in your life, you can use an iPad and download sheet music onto that. If that's your preference, it's good to have a pencil you can write on it with as well, cause during your lessons your teacher will help you with fingerings and bowings or other helpful scribblings.From a teaching book you'll learn how to play the cello with the help of sheet music. The book breaks it down so that you focus on one new aspect at a time. In the beginning you'll be occupied with open strings, the first position, pizzicato, and simple tunes in c-major, g-major and d-major.And you can prove me wrong! If your first teaching book presents you with a tune in b-flat minor, or playing in the 4th position, I'd love to know about it. Please send me an email and say which book that was.If you see the value of technical exercises, I would recommend getting a book by Louis Feuillard who wrote several books on cello technique in a very structured way. His book called 'Daily Exercises' starts with moving between 2 notes at different tempos, then he takes you through the positions one by one. This book can be downloaded for free on IMSLP.org.IMSLP is short for International Music Score Library Project, and is a site that collects scores that are no longer under copyright, which includes enormous amounts of classical music.What will you not learn from a teaching book though?Maybe I can compare it to a cook book. You can for sure make delicious meals using a cookbook, but if you cook in the presence of a chef, your skills will be taken to the next level.And regarding cello playing, a teaching book can help you get into playing pieces of music, but the book won't comment on how you use your bow, how you use your left hand, or how you can play the exact same notes in many different ways. After your first teaching book which takes you through the very basics, maybe you want to start focusing on the music that truly appeals to you. You can find collections of well-known tunes, of folk music, easy classical pieces, easy baroque pieces, a soundtrack from a movie, pop songs and so on.I'd also like to add that you can include improvisation as a part of your practice. The simple glissando exercise I mentioned in the previous episode is an example of that. You have a long fingerboard there to play with, and a teaching book will normally just have you play in the 1st position for a while. In your improvisation you can explore the whole fingerboard as slowly as you want to, just get a feel for how it's like to press down the strings anywhere. And if you let your fingers lightly touch the strings instead of pressing them down, you'll hear the harmonics. You can play around with different contact points for the bow, you can pluck the strings, and play two strings at the same time.This has been the 5th episode of The Musician's Journey Podcast's Cello Special.Ragnhild's Online Cello Course -get 20% off with the code HELLOCELLO at checkout.The Box -get 30% off your first month with the code CELLO

musician ipads cello abracadabra cellist journey podcast ragnhild sheet music imslp

The Cellist's Journey #5 Life with Sheet Music

Play Episode Listen Later May 1, 2023 7:24

'What to play?' is the topic of this episode, now that we have 1) our intention in order2) everything we need to get started 3) a cello teacher4) an idea of how to practiceI know it's a bit weird that I'm talking about this as if you already have a cello teacher, cause why would you be here in that case? I'm here just aiming to give you an impression of how the cellist journey might look like in the beginning.So.The common way to start is to acquire a teaching book. There are many of them to choose from. Any of them will get you started, it's hard to go wrong.I'd say you can browse the internet and get the book that your gut feeling approves of. Any teaching book for a beginner cellist will have the same basic information and very similar first tunes based on open strings, advancing one new tone and one new rhythm at a time. Here is one publisher, here's another one.I love it when a new student comes to me with a book that I've never seen before. And so far I have not seen a book that was better or worse than any other. One that I have is called Abracadabra published by Collins Music, if you want a specific title to start your search with.As an adult, you might want to find a book that doesn't look too childish, and of course you want to make sure the book is in a language that you understand. If you're interested in playing along with backing tracks, check if the book comes with a cd or a playlist on the internet.Also bear in mind the possible taxes that are added if you're ordering something from abroad. I always prefer to use my local music shop instead of ordering online, but shops with sheet music have been rapidly disappearing for the last couple of decades because of the popularity of online stores.If there's a shop you can visit, you can compare the different books easily, and having a smaller selection to choose from isn't necessarily a bad thing. I you're lucky, you might even be living in a place where you can buy sheet music second hand. Getting your first book second hand is not a bad idea because your very first teaching book isn't used for a very long time. It really depends on how quickly you understand the basics. You'll be using it for maybe a year, depending on the scope of the book. If you don't want more paper in your life, you can use an iPad and download sheet music onto that. If that's your preference, it's good to have a pencil you can write on it with as well, cause during your lessons your teacher will help you with fingerings and bowings or other helpful scribblings.From a teaching book you'll learn how to play the cello with the help of sheet music. The book breaks it down so that you focus on one new aspect at a time. In the beginning you'll be occupied with open strings, the first position, pizzicato, and simple tunes in c-major, g-major and d-major.And you can prove me wrong! If your first teaching book presents you with a tune in b-flat minor, or playing in the 4th position, I'd love to know about it. Please send me an email and say which book that was.If you see the value of technical exercises, I would recommend getting a book by Louis Feuillard who wrote several books on cello technique in a very structured way. His book called 'Daily Exercises' starts with moving between 2 notes at different tempos, then he takes you through the positions one by one. This book can be downloaded for free on IMSLP.org.IMSLP is short for International Music Score Library Project, and is a site that collects scores that are no longer under copyright, which includes enormous amounts of classical music.What will you not learn from a teaching book though?Maybe I can compare it to a cook book. You can for sure make delicious meals using a cookbook, but if you cook in the presence of a chef, your skills will be taken to the next level.And regarding cello playing, a teaching book can help you get into playing pieces of music, but the book won't comment on how you use your bow, how you use your left hand, or how you can play the exact same notes in many different ways. After your first teaching book which takes you through the very basics, maybe you want to start focusing on the music that truly appeals to you. You can find collections of well-known tunes, of folk music, easy classical pieces, easy baroque pieces, a soundtrack from a movie, pop songs and so on.I'd also like to add that you can include improvisation as a part of your practice. The simple glissando exercise I mentioned in the previous episode is an example of that. You have a long fingerboard there to play with, and a teaching book will normally just have you play in the 1st position for a while. In your improvisation you can explore the whole fingerboard as slowly as you want to, just get a feel for how it's like to press down the strings anywhere. And if you let your fingers lightly touch the strings instead of pressing them down, you'll hear the harmonics. You can play around with different contact points for the bow, you can pluck the strings, and play two strings at the same time.This has been the 5th episode of The Musician's Journey Podcast's Cello Special.Ragnhild's Online Cello Course -get 20% off with the code HELLOCELLO at checkout.The Box -get 30% off your first month with the code CELLO

musician ipads cello abracadabra cellist journey podcast ragnhild sheet music imslp

S04E03 Emma, Chapters 11 to 15

Play Episode Listen Later Apr 21, 2023 59:57

In this episode, we read chapters 11 to 15 of Emma. We talk about the introduction of John and Isabella Knightley, how Emma really doesn't understand the social world, the clash between Isabella and Mr Woodhouse about health – and how Emma and Mr Knightley are running interference – and the way in which the Frank/Jane plot is beginning to be introduced before the Harriet/Mr Elton plot is resolved.The character we discuss is Mr Elton, and then Ellen talks about apothecaries. In the popular culture section, Harriet talks about the 1996 ITV telemovie adaptation of Emma.Things we mention:General discussion:Google Map of Emma locationsCharacter discussion:John Mullan, What Matters in Jane Austen?: Twenty Crucial Puzzles Solved (2012)Historical discussion:Irvine Loudon. 1986. Medical Care and the General Practitioner, 1750-1850. (1986)S W F Holloway, ‘The Apothecaries' Act of 1815: A Reinterpretation.' Medical History 10, 1966: 107-29, 221-36Popular culture discussion:Main version considered:ITV, Emma (1996) – starring Kate Beckinsale and Mark StrongOther versions mentionedBBC, Emma (1972) – starring Doran Godwin and John CarsonMiramax, Emma (1996) – starring Gwyneth Paltrow and Jeremy NorthamCreative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

The Light of the Lord

Pocketful of Grace

Play Episode Listen Later Nov 23, 2022 32:24

Pastor Carolyn Hetrick (preaching) and Pastor Scott Schul of Grace Lutheran Church, State College, PA discuss the prayer and lessons for the 1st Sunday of Advent, November 27, 2022:Isaiah 2:1-5 Psalm 122 Romans 13:11-14 Matthew 24:36-44 Music: Nun komm der Heiden Heiland (Friedrich Zachow). Music available at Imslp.org https://creativecommons.org/licenses/by-nc/3.0/. Used with permission. Cynthia Mills, organ.Worship resources from www.sundaysandseasons.com, copyright 2022, Augsburg Fortress. All rights reserved. Used with permission under Augsburg Fortress Liturgies Annual License #20807. Permission to reprint, podcast, and / or stream the music in this service obtained from ONE LICENSE with license ##A-700989. All rights reserved.

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Ricardo Castro: Valse Mélancolique No. 2, Op. 36

Best Piano Music

Play Episode Listen Later Oct 23, 2022 5:10

Composer Ricardo Castro (1864-1907) was a Mexican concert pianist and composer. He wrote for both piano and symphony orchestra. I found this valse well written and worth it to be listened to -at least once. The score is in the public domain and freely available at IMSLP. It was first published in 1908.

mexican valse ricardo castro imslp

S03E10 Mansfield Park: Episode 10, Chapters 40-45

Play Episode Listen Later Sep 30, 2022 59:48

In this episode, we read Chapters 40 to 45 of Mansfield Park. We talk about the plot of a girl brought up in privileged circumstances returning to her family, Mary's letters and how Fanny responds to them, the success of Henry's visit, Edmund's letter to Fanny, and Tom's illness.We discuss the Price family (with a slight digression into the idea of disposition and principle), then Ellen talks about servants and Harriet looks at how adaptations and modernisations treat these chapters. Things we mention: General and character discussion:John Wiltshire [Editor], The Cambridge Edition of the Works of Jane Austen: Mansfield Park (2005)Charlotte M. Yonge, The Pillars of the House (1873)Historical discussion:Claire Tomalin, Charles Dickens: A Life (2011)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)Other references:Susan Coolidge, What Katy Did Next (1886)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

S03E08 Mansfield Park: Episode 8, Chapters 31-34

Play Episode Listen Later Aug 7, 2022 59:31

In this episode, we read Chapters 31 to 34 of Mansfield Park. We talk about Fanny's initial failure to realise she has received a true proposal, the amount of pressure placed on her to accept, the picture everyone has of little, modest Fanny, and the difference between Sir Thomas and Fanny's views of marriage. We discuss Henry Crawford, then Ellen talks about ordination, and Harriet looks at how adaptations and modernisations treat these chapters, particularly the scene between Fanny and Sir Thomas. Things we mention: General and character discussion:Barbara Pym, Excellent Women (1952)The Daily Knightley (2021) [podcast]Historical discussion:Irene Collins, Jane Austen and the Clergy (2002)The 1559 Book of Common PrayerGeorgina Battiscombe, John Keble: A Study in Limitations (1963)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)Comment on previous episodeThe Thing About Austen [podcast]Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Bonus Episode: The Pigeodyssey (ft. Ashley Goodwin)

Try Not To Die

Play Episode Listen Later May 10, 2022 91:30

HELLOOO, and happy #TNTDTuesday! We're blessing the main feed today with a Patreon Content Surge from last November. This episode was released for our patrons shortly after Chapter Thirty-Five: Stoking The Fire. Join two ordinary city-boids, Frankie and Jacob, as they carry out a VERY important, VERY classified mission for.... some broad... what was her name again? GUEST STARRING THE INCREDIBLE ASHLEY GOODWIN AS FRANKIE! Join our Patreon if you want to hear more bonus content while we're on our break between arcs! Produced by Noah Perito and Lisa Condemi Music by Noah Perito and Lisa Condemi Sound Effects: “Cooing” - dobroide "Book Sounds Effects" - AllSounds/Audionauti “Wind Temple” - Michaël Ghelfi “Door opening 1” - Bowen707 “Entrance bell - zott820 “Gentle-waves-quiet-beach” - amholma “Mysterious Jungle” - Michaël Ghelfi “Wood splintering (1 Break)” - wavecal22 “Device powering up” - spoonsandlessspoons “Lightningcrash” - noisenoir “Recondita_armonia - Tosca” - IMSLP “Small Marketplace” - Sword Coast Soundscapes All sounds downloaded from Freesound.org unless listed under Allsounds/Audionauti, Michaël Ghelfi, IMSLP, or Sword Coast Soundscapes. Additional sound effects by Noah Perito

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#42 - Erik Hamrefors. Producer, cellist, arranger.

Play Episode Listen Later Apr 14, 2022 57:05

Swedish producer, cellist and arranger, Erik Hamrefors, gives us a glimpse into his personal combination of music-related income streams and interests. Music excerpts from Karl Jenkins 'Requiem' with Erik on the cello. Choir: Oscars motettkör. Orchestra: Orkestern Filialen. ----------------00:00 Introduction01:30 Karl Jenkins 'Requiem'02:17 Erik introduces himself10:10 Working as an executive producer at Caprice Records15:00 Being a freelancer and string arranger20:20 Karl Jenkins 'Requiem'21:10 The 11 Caprices for solo cello by Dall'Abaco26:58 Erik's seven cellos -baroque, classical, modern, carbonfibre and electric32:30 Karl Jenkins 'Requiem'35:01 Our favourite cello concertos: Philip Glass No.1 and Alfred Schnittke No.243:05 Karl Jenkins 'Requiem'44:03 What does it mean to be a musician?50:00 Freelancing without having one's own company55:45 Outro ----------------Erik on IMSLP: https://imslp.org/wiki/Category:Hamrefors,_Erik/ArrangerErik's edition of 11 Caprices for Solo Cello by Dall'AbacoCaprice Records: https://musikverket.se/capricerecords/?lang=enErik on Instagram: https://www.instagram.com/erikhamrefors/----------------The Musician's Journey Podcast's playlist on SpotifyPodcast soundtrack by Mohamed Amer.Support this podcast via Ko-fiFor any comments, my email address is ragnhild@wesenberg.orgYou can also find this podcast on Instagram: @themusiciansjourneypodcast

music musician swedish freelancing cellist arranger journey podcast orgyou caprices solo cello imslp

#42 - Erik Hamrefors. Producer, cellist, arranger.

Play Episode Listen Later Apr 14, 2022 57:05

Swedish producer, cellist and arranger, Erik Hamrefors, gives us a glimpse into his personal combination of music-related income streams and interests. Music excerpts from Karl Jenkins 'Requiem' with Erik on the cello. Choir: Oscars motettkör. Orchestra: Orkestern Filialen. ----------------00:00 Introduction01:30 Karl Jenkins 'Requiem'02:17 Erik introduces himself10:10 Working as an executive producer at Caprice Records15:00 Being a freelancer and string arranger20:20 Karl Jenkins 'Requiem'21:10 The 11 Caprices for solo cello by Dall'Abaco26:58 Erik's seven cellos -baroque, classical, modern, carbonfibre and electric32:30 Karl Jenkins 'Requiem'35:01 Our favourite cello concertos: Philip Glass No.1 and Alfred Schnittke No.243:05 Karl Jenkins 'Requiem'44:03 What does it mean to be a musician?50:00 Freelancing without having one's own company55:45 Outro ----------------Erik on IMSLP: https://imslp.org/wiki/Category:Hamrefors,_Erik/ArrangerErik's edition of 11 Caprices for Solo Cello by Dall'AbacoCaprice Records: https://musikverket.se/capricerecords/?lang=enErik on Instagram: https://www.instagram.com/erikhamrefors/----------------The Musician's Journey Podcast's playlist on SpotifyPodcast soundtrack by Mohamed Amer.Support this podcast via Ko-fiFor any comments, my email address is ragnhild@wesenberg.orgYou can also find this podcast on Instagram: @themusiciansjourneypodcast

music musician swedish freelancing cellist arranger journey podcast orgyou caprices solo cello imslp

S03E05 Mansfield Park: Episode 5, Chapters 17-21

New Classical Tracks with Julie Amacher

Play Episode Listen Later Mar 22, 2022 59:59

In this episode, we read Chapters 17 to 21 of Mansfield Park. We talk about Fanny's moral trajectory during the theatricals, Mary's casual acceptance of Henry's behaviour with Maria, the cliffhanger ending of Volume 1 in the first edition, and Fanny's question to Sir Thomas about the slave trade (with Harriet's theory as to why she asked it).We talk about Sir Thomas, first considering how he is presented in the text, and then how we reconcile this with the fact that his estate in Antigua is worked by enslaved people. Ellen looks at the clergy, including the presentation of livings, pluralism and absenteeism, and the career path for the clergy. Harriet talks about the popular culture versions.Things we mention: General and character discussion:John Wiltshire [Editor], The Cambridge Edition of the Works of Jane Austen: Mansfield Park (2005)Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) Edward Said, Culture and Imperialism (1993)Lona Manning, In Defense of Sir Thomas (2021)Octavia Cox, Which is the worst marriage in Jane Austen's novels? (2021 – YouTube video)HBO, The Sopranos (1999-2007 – television series)Historical discussion:Susannah Fullerton, Susannah Fullerton's Best Books about Jane Austen (2021 – YouTube video)Irene Collins, Jane Austen and the Clergy (2002)Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata&

Lara Downes reflects on the music of Scott Joplin

Play Episode Listen Later Mar 16, 2022 38:57

Lara Downes — Reflections: Scott Joplin Reconsidered (Rising Sun Music) Jump to giveaway form New Classical Tracks - Lara Downes by Pianist Lara Downes is reconsidering Scott Joplin, who he was and what he did. Joplin was an incredible innovator who really brought American music into the 20th century. Downes digs deeper into his legacy in her latest recording, Reflections: Scott Joplin Reconsidered. Why did you want to learn Joplin's music, which many of us learned about from the movie The Sting? “Even by the age of 7, I was pretty deep into classical music. My sound world was classical music. I heard his music and thought it was really exciting. It's really fun. There was also Paul Newman in the movie. That didn't hurt. So I learned ‘The Entertainer,' and I think it was kind of a treat. In my world, my early training was pretty rigorous. “It's really clear to me now that this whole journey into American music has transformed the way I hear and understand it. It's fun. It's reconnecting with my little girl self, but through a different lens.” Can you talk about the arrangement of ‘The Entertainer' you created? “It was easy and obvious to me what I wanted to do with many of these pieces, but I will admit that ‘The Entertainer' kind of posed a problem. We've heard it so many times and I realized the answer had been literally staring me in the face. On the title page of the piece Joplin dedicates ‘The Entertainer' to James Brown and his mandolin club.” Where did you find ‘A Picture of Her Face,' which you world-premiered with baritone Will Liverman? “This is such an example of the music sitting right there for everyone to find, and we're somehow not finding it. There's this huge digital database of public domain sheet music, IMSLP. We all use it. I was just going through all the Joplin stuff to make sure there was nothing I overlooked, and there's this art song called ‘A Picture of Her Face.' “That same day I was texting with my friend Will Liverman, and we were checking in about some things. ‘What are you up to?' And I said, ‘I'm going to the studio. I'm working on this Joplin project,' and he's like, ‘Oh, I love Joplin!'” Are you really the only performer on ‘Eugenia'? “Oh, you're hearing a lot of stuff inside the piano that we put in there, because I kept saying to [producer] Adam [Abeshouse], ‘I want to play around with different sounds and colors.' He said, ‘OK, hold on a second.' He goes and gets all these rolls of tape and some chains, and he's putting it in the piano. He said, ‘OK, sit down, and try it again.' I think it ends up sounding like one of those saloons where Joplin would have played.” How does this music reflect who you are? “I'm lucky enough to be what Joplin wanted to be. No one's getting in my way. It's amazing for those of us, especially artists of color, who are living now. We are having for the first time the incredible experience of bringing the music of Black artists who came before us to the general public and having that be welcomed.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now More on Lara Downes Lara Downes creates Black-focused label Rising Sun Music Pianist Lara Downes re-centers the music of the Great Migration Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Lara Downes — Reflections: Scott Joplin Reconsidered (Lara Downes' Website) Lara Downes — Reflections: Scott Joplin Reconsidered (Amazon Music) Lara Downes (official site)

music american black picture sting reflects james brown entertainer paul newman joplin downes scott joplin lara downes her face imslp

S03E02 Mansfield Park: Episode 2, Chapters 4-7

Play Episode Listen Later Dec 31, 2021 59:53

In this episode, we read Chapters 4 to 7 of Mansfield Park. We talk about the character-revealing scenes, how the presentation of Fanny may make some readers dislike her, why Maria became engaged to Mr Rushworth, and Henry Crawford's behaviour.We discuss the character of Mary Crawford – who is perhaps almost as divisive as Fanny Price – and then Ellen talks about baronets, Members of Parliament, and the idea of ‘interest'. Harriet considers how the three adaptations, and two of the modernisations, present these chapters. Things we mention: General and character discussion:John Wiltshire [Editor], The Cambridge Edition of the Works of Jane Austen: Mansfield Park (2005)Lionel Trilling, “Mansfield Park“, Partisan Review 21 (September-October 1954): 492-511. Also published in Encounter, September 1954: 9-19.Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)John Mullan, Live at the Hay Festival (2014) [YouTube]Kingsley Amis, “What Became of Jane Austen?”, The Spectator, 4 October 1957 – republished in What Became of Jane Austen? And Other Questions (1970)The Daily Knightley (2021) [podcast] Popular culture discussion:Adaptations:BBC, Mansfield Park (1983) – starring Sylvestra Le Touzel and Nicholas Farrell (6 episodes)Miramax, Mansfield Park (1999) – starring Frances O'Connor and Jonny Lee MillerITV, Mansfield Park (2007) – starring Billie Piper and Blake RitsonModernisations:YouTube, Foot in the Door Theatre, From Mansfield With Love (2014-2015)D.E. Stevenson, Celia's House (1943)Creative commons music used: Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

S03E01.5 Mansfield Park, Extras from episode 1

Play Episode Listen Later Dec 5, 2021 20:06

This is a bit of an in-between episode. About two months ago, when we were getting ready to record Episode 2, Ellen came down with a bad virus – not COVID, but recovery has been a slow process. We're just about to start recording again, but it means there's going to be more of a gap before Episode 2, and probably between the other episodes as well, since we don't have any edited and ready to go in advance. To fill in the space before Episode 2, we've put together some of the bits we had to edit out of Episode 1. It's a bit disjointed, but we hope you enjoy it. Creative commons music used: Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Ep. 52: Exploring music technology - interview with PlayScore 2 creator Anthony Wilkes

Play Episode Listen Later Oct 18, 2021 26:50

In this podcast, we're hearing from musician and creator of PlayScore 2 Anthony Wilkes. PlayScore 2 is a music scanning app from Organum Ltd. Anthony talks about how he came to develop the app and its exciting features that make it essential for any musician. We also learn about the technology behind PlayScore 2 called Optical Music Recognition (also known as OMR). In short, it is the musical version of Optical Character Recognition (OCR). Anthony talks about the development of OMR, some of its challenges and whether technology has improved or impeded the way we learn music today. Optical Music Recognition on Wikipedia: https://en.wikipedia.org/wiki/Optical_music_recognition. playscore.co Organum Ltd is a UK company based in Oxford specialising in printed and handwritten optical music recognition. Anthony also created the handwritten music recognition engine in the popular NotateMe app, and the PhotoScore application from Neuratron Ltd. As a musician Anthony studied cello with Caroline Bosanquet and Rohan de Saram, and plays in several ensembles. You can also see Anthony's composer's page on the IMSLP free music site. Podcast recorded on 14 October 2021; published 18 October 2021. --- Send in a voice message: https://anchor.fm/talking-classical-podcast/message

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25. Forgotten Cello Music Episode 25 "Louise Farrenc" 19th Century composer/pianist

Forgotten Cello Music

Play Episode Listen Later Aug 25, 2021 34:37

Upon further exploration, I have found, discovered is probably too generous since someone has uploaded the scores to IMSLP, a number of women composers who have written a few pieces for cello. This Louise Farrenc wrote a charming sonata in B flat major in the mid 1800's. Listen in and share your own thoughts about women composers and neglected music in general. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/forgottencellomusic/message Support this podcast: https://anchor.fm/forgottencellomusic/support

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Ep. 49: David Taylor

Play Episode Listen Later Jul 20, 2021 35:19

Today, we're talking to arts entrepreneur and marketing consultant David Taylor. He works with a range of orchestras, arts organisations and individuals on developing their business and marketing strategy, with particular reference to digital media. In this podcast interview, we consider the changes the classical music industry has seen over the last year and if it has changed with regards to today's current trends and stylistics. We also discuss what the classical sector can learn from other industries such as pop, media and sports with regards to their marketing and branding. Additionally, David talks about how he develops a strategy with the clients he works with, using the example of the Philharmonia Orchestra. We talk about how musicians and organisations can best use social media and interact with their audiences, for example, the concert enhancement strategy of artists talking to their audience during a performance. Podcast interview recorded 16 July 2021; published 20 July 2021. One of the leading entrepreneurs in the world of classical music, David Taylor has built his career on a dynamic and energetic approach to bringing innovation to the arts, leading him to be named on Forbes 30 under 30 Europe 2018 list, alongside Paul Pogba, Rita Ora, Dua Lipa, Anthony Joshua, Maisie Williams and Little Mix. Described as an “arts innovator” by the BBC, David's accomplishments and pioneering approach to digital marketing in the arts has led him to become a highly sought after consultant with arts organisations and individuals in both Europe and the USA. David created Yorkshire Young Sinfonia (YYS) in 2015, growing it to reach an audience of over 7.5 million people in just 4 years. He also led YYS to win the Arts and Culture Award at the White Rose Awards 2016, the largest tourism awards in the UK. In 2015, the BBC Radio 4 programme “Birth of an Orchestra” documented the creation of YYS and allowed David to showcase his passion for classical music on the national stage. In addition, both David and YYS have featured on Sky News, BBC News, The Times, The Telegraph, BBC Look North, Classic FM, BBC Radio 3, Il Giornale and Classical Music Magazine. In 2017, David led YYS to become the first youth orchestra in the world to be 100% digital in partnership with the app Newzik, using iPads instead of sheet music. As a presenter, David has created projects with BBC Arts and interviewed Louis Theroux, Romesh Ranganathan, George Shelley and Katie Derham. David is passionate about enabling the next generation of entrepreneurs, innovators, and 'doers' in the arts. He regularly speaks and writes about entrepreneurship, arts education and classical music. Prior to his career as an entrepreneur, David taught the cello at the Edward Said National Conservatory of Music in Jerusalem. Website: www.david-taylor.org Twitter: @davidtaylor_uk Instagram: davidtaylor_uk Facebook: davidtaylormusicuk #ad PlayScore 2 - The App That Sight Reads Your Sheet Music PlayScore 2 is an amazing app that lets you play any music by taking a photo of your score. You can even scan in PDFs from a free sheet music site like IMSLP. If you don't read music, you can hear what it sounds like, or PlayScore 2 can accompany you in any key. If you sing in a choir, you can isolate your part on its own or with others in the background. PlayScore 2 also exports to score editors such as Dorico, MuseScore or Finale. playscore.co --- Send in a voice message: https://anchor.fm/talking-classical-podcast/message

Ep 27 (republished) - Alternative Classical's Concert Roulette and Chris Warner

Play Episode Listen Later Jul 6, 2021 36:19

*All Talking Classical podcasts on SoundCloud have been redirected to Anchor.* In this podcast, I'm showcasing Alternative Classical's new concert video jukebox Concert Roulette and Chris Warner's new album Wonders of the Cosmos. Concert Roulette Concert Roulette is a new video jukebox created by Alternative Classical specifically for this current crisis. All live concerts have been cancelled so streaming has become the way audiences are accessing music at this time. Viewers are presented with a randomly selected YouTube video from renaissance choral music to an experimental solo piece but you can either watch that particular performance or click onto the next one just like your streaming playlist. As people around the world are staying at home and looking for content to keep them entertained, Concert Roulette is a brilliant way to introduce new audiences to classical music without prior knowledge. To start your Concert Roulette, please go to alternativeclassical.co.uk/concert-roulette. Chris Warner The album was recorded in Ely Cathedral and at Abbey Road Studios, combining the amazing tonalities of the cathedral organ with gorgeous strings. It also features British soprano Grace Davidson, set amongst the 6-second reverberation of the cathedral. I talked to Chris on Zoom about combining his passion for astronomy with storytelling, framing his album around Ely Cathedral's organ, and advice for composers in today's digital age. To learn more about the album and Chris, please go to chriswarnermusic.com. Many thanks to Robert Shone at WildKat PR and Chris for their time! Interview recorded 29th April 2020; podcast published 13th May 2020. Chris Warner is a composer, sound designer, arranger, orchestrator and an avid astronomer. Having worked as a composer for the some of the finest UK theatres, including The RSC, the Lyric Theatre Belfast and The Royal Exchange Theatre, Chris dedicates his craft to telling stories through music and sound. Recent credits include original songs and music for Much Ado About Nothing at the prestigious Shakespeare At The Tobacco Factory and the original score and sound design for Olivier Award-Winning playwright Marie Jones' new play 'Archie in Manhatten'. PlayScore 2 - The App That Sight Reads Your Sheet Music #ad PlayScore 2 is an amazing app that lets you play any music by taking a photo of your score. You can even scan in PDFs from a free sheet music site like IMSLP. If you don't read music, you can hear what it sounds like, or PlayScore 2 can accompany you in any key. If you sing in a choir, you can isolate your part on its own or with others in the background. PlayScore 2 also exports to score editors such as Dorico, MuseScore or Finale. Download PlayScore 2 from your app store! playscore.co --- Send in a voice message: https://anchor.fm/talking-classical-podcast/message

S02E09 Sense and Sensibility, Chapters 42 to 46

Contrabass Conversations double bass life

Play Episode Listen Later Jun 2, 2021 59:04

In this episode, we read Chapters 42 to 46 of Sense and Sensibility. We talk about how Marianne's illness is presented (including the un-dramatic way in which she gets sick, and the lack of emotional response), what Colonel Brandon could be doing all day, how Mrs Dashwood is pushing Colonel Brandon and Marianne together, and Jane Austen's use of grotesques.We discuss Willoughby (with a digression onto Miss Grey), and Ellen talks about medical practitioners in the early nineteenth century. Harriet reviews how the popular culture versions deal with some of the key events in these chapters: how Marianne gets sick, Willoughby's visit, and the development of a relationship between Marianne and Colonel Brandon. Things we mention: References: Edward Copeland [Editor], The Cambridge Edition of the Works of Jane Austen: Sense and Sensibility (2006)Helena Kelly, Jane Austen, the Secret Radical (2016) Ann Radcliffe, The Mysteries of Udolpho(1794)Anthony Trollope, Can you forgive her?(1865)Walt Disney Pictures, Beauty and the Beast(1991) Adaptations of the book: BBC, Sense and Sensibility (1971) – starring Joanna David and Ciaran Madden (4 episodes)BBC, Sense and Sensibility (1981) – starring Irene Richard and Tracey Childs (7 episodes)Columbia Pictures, Sense and Sensibility (1995) – starring Emma Thompson and Kate WinsletBBC, Sense and Sensibility (2008) – starring Hattie Morahan and Charity Wakefield (3 episodes) Modernisations of the book: Sri Surya Films, Kandukondain Kandukondain (2000) – starring Tabu and Aishwarya RaiMWM Studios, From Prada to Nada (2011) – starring Camilla Belle and Alexa PenaVegaYouTube, Elinor and Marianne Take Barton (2014) – starring Abi Davies and Bonita Trigg Creative commons music used: Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio. Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.

802: Isaac Trapkus on IMSLP and his path

Play Episode Listen Later May 20, 2021 86:59

Isaac Trapkus joined the New York Philharmonic in November 2016. Before joining the Philharmonic he was a member of the Detroit Symphony Orchestra and, before that, principal double bass of the New Haven Symphony while he was studying with Leigh Mesh, associate principal bass of The Metropolitan Opera Orchestra. Isaac also volunteers as a designer and administrator with IMSLP, the online sheet music library. We talk about many topics, including Isaac’s background, the auditon trail, and personal breakthroughs in his preparation process. We also dig into thoughts surrounding music education, volunteerism, digital publishing, and access to educational materials. Be sure to check out his IMSLP profile page and also Thingy Person, who is Isaac’s “best kept secrets” in IMSLP bass publishing. If you’d like to get involved with IMSLP, you can reach out to Isaac at icactusmusic@gmail.com. Isaac also recently created an edition of Bach’s Third Cello Suite—check it out here on our sheet music store! Subscribe to the podcast to get these interviews delivered to you automatically! Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists. Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass. Thank you to our sponsors! Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals. With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome. Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine! Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress. Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool. Organize, focus, and reflect on your practice – motivating you to increase retention in less time. Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app. Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion theme music by Eric Hochberg

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Ep.48 - Hannah Fiddy

Play Episode Listen Later May 12, 2021 34:21

*All Talking Classical podcasts formerly on SoundCloud have been redirected to Anchor.* In this podcast, I'm talking to Hannah Fiddy, who is the co-founder of Alternative Classical, an initiative that aims to present classical music in a variety of different ways, from pop-up performances to new presentations on digital media. We talk about the premise behind Alternative Classical, attitudes towards different presentations of classical music and her latest project Humans of Classical Music, a video series featuring a variety of people talking about pieces of classical music in an informal, jargon-free way. We also talk about how the classical music industry has been adapting during the last year or so and what the industry might look like post-pandemic. Podcast recorded on 19 February 2021; released 12 May 2021. Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. Hannah's website: hannahfiddy.com Alternative Classical: alternativeclassical.co.uk Don't forget to listen to Chris Warner's guest podcast series! An amazing 4-part series, reflecting on music education in the UK and featuring contributions from a variety of practitioners in this field. Many thanks to Chris and all of the people who very kindly took the time to be part of the series. PlayScore 2 - The App That Sight Reads Your Sheet Music #ad PlayScore 2 is an amazing app that lets you play any music by taking a photo of your score. You can even scan in PDFs from a free sheet music site like IMSLP. If you don't read music, you can hear what it sounds like, or PlayScore 2 can accompany you in any key. If you sing in a choir, you can isolate your part on its own or with others in the background. PlayScore 2 also exports to score editors such as Dorico, MuseScore or Finale. Download PlayScore 2 from your app store! playscore.co --- Send in a voice message: https://anchor.fm/talking-classical-podcast/message

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ii. "Forgotten Cello Music": A Closer look at the Purpose

Forgotten Cello Music

Play Episode Listen Later Apr 1, 2021 3:04

Introduction Take a closer look with me at why I am searching out Forgotten Cello Music and recording it. When I was a student, I remember hearing complaints that there was very little for cellists to play. That simply isn't true. We would have had a difficult time proving that in the early 2000's without the aid of open-source Wiki's like IMSLP. Now we know that there are many thousands of pieces originally composed for cello, and many of those by cellists. This longer introduction of my podcast "Forgotten Cello Music" tells why I want to do this project, and what music I am looking at to learn and record. To listen to the music you hear playing in the background go to my Youtube Channel and Facebook Page: 1. Youtube: https://www.youtube.com/channel/UCpWQ5BLhtXdyeJOlGJ8MyqQ 2. Facebook page: https://www.facebook.com/TravelingCello/?view_public_for=131560840278870 To get updates on my projects see above links and also Instagram and LinkedIn: 3. Instagram: https://www.instagram.com/travelingcello/?hl=en 4. LinkedIn: https://www.linkedin.com/in/aaron-sinnett-85731888/ To read about the projects in more depth and get some of my thoughts about these compositions see my blog in Wordpress: 5. Wordpress: https://travelingcellojourney.com/ To lend a helping hand go to my Patreon or Paypal and make any size of donation you wish: 6. Patreon: https://www.patreon.com/travelingcello?fan_landing=true 7. Paypal: https://www.paypal.com/donate?hosted_button_id=7KNGGPE7TEQKE To purchase my own Four-Cello Arrangement of "The Swan" by Camille Saint-Saens click this link: 8. Kindle: https://www.amazon.com/Swan-Carnival-Animals-Four-Cello-Arrangement-ebook/dp/B08Z85J18Z/ref=sr_1_1?dchild=1&keywords=aaron+sinnett&qid=1617251530&sr=8-1 --- Send in a voice message: https://anchor.fm/forgottencellomusic/message Support this podcast: https://anchor.fm/forgottencellomusic/support

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i. Short Intro to Forgotten Cello Music--Goltermann, Klengel, Nölck, Lee, and more

Forgotten Cello Music

Play Episode Listen Later Mar 31, 2021 0:56

My first podcast, EVER! Thanks to the platform for the chance to produce and upload my own podcast, free of charge. Let's learn about "Forgotten Cello Music". This is a project I began many years ago when I was a student. Sight-reading was always very interesting to me and the more I sight-read the more music I needed to get my hands on. Soon, I began discovering and reading works by composers I knew little about and even by some I never had heard of. Now, I am going about it via IMSLP and dowloading lots of scores by Goltermann, Klengel, Nölck, Schlemüller, Lee, Dotzauer, Kummer, Romberg, Hegner, and sometimes neglected music by well-known composers. My goal is really simple--PLAY MORE FORGOTTEN CELLO MUSIC. That's it. I have only one basic rule. --> Play an ENTIRE opus number. I will never choose one number from an opus, rather I will learn all 6 of the "Tonbilder" Op. 129 by Goltermann, or all 3 Sonatinas Op. 47 (and each movement, of course) by Klengel. Just to name two. Although I have a deep appreciation for the great music by those great composers--Bach, Beethoven, Haydn, etc.--these forgotten pieces of music are interesting and fun to play. Many of them lie in the Beginner to Intermediate levels. This doesn't reduce their intrigue to me. It does open of more possibilities for teaching material however! There is so much music out there, perhaps you, too, would find some neglected music that holds your interest. Just give a chance by playing it more than once or twice. It may turn out to be very interesting music. --- Send in a voice message: https://anchor.fm/forgottencellomusic/message Support this podcast: https://anchor.fm/forgottencellomusic/support

music beginners forgotten sight entire bach ludwig van beethoven intermediate cello haydn kummer short intro romberg imslp

S02E06 Sense and Sensibility, Chapters 26 to 31

Play Episode Listen Later Mar 23, 2021 59:01

In this episode, we read Chapters 26 to 31 of Sense and Sensibility. We talk about how unsatisfying Ellen found several of these chapters, the role of gossip, the similarity between Elinor's and Marianne's situations, the importance of reputation, and whether the turnaround in our perception of Mrs Jennings was planned for by Jane Austen. We discuss the character of Marianne, then Harriet's partner, Michael, talks about duelling in Regency England. Harriet talks about how the adaptations present these sections, and how the modernisations update the Willoughby-Colonel Brandon-Marianne stories. Things we mention: References: Claire Tomalin, Jane Austen: A Life (1997) Dorothy L. Sayers, Gaudy Night (1935) – it is in this book that Lord Peter Wimsey comments on duelling with pistols rather than swords The Regency novels of Georgette Heyer (1902-1974) Adaptations of the book: BBC, Sense and Sensibility (1971) – starring Joanna David and Ciaran Madden (4 episodes)BBC, Sense and Sensibility (1981) – starring Irene Richard and Tracey Childs (7 episodes)Columbia Pictures, Sense and Sensibility (1995) – starring Emma Thompson and Kate WinsletBBC, Sense and Sensibility (2008) – starring Hattie Morahan and Charity Wakefield (3 episodes) Modernisations of the book: Sri Surya Films, Kandukondain Kandukondain (2000) – starring Tabu and Aishwarya RaiMGM, Material Girls (2006) – starring Hilary Duff and Haylie DuffMWM Studios, From Prada to Nada (2011) – starring Camilla Belle and Alexa PenaVegaSilver Peak Productions, Scents and Sensibility (2011) – starring Ashley Williams and Marla SokoloffJoanna Trollope, Sense & Sensibility (The Austen Project #1) (2013)YouTube, Elinor and Marianne Take Barton (2014) – starring Abi Davies and Bonita Trigg Creative commons music used: Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio. Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from

S02E03 Sense and Sensibility, Chapters 12 to 15

Play Episode Listen Later Jan 25, 2021 52:24

In this episode, we read Chapters 12 to 15 of Sense and Sensibility. We talk about how Margaret's contribution to the plot, how Elinor and Marianne's debate on sense vs sensibility moves from the theoretical to the practical, the linking of propriety with morality, how the mystery subplot is quite unusual in Jane Austen, and the nasty tone of some of Willoughby's jokes about Colonel Brandon. We discuss the character of Colonel Brandon, then Harriet's partner Michael talks about the military, with a focus on service in the East Indies. Harriet talks about how adaptations and modernisations treat these chapters, and the presentation of Colonel Brandon. Things we mention: References: Jane Nardin, Those Elegant Decorums: The concept of propriety in Jane Austen's novels (1973)Samuel Richardson, Pamela (1740)Samuel Richardson, Clarissa, or, the History of a Young Lady (1748)Horace Walpole, The Castle of Otranto (1764)Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950) Marvin Mudrick, Jane Austen: Irony as Defense and Discovery (1974) Adaptations of the book: BBC, Sense and Sensibility (1971) – starring Joanna David and Ciaran Madden (4 episodes)BBC, Sense and Sensibility (1981) – starring Irene Richard and Tracey Childs (7 episodes)Columbia Pictures, Sense and Sensibility (1995) – starring Emma Thompson and Kate WinsletBBC, Sense and Sensibility (2008) – starring Hattie Morahan and Charity Wakefield (3 episodes) Modernisations of the book: MGM, Material Girls (2006) – starring Hilary Duff and Haylie DuffJoanna Trollope, Sense & Sensibility (The Austen Project #1) (2013)YouTube, Elinor and Marianne Take Barton (2014) – starring Abi Davies and Bonita Trigg Variations on the book: Amanda Grange, Colonel Brandon's Diary (2008) Creative commons music used: Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio. Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amad

S02E01 Sense and Sensibility, Chapters 1 to 5

Play Episode Listen Later Dec 27, 2020 56:37

In this episode, we read the first five chapters of Sense and Sensibility. We give a brief publishing history, and talk about the themes of sense and sensibility, the lack of dialogue in the first chapter, how much money the Dashwoods have, the emphasis on caring about the arts, how very young the girls are, and the lack of presentation of Edward. We discuss the characters of John and Fanny Dashwood, then Ellen talks about wills and marriage settlements, and Harriet gives an overview of the popular culture adaptations, modernisations, continuations and variations on the book. Things we mention:References:Claire Tomalin, Jane Austen: A Life (1997)Edward Copeland [Editor], The Cambridge Edition of the Works of Jane Austen: Sense and Sensibility (2006)Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950) Adaptations of the book: BBC, Sense and Sensibility (1971) – starring Joanna David and Ciaran Madden (4 episodes)BBC, Sense and Sensibility (1981) – starring Irene Richard and Tracey Childs (7 episodes)Columbia Pictures, Sense and Sensibility (1995) – starring Emma Thompson and Kate WinsletBBC, Sense and Sensibility (2008) – starring Hattie Morahan and Charity Wakefield (3 episodes) Modernisations of the book: Sri Surya Films, Kandukondain Kandukondain (2000) – starring Tabu and Aishwarya RaiMGM, Material Girls (2006) – starring Hilary Duff and Haylie DuffMWM Studios, From Prada to Nada (2011) – starring Camilla Belle and Alexa PenaVegaSilver Peak Productions, Scents and Sensibility (2011) – starring Ashley Williams and Marla SokoloffJoanna Trollope, Sense & Sensibility (The Austen Project #1) (2013)YouTube, Elinor and Marianne Take Barton (2014) – starring Abi Davies and Bonita Trigg Variations on the book: Amanda Grange, Colonel Brandon's Diary (2008)Ben H. Winters and Jane Austen, Sense and Sensibility and Sea Monsters (2009)Creative commons music used: Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio. Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from

Pride and Prejudice, Chapters 58 to 61

Play Episode Listen Later Jun 17, 2020 58:32

In this episode, we read the final chapters of Pride and Prejudice. We talk about the dialogue in the final proposal scene, and more generally about proposals in Jane Austen; Mr Bennet's response to the news, and also Mrs Bennet's; what the final chapter, and James Austen-Leigh's Memoir, tells us about what happens next to the characters; the passing reference to the “restoration of peace”; and how the closing sentence is far less memorable than the opening sentence. We discuss the character of Mr Bennet, then Ellen talks about some social changes that happened after the book finished , and Harriet looks at how the adaptations finish – with the surprising discovery that a lot of them give the last word to Mr or Mrs Bennet. Things we mention: Books: J.E. Austen Leigh, Caroline Austen, Henry Austen, Anna Austen Lefroy, A Memoir of Jane Austen (1869) Charlotte Brontë, Shirley(1849) George Eliot, Middlemarch (1871) D.A. Bonavia-Hunt, Pemberley Shades: A Lightly Gothic Tale of Mr. and Mrs. Darcy (1949)Emma Tennant, Pemberley: Or Pride and Prejudice Continued (1993) and An Unequal Marriage (1994)P.D. James, Death Comes to Pemberley (2011)Colleen McCulloch, The Independence of Miss Mary Bennet (2008) William Shakespeare, A Midsummer Night's Dream (1595)Movies and television:MGM, Pride and Prejudice (1940) – starring Greer Garson and Laurence Olivier BBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin Firth Bestboy Pictures, Pride and Prejudice: A Latter Day Comedy (2003) – starring Kam Heskin and Orlando Seale Pathé Pictures International, Bride and Prejudice (2004) – starring Aishwarya Rai and Martin HendersonFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenYouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent Gordh Creative commons music used:Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.

Pride and Prejudice, Chapters 53 to 57

Play Episode Listen Later Jun 1, 2020 52:02

In this episode, we talk about how Jane Austen keeps up the suspense so close to the end of the book, the fact that Kitty has forgotten Mr Darcy, Elizabeth's embarrassment at her mother, Bingley and Mr Bennet shooting together, the physical descriptions of Longbourne, the question of how Lady Catherine got her news and the meeting between Lady Catherine and Elizabeth. We discuss the character of Jane, then Ellen talks about what makes someone a gentleman, or gentlemanlike, and Harriet looks at how the adaptations deal with events such as Lady Catherine's visit. Things we mention: Books: Claire Tomalin, Jane Austen: A Life (1997) Tom Stoppart, Arcadia (1993) Oscar Wilde, The Importance of Being Earnest (1895) Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950) Anthony Trollope, The Prime Minister (1876) Websites:YouTube, John Mullan – Jane Austen's writing style and voice (2017)Ellen Moody, A calendar for Pride and Prejudice (2003)Movies and television:MGM, Pride and Prejudice (1940) – starring Greer Garson and Laurence Olivier BBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenYouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent Gordh Creative commons music used:Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Pride and Prejudice, Chapters 47 to 52

Play Episode Listen Later May 16, 2020 59:58

In this episode, we talk about the steps taken to find Lydia and Wickham, how much Darcy paid to get them married, the moral and social approach towards what Lydia has done, why Mrs Bennet thinks there will be a duel, the letter from Mr Collins, and Elizabeth's changing feelings towards Darcy.We discuss the character of George Wickham. Ellen talks about marriage settlements and marriage laws, and Harriet looks at how some modernisations of the book adapt the Lydia plot.We also revisit the subject of enclosures, in response to some feedback, and talk about social inequality and how it's not really addressed in Jane Austen's work.Things we mention: Books: W.C. Sellar and R.J. Yeatman, 1066 and All That: A Memorable History of England (1930)Flora Thompson, Lark Rise to Candleford (1939)The works of Charles Dickens (1812 – 1870)Curtis Sittenfeld, Eligible (2016) Claire LaZebnik, Epic Fail (2011) Also two books Eszter included in her comment to us, but which we didn't include in the recording:Guy Shrubsole, Who Owns England? (2019)Brett Christophers, The New Enclosure: The Appropriation of Public Land in Neoliberal Britain (2018) Movies and television: BBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthBestboy Pictures, Pride and Prejudice: A Latter Day Comedy (2003) – starring Kam Heskin and Orlando Seale Pathé Pictures International, Bride and Prejudice (2004) – starring Aishwarya Rai and Martin Henderson YouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent GordhCreative commons music usedExtract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Pride and Prejudice, Chapters 42 to 46

Play Episode Listen Later Apr 28, 2020 59:40

In this episode, we talk about the way Darcy is reintroduced into the narrative, Jane Austen's thoughts on architecture and landscaping, the possible connection between Pemberley and Chatsworth and how Georgiana Darcy is presented in a very different manner from Anne de Burgh.We discuss Elizabeth Bennet, perhaps Jane Austen's most popular heroine. Ellen talks about the landed gentry, and Harriet looks at how the film and television adaptations treat the visit to Pemberley – including the scene that is probably the best known in all the adaptations.Things we mention: Books:Donald J. Greene, ‘The Original of Pemberley' (1968), later collected in The Selected Essays of Donald Green (2004)John Mullan, What Matters in Jane Austen?: Twenty Crucial Puzzles Solved (2012)George Eliot, Middlemarch (1871)Popular culture:MGM, Pride and Prejudice (1940) – starring Greer Garson and Laurence OlivierBBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenBBC, Death Comes to Pemberley (2011) – starring Anna Maxwell Martin and Matthew RhysYouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent GordhCreative commons music used Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Pride and Prejudice, Chapters 35 to 41

Play Episode Listen Later Apr 14, 2020 59:03

In this episode, we talk about Darcy's letter and Elizabeth's reaction to it, consider what Wickham might have done in his youth, revisit the Collins marriage, discuss Mr Bennet's abrogation of parental responsibility and look at how Elizabeth is now seeing her family through new eyes. We then look at the character of Lydia.For this episode, we are joined by Michael, who gives us some background information about the militia and the regular army in Jane Austen's time. Harriet looks at how the film and television adaptations deal with dramatising the letter, and the presentation of Lydia, and Michael adds a couple of points about the military uniforms.Things we mention: Books: Claire Tomalin, Jane Austen: A Life (1997) John Burrows, Computation into Criticism: Study of Jane Austen's Novels and an Experiment in Method (1987) Amanda Grange, Mr Darcy's Diary (2005) Illustrations:William Hogarth, A Rake's Progress – III The OrgyMovies and television:MGM, Pride and Prejudice (1940) – starring Greer Garson and Laurence Olivier BBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenPathé Pictures International, Bride and Prejudice (2004) – starring Aishwarya Rai and Martin HendersonYouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent Gordh Creative commons music used:Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Pride and Prejudice, Chapters 19 to 26

Play Episode Listen Later Mar 16, 2020 50:54

In this episode, we talk about the two marriage proposals by Mr Collins, the precise timetabling of the events, and the matter of obedience to one's parents.We discuss Charlotte Lucas in some detail, and then Ellen talks about the ‘marriage market'. Harriet looks at where the two mini-series versions of Pride and Prejudice have their episode breaks in this section, the fact that in some versions Mr Bennet can see through Wickham, how Charlotte is presented in the 2005 movie, and her favourite song in Bride and Prejudice.Things we mention: Books:The works of Charlotte M. YongeLawrence Stone, The Family, Sex and Marriage in England, 1500-1800 (1977)Edward ShorterLaurence Sterne, A Sentimental Journey (1768)Henry MacKenzie, The Man of Feeling (1771)The works of Jean-Jacques RousseauThe US Declaration of IndependenceJoseph Addison and Richard Steele, The Spectator (1711-1712)Popular culture:BBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenPathé Pictures International, Bride and Prejudice (2004) – starring Aishwarya Rai and Martin Henderson ‘No life without wife'Creative commons music used Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Pride and Prejudice, Chapters 13 to 18

Play Episode Listen Later Mar 2, 2020 49:48

In this episode, we talk about the arrivals of Mr Collins and Mr Wickham, and the Netherfield Ball: we consider how Mr Bennet didn't give the family any warning about Mr Collins's arrival, the number of letters in the book, the amount of foreshadowing we've seen, how Wickham was able to fool Elizabeth, and Elizabeth's and Darcy's conversation while dancing.We discuss Mr Collins in some detail, and then Ellen talks about entails. Harriet looks at how Mr Colllins and Mr Wickham have been presented in the various film and television versions of Pride and Prejudice, and also how they deal with the Netherfield Ball.Things we mention: Books:Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950) Illustrations:Illustration of Mr Collins by Philip Gough in a 1951 edition of Pride and Prejudice.Popular culture:MGM, Pride and Prejudice (1940) – starring Greer Garson and Laurence OlivierBBC, Pride and Prejudice (1980) – starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) – starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) – starring Keira Knightley and Matthew MacfadyenPathé Pictures International, Bride and Prejudice (2004) – starring Aishwarya Rai and Martin Henderson YouTube, Lizzie Bennet Diaries (2012) – starring Ashley Clements and Daniel Vincent GordhCreative commons music used Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen. Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP. Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

Pride and Prejudice, Chapters 7 to 12

Play Episode Listen Later Feb 17, 2020 45:56

In this episode, we talk about Jane and Elizabeth's visit to Netherfield: we consider why Jane was invited, Darcy's feelings about Elizabeth, the types of conversations everyone has and what Darcy reads.We discuss Mr Bingley in some detail, including how he and Darcy might have met, and then Ellen talks about accomplishments. Harriet looks at how Mr Bingley has been presented in the various film and television versions of Pride and Prejudice.Things we mentionBooks:Sue Birtwistle, Sue Conklin, Susie Conklin, The Making of Pride and Prejudice (1995) Charles Dickens, Bleak House (1853)Hester Chapone, Letters on the Improvement of the Mind, Addressed to a LadyHannah More, Coelebs in Search of a Wife Georgette Heyer, Cotillion (1953) Popular culture:MGM, Pride and Prejudice (1940) - starring Greer Garson and Laurence OlivierBBC, Pride and Prejudice (1980) - starring Elizabeth Garvie and David RintoulBBC, Pride and Prejudice (1995) - starring Jennifer Ehle and Colin FirthFocus Features, Pride & Prejudice (2005) - starring Keira Knightley and Matthew MacfadyenPathé Pictures International, Bride and Prejudice (2004) - starring Aishwarya Rai and Martin Henderson YouTube, Lizzie Bennet Diaries (2012) - starring Ashley Clements and Daniel Vincent Gordh Curtis Sittenfeld, Eligible (2016) Creative commons music usedExtract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen. Extract from Christoph Willibald Gluck, Orfeo ed Euridice. File from IMSLP.

Pride and Prejudice, Chapters 1 to 6