Podcasts about bach

Play Episode Listen Later Aug 16, 2026 118:37

durée : 01:58:37 - par : Corinne Schneider - Dans la série « Bach et ses contemporains », aujourd'hui Domenico Scarlatti (1685-1787) ; le pianiste anglais Denis Matthews (1952) dans « Les Introuvables de Bach » ; et une « Rencontre avec Hans-Christoph Rademann » (émission n° 382) - équipe : Anne-Lise Assada, Geneviève Cras Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

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Taktlos to go: „Air on the G-String“ ist von Bach - oder doch nicht?

Musiksalon - Presse Play

Play Episode Listen Later Aug 15, 2026 32:05 Transcription Available

Ein Geiger machte aus einer Bach-Melodie erst einen Stunt – und dann einen Welthit. Wer braucht schon mehr als eine Geigensaite? Und dann: Welches Stück liegt diesem Virtuosen-Akt zugrunde?

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Deck The Halls from Christmas Carols 'For Beginners', coll.1 for viola solo - Mp3 audio file

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Play Episode Listen Later Aug 13, 2026 0:48

Symphonies from the Other Side: The Housewife Who Channeled Dead Composers

Haunted Happenings

Play Episode Listen Later Aug 10, 2026 35:17

When Rosemary Brown was just 7-years-old, she was visited by the spirit of a strange old man who told her that he would return to her one day and give her music. She would later learn that the man was the composer Franz Liszt. Over time, Rosemary claimed that he and other dead composers -- including Beethoven, Bach, Chopin, and Schumann -- dictated hundreds of new compositions to her from the afterlife. Was she a brilliant fraud, a musical savant, or was she truly receiving music from the dead? Join me as I present the intriguing life of spirit composer Rosemary Brown – the most fascinating and controversial cases of spirit communication the world has ever known. Support: BuyMeACoffee.com/HauntedHappenings Contact: barrypirro@yahoo.com Website: Haunted Happenings Musical excerpt are from the album "Rosemary Brown: A Musical Séance"

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Bag om københavnerhistorikerne - med Anders Larsen/Chantal Al Arab

Bag om København

Play Episode Listen Later Aug 10, 2026 28:12

Bag om Københavnerhistorikerne er et supplement til Bag om København, og i denne udgave kan du møde historikeren, forfatteren og drag performeren Anders Larsen/Chantal Al Arab Han forsker og skriver især om bøssernes historie, men underviser også i København og københavnernes lange historie. I bogen 'Lars Henriksen og Chantal Al Arab fortæller fra bøssernes danmarkshistorie 1900-2020' sætter de bøsserne ind i mere end hundrede års danmarkshistorisk kontekst. En kontekst, de ellers ofte er blevet skrevet ud af. Og hvis man vil have det hele billede af fortiden, så må man have alle med, som Anders Larsen pointerer. Bag om Københavnerhistorikerne er et møde med de mennesker, der skriver om eller i København. Fælles for dem er, at de er historiefortællere: Det er dem, der undersøger og skaber de fortællinger om København, som vi bruger til at blive klogere på byen og dens lange og mangesidede historie. Interviewer og tilrettelægger: Mai-Britt Tollund. Klippet sammen af: Mai-Britt Tollund Litteraturliste og tilhørende artikel her Facebook: Bag om København Nyhedsbrev Musikbidder er hentet fra FMA/Public Domain: Aaron Dunn - Minuet - Notebook for Anna Magdalena by Bach & Narcissus smells like headache by Monplaisir

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An Audience With Julian And Jiaxin Lloyd Webber At Glór

Clare FM - Podcasts

Play Episode Listen Later Aug 10, 2026 11:53

Two of the world's most distinguished cellists are making their way to Clare for a unique evening that blends music, storytelling and personal reflection. Julian and Jiaxin Lloyd Webber will take to the stage at Glór in Ennis with Bach, Bows and Arrows!—an intimate performance exploring the enduring genius of Bach, Julian's remarkable musical career, and the stories behind some of the greatest names in classical music. The event also coincides with the publication of Julian's acclaimed autobiography, Bows and Arrows, offering audiences a rare opportunity to hear firsthand about a lifetime in music. Photo (c) Simon Fowler via julianlloydwebber.com

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Le Bach de l'été du dimanche 09 août 2026

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Play Episode Listen Later Aug 9, 2026 118:32

durée : 01:58:32 - par : Corinne Schneider - Dans la série « Bach et ses contemporains », aujourd'hui Christoph Graupner (1683-1760), maître de chapelle à Darmstadt ; le pianiste français Daniel Lazarus (1949) dans « Les Introuvables de Bach » ; et « Les concertos pour orgue baroques (Bach, Vivaldi, Haendel, Corrette » (émission n° 381) - équipe : Anne-Lise Assada, Geneviève Cras Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

What a Punk Rocker and an Opera Singer Taught Each Other About Running a Music School | EP 285

Music Lessons and Marketing

Play Episode Listen Later Aug 8, 2026 35:20

In this episode, I sit down with John Kozicki and Mandy York, hosts of the Rock School Proprietor podcast, and we get into something every music school owner deals with whether they realize it or not. How do you keep growing when your teaching philosophy and someone else's look nothing alike? John runs a punk rock brick-and-mortar school in Detroit. Mandy is a classically trained Music Together licensee. On paper they should not get along. In practice, they have built a friendship and a podcast around learning from each other, and I think their conversation will change how you think about your own studio. Here is what we cover: How two studio owners with completely opposite backgrounds found common ground Why parents deserve ongoing education, not just a sales pitch at enrollment Whether the traditional lesson approach should really come first What to do when a big franchise moves in down the street Letting go of guilt around pricing and profit In this episode, you'll learn: Why treating parents as students too can transform how families understand the value of lessons A simple reframe that helps kids fall in love with playing before you ever hand them a method book Why panicking when School of Rock or Bach to Rock opens nearby is the wrong move, and what to do instead How group and ensemble experiences build musicianship in ways solo lessons cannot The mindset shift that lets you stop feeling guilty about running a profitable school Why your business itself can be one of the most creative things you ever build davesimonsmusic.com

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Les +BCdM - 21 - Sur un prélude de Bach

L'Inaudible de Walter

Play Episode Listen Later Aug 8, 2026 15:56

La plus belle chanson du monde :Sur un prélude de Bach, par Maurane.extrait du Wapx110Vote pour tes +BCdM préférées !

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Twinkle Twinkle Little Star from Christmas Carols, coll.1 for wind quintet - Mp3 audio file

The Science Show - Separate stories podcast

Play Episode Listen Later Aug 8, 2026

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Max Page, recent (term-limited) Mass Teachers Assoc President and Matthew Bach, new MTA President, on MTA's 2026-2027 goals & priorities, the strike in Andover that Matt led, and his history as a history teacher.

WHMP Radio

Play Episode Listen Later Aug 7, 2026 24:43

8/7/26, Co-Host Andy Bukowski Max Page, recent (term-limited) Mass Teachers Assoc President and Matthew Bach, new MTA President, on MTA's 2026-2027 goals & priorities, the strike in Andover that Matt led, and his history as a history teacher. Community Action Pioneer Valley Exec Dir Lev Ben Ezra and Family Center Director Kia Burton-King on joy in a backpack and wrap-around services for families. Astronomer Salman Hameed: the critically important and under-reported story of the Trump administration's combined attack on science, medicine, universities, and our future. Documentary Filmmaker Lexi Jamieson Marsh: the world premiere of “I Was a Hurricane” on the Amherst Common tomorrow evening -- the story of the 2003 Amherst High School National Champion Ultimate Frisbee Team, a story of belonging, friendship, and trust. ArtBeat with Donnabelle Casis and Ava Harper on Ava's new and moving solo exhibition at 33 Hawley, “Familial Bestiaries.”

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Mathematics as the basis of western musical harmony and how J. S. Bach loved numbers

Play Episode Listen Later Aug 7, 2026 20:02

Famed mathematician Pythagoras — he of the right-angled triangle theorem — discovered mathematical principles which J. S. Bach used in his compositions. Violinist and artistic director of Bach Akademie Australia Madeleine Easton, and composer and conductor Christopher Bowen describe how mathematical principles form the basis of western musical harmony and how J. S. Bach used mathematics in his compositions.

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Jesse Michels — American Alchemy (Infinite Loops Classics)

Infinite Loops

Play Episode Listen Later Aug 6, 2026 85:01

Hi everyone, Jim here. We're taking a short pause on new episodes through the end of August. In the meantime, we're digging out some of our favorite conversations from the archive. This one is from February 2023, so a few of the references have aged since (mine included), but the ideas have only gotten better. Enjoy this one with the wonderfully heretical Jesse Michels. Jesse Michels is an investor at Thiel Capital and the creator and host of 'American Alchemy', a Youtube channel dedicated to highlighting the most heretical thinkers and ideas of our time. He joins the show to discuss the transmission theory of consciousness, whether mushrooms are aliens, the reawakening of the Boomers and MUCH more! Important Links: - American Alchemy - https://www.youtube.com/@JesseMichels/about - Jesse's Twitter - https://twitter.com/alchemyamerican Books Mentioned: - The Half-Life of Facts: Why Everything We Know Has an Expiration Date; by Samuel Arbesman - The User Illusion: Cutting Consciousness Down to Size; by Tor Norretranders - Gödel, Escher, Bach: an Eternal Golden Braid; by Douglas Hofstadter - The Beginning of Infinity: Explanations That Transform the World; by David Deutsch - The Immortality Key : The Secret History of the Religion with No Name; by Brian C. Muraresku - The New Inquisition: Irrational Rationalism and the Citadel of Science; by Robert Anton Wilson - How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression and Transcendence; by Michael Pollan - Chaos: Charles Manson, the CIA, and the Secret History of the Sixties; by Tom O'Neill - Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops & the Dark Heart of the Hippie Dream; by David McGowan - Prometheus Rising; by Robert Anton Wilson - Quantum Psychology: How Brain Software Programs You & Your World; by Robert Anton Wilson - The Cosmic Trigger trilogy; by Robert Anton Wilson - Communion: A True Story; by Whitley Strieber

APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail

KPFA - APEX Express

Play Episode Listen Later Aug 6, 2026 59:58

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

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Canon Fodder – The Gospel According to St. Matthew

Dare Daniel Podcast

Play Episode Listen Later Aug 4, 2026 43:55

https://daredaniel.com/wp-content/uploads/2026/08/CANON-FODDER_S01_E67.mp3 The Gospel According to St. Matthew (1964; Directed by Pier Paolo Pasolini) Canon Fodder Episode 67 This week, Daniel and Corky spread the good word about Pier Paolo Pasolini's The Gospel According to St. Matthew. Shot with neorealist immediacy and scored with everything from Bach to Blind Willie Johnson, Pasolini's radical yet reverent retelling presents Jesus as an uncompromising revolutionary with no time to waste. But did your hosts see the light in Pasolini's vision, or did they fall just short of salvation? THE GOSPEL ACCORDING TO ST. MATTHEW FACTS & FIGURES Sight & Sound 2022 Critics Poll Ranking: #157 [tied] World premiere: Sept. 4, 1964 (Venice Film Festival) IMDB synopsis: “The life of Jesus Christ according to the Gospel of Matthew. Film shows Christ as a Marxist avant-la-lettre and therefore uses half of the text of Matthew.” CLIPS & CLIPPINGS Trailer for The Gospel According to St. Matthew Walking on water Entering Jerusalem Cleansing the temple NEXT EPISODE’S MOVIE Touki Bouki (1973; Directed by Djibril Diop Mambéty) IMDB synopsis: “Mory, a cowherd, and Anta, a university student, try to make money in order to go to Paris and leave their boring past behind.” Our review of Touki Bouki comes out Tuesday, Aug. 18! Follow Canon Fodder, Dare Daniel & Single Take on Facebook and Instagram. Listen, rate, review and subscribe to the show on Pandora, Apple Podcasts, Spotify, Listen Notes, Castbox and more. New episodes every other Tuesday! Please help support the show by clicking the Donate button on the homepage or find “Support the Show” in the main menu. Read more of Daniel’s movie reviews at Dare Daniel and Rotten Tomatoes. The post Canon Fodder – The Gospel According to St. Matthew appeared first on Dare Daniel Family of Podcasts.

#163. Supporting Youth Going Off to College

End Goals: LCMS Youth Ministry Podcast

Play Episode Listen Later Aug 4, 2026 40:16

Pastor Michael Schuermann talks with Mark and Julianna about how youth leaders can support graduates who are moving away to college. Bio: Michael Schuermann is the pastor of University Lutheran Church and Student Center in Champaign, IL (a campus ministry congregation serving the University of Illinois Urbana–Champaign). He has served there since the beginning of 2020, and previously served congregations in Sherman, IL and Dallas, TX. He also currently serves on the LCMS Board for National Mission. He is married to Katie. He loves music (especially the music of J. S. Bach and Johannes Brahms), reading, photography, the outdoors, and birds. He strongly dislikes squirrels. Resources: YouthESource Website – youthesource.com

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247 - Uşakların Üstü, Aşçıların Altı: Bach'tan Beethoven'a

Barış Özcan ile 111 Hz

Play Episode Listen Later Aug 3, 2026 29:59

Mozart'ın saraydan dövülerek atılması neden normaldi? Bach'ın belediye memurluğundan Beethoven'ın prenslerini mahkemeye verdiği güne uzanan üç kuşaklık bir kopuşu izliyoruz. Maaş bordrosundan telif hakkına giden bu yolda "bağımsız sanatçı" fikrinin nasıl icat edildiğini inceliyoruz. Bu bölümde: (00:00) Intro (02:39) Bağımsız Sanatçı Diye Bir İcat (06:26) Babasını Dirilten Oğul (09:58) Tarihin İlk Freelancer'ı (14:14) Sopalarla Dövülen Yazar (18:10) Deha Fikrinin Doğuşu (21:16) Prensleri Mahkemeye Vermek Sunan: Barış Özcan Yapımcı: Podbee Media Tüm bölümler, videolar ve daha fazlasına Podbee App ve podbee.com'dan ücretsiz olarak ulaşabilirsiniz. Bu bölüm reklam ve sponsorluk içerebilir.

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Hauptgewinn: Familienwanderung mit Esel (3/6): Kleiner Bach als großes Hindernis

Ohrenbär Podcast | Ohrenbär

Play Episode Listen Later Aug 3, 2026 9:14

Auf der Eselfarm haben die Liebigs gut geschlafen. Am Morgen geht es mit Hannibal, dem schokobraunen Esel, los. Vor ihnen liegt der Rundwanderweg durch die Berge. Aufregend! Aus der OHRENBÄR-Hörgeschichte: Hauptgewinn: Familienwanderung mit Esel (Folge 3 von 6) von Paul Albert Wagemann. Es liest: Petra Kelling. ▶ Mehr Hörgeschichten empfohlen ab 6: https://www.ohrenbaer.de/podcast/empfohlen-ab-6.html ▶ Mehr Infos unter https://www.ohrenbaer.de & ohrenbaer@rbb-online.de

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#269 | Johann Sebastian Bach: Genie, Hitzkopf, Organist | zum Deutschlernen

Learn German Podcast | ExpertlyGerman.com

Play Episode Listen Later Aug 3, 2026 33:56

Bach wollte kündigen. Sein Chef sperrte ihn dafür ins Gefängnis.

Le Bach de l'été du dimanche 02 août 2026

Play Episode Listen Later Aug 2, 2026 118:35

durée : 01:58:35 - par : Corinne Schneider - Dans la série « Bach et ses contemporains », aujourd'hui François Couperin (1668-1733) ; la pianiste russo-suisse Sara Novikoff (1949) dans « Les Introuvables de Bach » ; et une « Rencontre avec Olivier Spilmont, fondateur de l'ensemble Alia Mens » (émission n° 355 ) - équipe : Anne-Lise Assada, Geneviève Cras Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

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O Holy Night from Christmas Carols, coll.2 for flute, violin and piano - Mp3 audio file

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Play Episode Listen Later Aug 2, 2026 1:26

Not so Wonderful Copenhagen - Mary Wollstonecraft

Bag om København

Play Episode Listen Later Aug 1, 2026 31:43

I 1795 rejser den engelske forfatter og filosof Mary Wollstonecraft gennem Skandinavien med sin spæde datter. Rejsen er alt andet end en ferie. Kort forinden har hendes elsker forladt hende, og efter et selvmordsforsøg tager hun af sted på en forretningsmission for netop den mand, der har knust hendes hjerte. Mary er samtidig en af sin tids mest omdiskuterede kvinder. Hun argumenterer for, at kvinder er lige så fornuftige som mænd og derfor fortjener de samme muligheder. Det får mange af hendes samtidige til at løfte øjenbrynene så højt, at de næsten forsvinder op i panden. Turen bringer hende blandt andet til København, hvor hun møder et samfund, hvor kvinder stadig forventes at kende deres plads – en forventning, Mary bestemt ikke har tænkt sig at indordne sig under. Episoden er skrevet og fortalt af Berit Freyheit Supplerende speak: Mai-Brit Tollund Her finder du det, jeg har læst til episoden Facebook: Bag om Københavns podcast + nyhedsbrev Musikbidder er hentet fra FMA/Public Domain: Aaron Dunn - Minuet - Notebook for Anna Magdalena by Bach & Narcissus smells like headache by Monplaisir 137

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Bach Week and Set Apart to Serve: J.S. Bach in Church Worker Formation

Klassik für Klugscheisser

Play Episode Listen Later Jul 31, 2026 30:17

It's Bach Week! This week, we commemorate legendary church musician J.S. Bach with conversations about his work and influence on the church's song over centuries. How has the music of J.S. Bach helped to form church workers over the years? The Rev. Dr. Christopher Ahlman (Associate Pastor and Director of Parish Music, Memorial Lutheran Church and School, Houston, TX) and Deaconess Elizabeth Ahlman (upper school teacher, Memorial Lutheran Church and School, Houston, TX) join Andy and Sarah for our Set Apart to Serve series to talk about their own individual journeys into church work, how each of them now serves at Memorial Lutheran, the role of music in their journeys, Bach's influence on each of their paths, the role of the organ in the ministry of the church, and the role of Bach's music in the spiritual formation of the people they serve, both in the school and the church. Learn more about Memorial Lutheran Church and School at mlchouston.org. Christ's church will continue until He returns, and that church will continue to need church workers. Set Apart to Serve (SAS) is an initiative of the LCMS to recruit church workers. Together, we pray for workers for the Kingdom of God and encourage children to consider church work vocations. Here are three easy ways you can participate in SAS: 1. Pray with your children for God to provide church workers. 2. Talk to your children about becoming church workers. 3. Thank God for the people who work in your congregation. To learn more about Set Apart to Serve, visit lcms.org/set-apart-to-serve. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

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#142 Warum die Klassik das Improvisieren verlernt hat

Play Episode Listen Later Jul 31, 2026 56:53

Bach, Beethoven und Mozart waren Meister einer Kunst, die heute in der Klassik kaum noch jemand beherrscht: der Improvisation. Warum die Spontaneität aus der klassischen Musik verschwunden ist - und was Helge Schneider damit zu tun hat.

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Ashley Reacts To The "She's All Bach" DRAMA!

The Most Dramatic Podcast Ever with Chris Harrison

Play Episode Listen Later Jul 30, 2026 31:18 Transcription Available

ABC has sent a legal letter to the host of the podcast "She’s All Bach", and Ashley’s not holding back when it comes to her thoughts on the situation.Plus, we get into how "The Bachelor" is different from Bravo and "Love Island" when it comes to their PR strategy. Hotline: 844-5-ALMOSTSee omnystudio.com/listener for privacy information.

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Bach Week: Music and Bach in Spiritual Care

Play Episode Listen Later Jul 30, 2026 27:32

It's Bach Week! This week, we commemorate legendary church musician J.S. Bach with conversations about his work and influence on the church's song over centuries. How has the work of J.S. Bach influenced spiritual care? Deaconess Cara Patton (Worship Coordinator, LCMS Office of National Mission) and Kantor Christina Roberts (Kantor, Our Savior Lutheran Church and School in Grand Rapids, Michigan) join Andy and Sarah to talk about the ways in which they serve the church in the offices of deaconess and kantor, how spiritual care is uniquely a part of each of these offices, the role of music in spiritual care, how Bach's music specifically lends itself to spiritual care, and some ways they've each used Bach's music to help people through difficult situations. Learn more about Our Savior in Grand Rapids at oursavior-gr.org/church and LCMS Worship at lcms.org/worship. As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

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Court's Bach Recap & How to Lock Back Into Routine !

You Can Do Both

Play Episode Listen Later Jul 30, 2026 58:04

Episode 146: A whole lotta girl chat in today's episode as we recap Court's bachelorette + bridal shower weekend! We're giving you the full rundown, our advice for future brides and MOHs, and the lessons we learned from an unforgettable weekend. Plus, we're sharing how we bounce back into routine after a long weekend of drinking, indulging, and just living our best lives as girls in our twenties. A very You Can Do Both episode, if you ask us.Today's episode is brought to you by Troomy Nootropics, aka our favorite functional mushroom supplement brand, and what we've been crediting our green recovery scores to for the past few months. Also just the best gummy supplements for every health need.Use code YCDB30 for 30% off your first order at troomy.com -you're welcome in advance :)

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The Subversive Side of Classical Music: Let It Roll From the Beginning...to the End 7

Let It Roll

Play Episode Listen Later Jul 29, 2026 46:46

We're relaunching Let It Roll by reposting every episode in chronological order by subject matter. In this episode, host Nate Wilcox welcomes back Ted Gioia to continue their discussion of his book “Music: A Subversive History.” Nate and Ted talk about the less than perfect realities of the lives of the great composers. From the murderous makers of madrigals to the sometimes sordid antics of J.S. Bach to the very problematic Richard Wagner, Ted brings a very different perspective to the men we see as paragons of the establishment. This episode originally aired in 2020. GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please consider becoming a paid subscriber to support the show. Thanks! Email ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letitrollpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Let It Roll is proud to be part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pantheon Podcast⁠s⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

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Bach Week: Bach's Influence on Present-Day Church Music

Play Episode Listen Later Jul 29, 2026 28:54

It's Bach Week! This week, we commemorate legendary church musician J.S. Bach with conversations about his work and influence on the church's song over centuries. How has the music of J.S. Bach influenced our present-day church music? Dr. Joseph Herl (professor of music at Concordia University, Nebraska) joins Andy and Sarah to talk about who introduced Dr. Herl to the work of J.S. Bach, the ways Bach's music has shaped his relationship with music, what people thought of Bach's music during his own time, how Bach's music actually became famous, the influence of Bach's music on our modern Lutheran church music, and how Bach's music influences Dr. Herl's teaching methods. Learn more about music at CUNE at cune.edu/music. As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

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Deck The Halls from Christmas Carols, coll.1 for viola and piano - Mp3 audio file

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Play Episode Listen Later Jul 29, 2026 0:40

Bach Week: Bach Societies of St. Louis and Around the Globe

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Play Episode Listen Later Jul 28, 2026 28:49

It's Bach Week! This week, we commemorate legendary church musician J.S. Bach with conversations about his work and influence on the church's song over centuries. What are Bach societies, and how do they help share the beautiful music of J.S. Bach? Ron Klemm (host and producer of Bach Talk, and former KFUO Radio talent) and Dr. A. Dennis Sparger (Music Director and Conductor of the Bach Society of St. Louis) join Andy and Sarah to talk about the importance of Bach, what is so special about singing Bach together with a large ensemble, how conducting Bach is different from other composers, what a Bach Society is and why there are so many around the globe, how these societies have influenced the musical culture around them, and what they've learned about Bach over the years. Find the Bach Society of St. Louis at bachsociety.org and Bach Talk at bachsociety.org/bach-talk. As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

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Classical Music 101: It's not just Beethoven and Bach

Vermont Edition

Play Episode Listen Later Jul 28, 2026 49:50

Are you classical-curious but don't know where to start? Our roundtable of experts share some tips on where to start.Broadcast on Tuesday, Jul. 28, 2026, at noon; rebroadcast at 7 p.m.Have questions, comments or tips? Send us a message or check us out on Instagram.

Jeffrey Bean: Form, Music, Bach, and Poetry | Rattlecast 352

Rattlecast

Play Episode Listen Later Jul 28, 2026 115:24

Jeffrey Bean joins Timothy Green on The Rattlecast for a conversation about poetry, invented poetic forms, music, and his latest collection, Everywhere, Everywhere, winner of the 2024 Vern Rutsala Book Prize. A poet and professor of English at Central Michigan University, Jeffrey appears in the Invented Forms section of Rattle's Summer 2026 issue with “Bach's Bones,” part of a new series of poems inspired by Johann Sebastian Bach. In this episode, we discuss the quatrain ghazal and the possibilities of combining traditional poetic forms, Bach and music as influences on poetry, rhyme and formal poetry, the poems of Everywhere, Everywhere, and the craft of writing poems that make the ordinary strange and new. We'll also open the lines for this week's prompt-based poetry reading. This Week's Prompt: Think of something you didn't expect to open up but did. Make it risky! Next Week's Prompt: Write a contemporary epic poem. Submit your poem through Submittable by midnight Sunday for a chance to be invited on the show: https://rattle.submittable.com/submit/269309/rattlecast-prompt-poems-online Find more about Jeffrey Bean here: https://www.jeffreybeanpoet.com/ The Rattlecast livestreams every Monday on YouTube, Facebook, and X, then becomes available as an audio podcast on Apple Podcasts, Spotify, and wherever you listen.

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Bach Week: The Bach Bible at Concordia Seminary

Play Episode Listen Later Jul 27, 2026 30:50

It's Bach Week! This week, we commemorate legendary church musician J.S. Bach with conversations about his work and influence on the church's song over centuries. Dr. Bruce Durazzi (Special Collections Librarian, Hasse Memorial Library, Concordia Seminary) joins Andy and Sarah to talk about his work in Concordia Seminary's Kristine Kay Hasse Memorial Library, how the Bach Bible ended up at Concordia Seminary, some of the history behind this volume of books, interesting pieces of trivia about the Bach Bible (Calov Commentary), and what we learn about J.S. Bach from this piece. Find the Rare and Special Collections at the Hasse Memorial Library at library.csl.edu/rare-and-special-collections/bach-bible. Also mentioned this episode is J.S. Bach and Scripture: Glosses from the Calov Bible Commentary by Robin Leaver, available from CPH at cph.org/j-s-bach-and-scripture-glosses-from-the-calov-bible-commentary. As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

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Le Bach de l'été du dimanche 26 juillet 2026