Podcasts about e flat major

"Haben Sie jemals mit dem Gedanken gespielt, dass Sie scheitern könnten?" - wurde unser heutiger Gast vor einiger Zeit gefragt. Und Jinok Kim-Eicken antwortete: "So lebe ich nicht. So denke ich nicht. Niemand weiß, was morgen sein wird. Was bringt es mir, irgendwelche düsteren Szenarien durchzuspielen? Das hemmt nur.“ Von außen betrachtet hat es, wie sicherlich bei jedem anderen Menschen auch, einige Situationen gegeben, in denen es wackelig aussah, in denen es eng wurde im Leben der 1952 in Südkorea geborenen Opernsängerin, Künstlerin und Gastronomin. Früh kristallisierte sich das außergewöhnliche Talent des jungen Mädchen heraus, aber bis Jinok und der Gesang eine feste Beziehung eingehen konnten, sollte noch recht viel Zeit vergehen. Und apropos vergehen: bei dieser einen Leidenschaft ist es nie geblieben, Jinok, die 1978 nach Deutschland kam und blieb, malt, ist Keramikkünstlerin, Gärtnerin und betreibt ein höchst beliebtes koreanisches Restaurant in Berlin. Mit ihrem Mann Dirk Eicken, ebenfalls Künstler, schrieb sie ein Buch über das Fermentieren und die Freiheit, über Natur und Kultur, über Philosophie, Demut und die Liebe zum Leben. Playlist: Jimi Hendrix - The Wind cries Mary The Beatles/John Lennon - Imagine Song Chan Sik - Pili buneun sanai Yunchan Lim & Gwangju Symphony Orchestra - Adagio un poco mosso, vom Beethoven Klavierkonzert Nr. 5 in E-Flat Major, Op. 73 II. Satz Frank Sinatra - My Way Ed Sheeran - Perfect Dietrich Fischer-Dieskau & Alfred Brendel - Gute Nacht - Fremd bin ich eingezogen" aus "Die Winterreise" von Franz Schubert Diese Podcast-Episode steht unter der Creative Commons Lizenz CC BY-NC-ND 4.0.

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐： 1.Xeuphoria - But You're Already Gone；2.John Lenehan - Dolce Droga；3.Karl Leister,Ferenc Bognár,Johannes Brahms - Sonata No. 2 for Clarinet and Piano in E-Flat Major, Op. 120, No. 2 III. Andante con moto - Allegro；4.V.A. - ロマンス ト長調；5.Arthur Rubinstein,Frédéric François Chopin - Nocturne No. 19 in E Minor, Op. 72, No. 1。

فصل سوم رو شروع میکنیم با مرور زندگی ناپلئون از اوج قدرت تا سقوط و مرگ او در دو اپیزود پیش رو، به همراه سه تابلو‌ی معروف از ژاک لویی داوید، نقاش وفادار به ناپلئون.دو نسخه از تابلوی “ناپلئون در حال عبور از آلپ”:https://upload.wikimedia.org/wikipedia/commons/4/4d/Napoleon_at_the_Great_St._Bernard_-_Jacques-Louis_David_-_Google_Cultural_Institute.jpghttps://upload.wikimedia.org/wikipedia/commons/f/fd/David_-_Napoleon_crossing_the_Alps_-_Malmaison2.jpgتابلوی الهام گرفته از تابلوهای داوید با همین نام، اثر پل دلاروش:https://upload.wikimedia.org/wikipedia/commons/9/9d/Paul_Delaroche_-_Napoleon_Crossing_the_Alps_-_Google_Art_Project_2.jpgقطعات موسیقی:La Marseillaise - Edith PiafLa Marseillaise - French National AnthemSymphony No. 3 in E-Flat Major, Op. 55, "Eroica" - BeethovenJohann Strauss ll - Persischer Marsch Hosted on Acast. See acast.com/privacy for more information.

Nocturne No. 4 in E-Flat Major, Op. 36 (c. 1884), Brad Mehldau Après Fauré NonesuchY el tiempo, Dorantes Y el tiempo Flamenco SculturaSin muros ni candados - Nueva versión, Dorantes Sin muros ni candados (Nueva versión) Flamenco SculturaLuz de Vida, Chano Domínguez, Rubem Dantas, Hamilton De Holanda Chabem AltafonteDedicatoria, Gregori Hollis, Chano Domínguez Dedicatoria MicroscopiCarinhoso, Chano Domínguez, Rubem Dantas, Hamilton De Holanda, Sílvia Pérez CruzChabem AltafonteAgave, Niklas Paschburg Agave Nettwerk Music GroupDuvet, Niklas Paschburg, Andy Barlow Svalbard 7K!Schöne Stille María Coma Schöne Stille (Live) Foehn RecordsEscuchar audio

We'll focus on the first two of Beethoven's five late string quartets: the String Quartet in E-flat Major, Op. 127, and the String Quartet in A Minor, Op. 132.   

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Nelson Freire - Nocturne op. 27 no 1 C min；2.Chad Lawson - Nocturne in E-Flat Major, Op. 9, No. 2 (Arr. By Chad Lawson for Piano)；3.Nelson Freire - Nocturne op. 32 no 1 B maj；4.Various Artists - Schubert - Ave Maria。

Donald Macleod explores Vienna in the company of Franz SchubertOf all Europe's major cities, perhaps Vienna is the one with the reputation as the most comfortable, the most sophisticated, and the most musical. In fact, has any other city been home to so many great composers as Vienna? Mozart, Beethoven, Haydn, and Salieri all spent their best years working there. Yet none of those starry names was born in the city, none were true Viennese. This week, Donald Macleod explores Vienna through the lens of arguably the greatest home grown composer the city has ever produced – Franz Schubert – a man whose short life spanned a crucial period in Austrian history, a time of crisis and much change. In his company we'll explore Vienna's churches and theatres, its parks, coffee houses and taverns, and also glimpse the darker side of the city too – the excesses of Europe's aristocracy and the all seeing eyes of Vienna's secret police.Music Featured: “Kupelwieser” Waltz in G flat Major, D Anh I/14 Symphony No 9 in C Major “The Great”, D944 (3rd mvt, Scherzo) String Quintet in C Major, D 956 (2nd mvt, Adagio) Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri, D407 Marches Militaires, D733 (No 1 in D Major) Gretchen am Spinnrade, D118 6 Moment Musicaux, Op 94, D780 (No 3 in F min) Mass No 1 in F Major, D105 (Gloria) Grande Marche Funebre, D859 Symphony No 2 in B flat Major, D125 (4th mvt,Presto) Rosamunde, D797 (No 5 ,Entracte No 3 in B flat Major: Andantino) Licht und Liebe, D352 Quartettsatz Lazarus, Act 2 (unfinished) Schwanengesang, D744 4 Impromptus, D899, Op90 (No 3 in G Flat Major) Symphony No 8 in B minor, D759 “Unfinished” (1st mvt, Allegro moderato) Symphony No 5 in B flat Major, D485 (1st mvt, Allegro) Winterreise, D911 (No 24, Der Leiermann) Der Wanderer, D489 Piano Quintet in A Major, D667 “The Trout” (3rd mvt, Scherzo) 38 Waltzes, D145, Op 18 (Nos 6, 8 & 9 ) An Sylvia, D891, Op 6 (No 4) Fantasy in F minor, D940, Op 103 Ave Maria, D839, Op 52, No 6 Mass No 6 in E Flat Major, D950 (Credo) Rosemunde incidental music, D797 (Nos 7-9) Alfonso and Estrella, D732 (Act I, Aria “Sei mir gegrusst, o Sonne!”) An die MusikPresented by Donald Macleod Produced by Sam Phillips for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Schubert and Vienna https://www.bbc.co.uk/programmes/m0026800 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

La solitud de la peixera. Crítica teatral de l'obra «Loneliness». Dramatúrgia i coreografia: Roberto G. Alonso. Intèrprets: Andrea Muñoz Páez, Ekaitz Villar, Genís Garcia Mármol, Laia Serra i Riera, Lola Sala, Oscar Rico, Raquel R. Esparza, Yefferson Velasquez. Assistent de coreografia: Marta Serret. Professors convidats: Susana Rodríguez, Sébastien Mari, Ingve Groven, David Serrano. Il·luminació: Daniel Gener. Espai escènic: Víctor Peralta. Espai sonor: Sammy Metcalfe. Vestuari: Roberto G. Alonso. Vídeoescena: Alfonso Ferri Parres. Fotografia: May Zircus. Elements escenogràfics: Adrià Pinar, Víctor Peralta, Estudi Jorba-Miró, Tony Murchland. Equips tècnics i de gestió de la companyia. Producció executiva: Joan Solé, Gemma Ros. Cap tècnic: Arnau Grande. Comunicació: Marta Fernández Martí. Producció: Cia. Roberto G. Alonso i Teatre Nacional de Catalunya. Amb el suport de Generalitat de Catalunya, Departament de Cultura. Amb la col·laboració deFabra i Coats - Fàbrica de creació. Agraïments: Pau Gómez, Anna Cabello, Nicolás Carbajal, Blanca Ramos, Margot Arroyo, Robinson Menao, Javier Hernando. Equips tècnics i de gestió del TNC. Direcció: Roberto G. Alonso. Sala Tallers, Teatre Nacional de Catalunya, Barcelona, 18 octubre 2024. Veu: Andreu Sotorra. Música: Piano Trio Núm. 2 in E-Flat Major, D. 929: II. Andante con moto. Interpretació: Trio Wenderer. Composició: Franz Shubert. Àlbum: Shubert: Piano Trios, 2008.

Title: Anniversary Bon Bon 1: Recomposition Tracks: Bach: The Cello Suites - Recomposed by Peter Gregson - Suite No. 4 in E-Flat Major, BWV 1010, Bourrée Artist: Peter Gregson, Richard Harwood, Reinoud Ford, Tim Lowe, Ben Chappell & Katherine Jenkinson Publisher: Deutsche Grammophon (DG)

我们都应该听听古典音乐！音乐修养、生活品味和审美趣味，都是可以通过古典音乐来培养的；而且浩如烟海的作品，本身就充满了美的趣味和享受。很多人觉得古典乐的欣赏充满门槛，似乎不懂乐理就很难听懂。但其实不是，不懂乐理，并不妨碍我们欣赏，也不妨碍我们被它的美和独特所感动。今天这期节目，想跟你分享我是如何入门，以及如何去欣赏古典音乐。尽管我算不上骨灰级、学术型的厉害古典乐迷，但我非常愿意和你一起享受古典音乐的美。我将尽量不去说艰深晦涩的东西，并尽可能地播放好的作品与你来听，希望能让你产生一些些接触古典音乐的兴趣，通过这期节目也能入门~

As part of the La Jolla Music Society's SummerFest 2023 series enjoy F. Mendelssohn: String Quartet in E-flat Major performed by Augustin Hadelich and Andrew Wan on violin, Matthew Lipman on viola, and Julie Albers on cello. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39714]

As part of the La Jolla Music Society's SummerFest 2023 series enjoy F. Mendelssohn: String Quartet in E-flat Major performed by Augustin Hadelich and Andrew Wan on violin, Matthew Lipman on viola, and Julie Albers on cello. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39714]

As part of the La Jolla Music Society's SummerFest 2023 series enjoy Schubert: Piano Trio in E-flat Major, D. 929 performed by Inon Barnatan on piano, Noah Bendix-Balgley on violin, and Alisa Weilerstein on cello. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39713]

As part of the La Jolla Music Society's SummerFest 2023 series enjoy Schubert: Piano Trio in E-flat Major, D. 929 performed by Inon Barnatan on piano, Noah Bendix-Balgley on violin, and Alisa Weilerstein on cello. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39713]

We'll focus on Piano Sonatas No. 26 in E-flat Major, Op. 81a, completed in 1810, and No. 27 in E Minor, Op. 90, completed in 1814.  

On this episode of One Symphony, conductor Devin Patrick Hughes interviews Henry Fogel, a prominent figure in the orchestral music field. Fogel discusses his early life in music, his exciting journey in radio, and his passion for making symphonic music more accessible. They also delve into Fogel's contribution to orchestras as a director and a manager. From his beginnings in a home where Broadway musicals were the high end of musical taste, to his rise as a key figure in the world of orchestral music, Fogel's insights on board members and anecdotes about conductors provide a unique window into the business side of the symphony orchestra. Henry Fogel has served as President and CEO of the League of American Orchestras, where he significantly impacted the orchestral landscape by supporting and consulting with over 190 orchestras during his tenure. His leadership as President of the Chicago Symphony for 18 years saw substantial growth in the organization's endowment and community engagement efforts. Henry's extensive career also includes leadership positions at the National Symphony Orchestra of Washington, D.C., and the New York Philharmonic. He is actively involved in various nonprofit boards and serves as Chair of the Chicago Classical Music Recording Foundation. Henry's contributions to the American symphonic landscape have been recognized through honorary doctorate degrees and many awards, including the League of American Orchestras' Gold Baton Award. Beyond his professional achievements, Fogel is an accomplished narrator and producer, sharing his passion for classical music over the radio waves for 5 decades. Henry enjoys spending time with his children, grandchildren, and pursuing his interest in Chinese cuisine.   Thank you for joining us on One Symphony. Thanks to Henry Fogel for sharing his wealth of wisdom. Musical selections on this episode today include   Mass in B Minor, BWV 232: I. Kyrie: No. 1, Kyrie eleison I (Chorus)[Music Download] From the album Bach: Mass in B Minor, BWV 232 By: The Netherlands Bach Society & Jos van Veldhoven   Glagolitic Mass, From the album Janáček: Glagolitic Mass - Martinů: Field Mass By: Czech Philharmonic, Prague Philharmonic Choir, Václav Neumann, Josef Veselka, Jan Hora, Gabriela Beňačková, Věra Soukupová, František Livora, Karel Průša   Berwald: Symphony No. 4 in E flat major - I. Allegro risoluto[Music Download] From the album Schubert: Symphony No.4 "Tragic" / Berwald: Symphonies Nos.3 "Singulière" & 4 By: Berliner Philharmoniker and Igor Markevitch   Symphony No. 9 in E-Flat Major, Op. 70: V. Allegretto[Music Download] From the album Shostakovich: Symphony Nos. 5 & 9 By: Leonard Bernstein and the New York Philharmonic Orchestra   Corigliano: Symphony No. 1[Music Download] Symphony No. 1: I. Apologue. Of Rage and Remembrance By: Daniel Barenboim and the Chicago Symphony Orchestra   Nielsen: Symphonies Nos. 3 & 5[Music Download] Symphony No. 5, Op. 50, FS 97, CNW 29: I. Tempo giusto - Adagio By: Leonard Bernstein and the Royal Danish Orchestra https://www.wfmt.com/programs/collectors-corner-with-henry-fogel/ https://devinpatrickhughes.com You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Linton Stephens tries out a classical playlist on his music-loving guest. This week, Linton is joined by Downton Abbey stars turned music duo Michelle Dockery and Michael Fox.Michelle and Michael's playlist:Qunihico Hashimoto - Symphony No. 1 in D Major (3rd movement) Ghislaine Reece-Trapp - In Paradisum Camille Saint-Saens - Danse macabre Dobrinka Tabakova - Desert Swimmers Franz Schubert - Piano Trio No. 2 E-Flat Major (2nd movement) Anne Boyd - The Beginning of the DayClassical Fix is a podcast aimed at opening up the world of classical music to anyone who fancies giving it a go. Each week, Linton mixes a bespoke playlist for his guest, who then joins him to share their impressions of their new classical discoveries. Linton Stephens is a bassoonist with the Chineke! Orchestra and has also performed with the BBC Philharmonic, Halle Orchestra and Opera North, amongst many others.

A memorable collection, a composer whose primacy spans the ages, a great performer. We find ourselves in front of Johann Sebastian Bach's (1685-1750) six Suites for solo cello, performed by Antonio Meneses. In J. S. BACH: THE CELLO SUITES he turns to this precious legacy, which he masters like few others. Around the world, he presents it to audiences. In the past, he has recorded it. Now, a new perspective on these eternally meaningful works leads him to rediscover them. Tracks1. Cello Suite No. 1 in G Major, BWV 1007: I. Prélude – (2:30)         2. Cello Suite No. 1 in G Major, BWV 1007: II. Allemande – (4:13)           3. Cello Suite No. 1 in G Major, BWV 1007: III. Courante – (2:52)          4. Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande – (2:48)         5. Cello Suite No. 1 in G Major, BWV 1007: V. Menuets I & II – (3:33)       6. Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue – (1:52)               7. Cello Suite No. 2 in D Minor, BWV 1008: I. Prélude – (3:54)         8. Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande – (3:33)           9. Cello Suite No. 2 in D Minor, BWV 1008: III. Courante – (2:12)           10. Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande – (4:26)           11. Cello Suite No. 2 in D Minor, BWV 1008: V. Menuets I & II – (3:21)    12. Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue – (2:42)              13. Cello Suite No. 3 in C Major, BWV 1009: I. Prélude – (3:14)          14. Cello Suite No. 3 in C Major, BWV 1009: II. Allemande – (3:54)           15. Cello Suite No. 3 in C Major, BWV 1009: III. Courante – (3:19)           16. Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande – (3:52)           17. Cello Suite No. 3 in C Major, BWV 1009: V. Bourrées I & II – (3:40)     18. Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue – (3:19)               19. Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prélude – (4:02)         20. Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande – (4:05)      21. Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante – (3:45)      22. Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande – (4:01)      23. Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrées I & II – (5:04) 24. Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue – (2:49)    And others …This album is broadcast with the permission of Bárbara Leu from Azul Music.         

We'll look at Beethoven's String Quartet No. 10  in E-flat Major, Op. 74, completed in 1809 and nicknamed the "Harp" quartet.

今天去晨跑了。跑步的时候是否可以听古典音乐？分享几首可能合适的作品，也想听听大家的意见。- 曲目 -Philip Glass - Opening (From Glassworks)Mozart - March No. 1 in D Major, K. 335 (320a)Beethoven - Symphonie No. 3 - E-sharp-Major, Op. 55 “Eroica” I. Allegro con brioBruckner - Symphony No. 4 in E-Flat Major, WAB 104 “Romantic” (1874 Version, Ed. L. Nowak) I. AllegroCPE Bach - Cello Concerto in A minor, Wq.170/H.439 I. Allegro assaiMendelssohn - String Quartet No. 5 in E flat major, Op.44/3 - 4. Molto Allegro con fuocoPhilip Glass - Knee Play No.4 (From Einstein on the Beach)- 聊天的人 -顾超（微博@天方乐谈超人，公众号“天方乐谈Intermezzo”）- 收听方式 -推荐您使用「苹果播客」、小宇宙或任意泛用型播客客户端订阅收听《天方乐谈》，也可通过喜马拉雅等app收听。- 互动方式 -节目微信公众号：天方乐谈Intermezzo听友群管理员微信号：guchaodemajia

Mozart composed his first string quintet at age 17 and his last in the year of his death, so it might seem that he wrote string quintets across the span of his career, but that is not the case. His first quintet was a foray into new territory for the young composer, and then Mozart set the form aside for fourteen years — his final five quintets were all created in the last four years of his life. As such, they represent some of his most sophisticated musical thinking. They offer wonderful music, exhilarating to hear (and to play!), sometimes very moving, and always very beautiful. In his quintets, Mozart did not set out to make the viola the star, but the addition of the extra viola offered him a broader canvas and unlocked new possibilities. His quintets generate a richer, fuller sound….and they offer increased opportunities to contrast different groupings of instruments and sonorities….(two of these quintets are among his longest chamber works, longer in fact than any of his symphonies).TracksDisc 1String Quintet in B-Flat Major, K. 174 (26:43) I. Allegro Moderato (9:29) II. Adagio (7:19) III. Menuetto ma Allegro (4:03) IV. Allegro (5:54) String Quintet in C Major, K. 515 (36:39) I. Allegro (14:02) II. Menuetto: Allegretto (6:13) III. Andante (8:41) IV. Allegro (7:43) Disc 2String Quintet in G Minor, K. 516 (34:09) I. Allegro (10:52) II. Menuetto: Allegretto (5:27) III. Adagio ma non troppo (7:59) IV. Adagio – Allegro (9:51) String Quintet in C Minor, K. 406 (K. 516b) (23:10) I. Allegro (8:55) II. Andante (3:57) III. Menuetto in canone (3:50) IV. Allegro (6:28) Disc 3String Quintet in D Major, K. 593 (27:04) I. Larghetto – Allegro (10:02) II. Adagio (6:23) III. Menuetto: Allegretto (5:24) IV. Allegro (5:16) String Quintet in E-Flat Major, K. 614 (24:45) I. Allegro di molto (7:39) II. Andante (7:22) III. Menuetto: Allegretto (4:07) IV. Allegro (5:36) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Plinio Fernandes embarks on a captivating exploration of his favorite composer's legacy on Bacheando. A dynamic inheritor of a decades-long tradition in which extraordinary Brazilian musicians have looked to the German master's music for inspiration, Fernandes performs a harmonious blend of Bach's compositions alongside enchanting pieces by Brazilian greats Heitor Villa-Lobos, Paulinho Nogueira, and Mário Albanese. He also collaborated with legendary Brazilian guitarist and composer Sérgio Assad, who contributed a world-premiere composition along with multiple brand-new arrangements for the album.Tracklist:1. Bachianinha No. 1 [Paulinho Nogueira]2. Bachianinha No. 2 / Araponga [Paulinho Nogueira / Luiz Gonzaga]3. Prelude, Fugue and Allegro in E-Flat Major, BWV 998: I. Prelude [Johann Sebastian Bach]4. Prelude, Fugue and Allegro in E-Flat Major, BWV 998: II. Fugue [Johann Sebastian Bach]5. Prelude, Fugue and Allegro in E-Flat Major, BWV 998: III Allegro [Johann Sebastian Bach]6. Preludio Fuga e Vivace: I. Preludio [Sérgio Assad]7. Preludio Fuga e Vivace: II. Fuga [Sérgio Assad]8. Preludio Fuga e Vivace: III. Vivace [Sérgio Assad]9. Jequibach [Mário Albanese]10. Concerto in D Minor, BWV 974: II. Adagio [Benedetto Marcello / Johann Sebastian Bach]11. Bachianas Brasileiras No. 4: I. Prelúdio (Introdução) [Heitor Villa-Lobos]Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Sie war die erste Moderatorin von «Musik für einen Gast» - in diesem Jahr wäre sie 100 Jahre alt geworden: Die Schauspielerin Roswitha Schmalenbach gehörte zu den bekannten Radiostimmen der Schweiz. Am liebsten wäre sie Sängerin geworden, doch dafür habe ihre Stimme nicht gereicht, erzählt Roswitha Schmalenbach (1923-2002) im Gespräch mit ihrem Kollegen. Sie wurde Schauspielerin und Kabarettistin, später arbeitete sie bei Radio DRS als Redaktorin und Moderatorin. Zuerst hatte sie keine Lust, Prominente zu ihrer Lieblingsmusik zu befragen – ein Vorschlag des damaligen Radiodirektors, dem sie eine Absage erteilte. Doch dann fing sie Feuer für die Idee, die Sendung «Musik für einen Gast» als Porträt entlang von Musikwünschen zu gestalten. Ihre Sendung am Sonntagnachmittag wurde so beliebt, dass Roswitha Schmalenbach am Postschalter an der Stimme erkannt wurde. Für die 300. Ausgabe wechselte sie auf die andere Seite des Mikrofons und liess sich von Heiner Gautschy befragen. In der historischen Reprise vom 28.6.1970 spricht sie über den Stellenwert der Musik in ihrem Elternhaus in Riehen bei Basel, über böse Hörerpost und ihre Liebe zum Theater und zur zeitgenössischen Musik, die sie dank ihrem Mann, dem Komponisten Philipp Eichenwald, kennenlernte. Die gespielten Titel: W.A. Mozart: Krönungsmesse KV 317: «Agnus Dei» Maria Stader / Oralia Dominquez / Ernst Haefliger / Michel Roux / Chor Elisabeth Brasseur / Maurice Allard / Orchester Lamoureux / Igor Markevitsch Richard Strauss – Ariadne auf Naxos: An Ihre Plätze, Meine Damen Und Herrn! Gundula Janowitz / Teresa Zylis-Cara / Theo Adam / Rudolf Kempe / Staatskapelle Dresden Mary Hopkin – Those Were The Days Anton Webern - «Dormi Jesu» aus Five Canons on Latin Texts for Soprano, Clarinet, and Bass Clarinet, Op. 16 Grace-Lynn Martin / Mitchell Lurie / William Ulyate / Robert Craft J.S. Bach - «Polonaise» aus der Suite Nr.2 H-Moll, BWV 1067 Severino Gazzelloni / I Musici / Berliner Philharmoniker / Wilhelm Schüchter Franz Schuberts Trio No. 2 In E Flat Major, Op. 100 - Third Movement: Scherzo (Allegro Moderato) The Immaculate Heart Trio

We'll look at Beethoven's fifth and final piano concerto, the so-called "Emperor" Concerto in E-flat Major, Op. 73.

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Winter Garden - Evening Star；2.Xeuphoria - Carry On；3.Steve Barakatt - Cedars Of Lebanon；4.ForeverLive - Cold air；5.Arthur Rubinstein,Frédéric François Chopin - Nocturne No. 2 in E Flat Major, Op. 9, No. 2；6.MANYO - カラー。

Mélanie Bonis (1858–1937), a fine pianist herself, composed some 150 works for solo piano, publishing them with her first name shortened to ‘Mel' to disguise the fact that she was a woman – while she lived among the French haute bourgeoisie as Mme Domange. They sometimes show the influence of Chabrier and have points of contact with the music of Chausson, Debussy, and Pierné, who had been fellow students at the Paris Conservatoire. But they also reveal an individual approach to rhythm, harmony and tone-color – and it's clear that her conventional exterior hid a lively sense of fun, her many miniatures for children perhaps influenced by her own experience as a mother.Tracks Barcarolle in E-Flat Major, Op. 71 (publ. 1906) (4:40) L'escarpolette, Op. 52 (publ. 1901) (4:23) Les Femmes de Légende (publ. 2003) No. 1 Mélisande, Op. 109 (1922) (2:40) No. 3 Ophélie, Op. 165 No. 1 (1909) (5:00) No. 6 Salomé, Op. 100 No. 1 (publ. 1909) (4:26) No. 5 Phœbée, Op. 30 (publ. 1909) (3:21) Romance sans parole, Op. 56 (publ. 1905) (2:18) Mazurka, Op. 26 (publ. 1896) (3:59) Il pleut!, Op. 102 (publ. 1913) (2:34) Méditation, Op. 33 (publ. 1905) (3:08) Cinq petites piéces (publ. 1929) (9:17) Une flûte soupire, Op. 117 (1:59) Berceuse triste, Op. 118 (1:41) Boston Valse, Op. 119 (1:17) Agitato, Op. 120 (1:33) Cloches Iointaines, Op. 121 (2:47) Fauré Clair de Lune, transc. Bonis (publ. 1933) (3:12) Scènes enfantines, Op. 92 (publ. 1912)* (14:01) I. Aubade (2:10) II. Joyeux réveil (1:46) III. Cache-cache (1:37) IV. Valse lente (1:19) V. Marche militaire (1:57) VI. Frère Jacques (2:08) VII. Bébé s'endort (1:39) VIII. Carillon (1:25) Cinq pièces musicales (publ. 1897) (14:43) No. 1 Gai printemps: Impromptu, Op. 11 (publ. 1889) (2:52) No. 2 Romance sans Paroles, Op. 29 (3:16) No. 3 Menuet, Op. 14 (publ. 1889) (3:46) No. 4 Eglogue, Op. 12 (publ. 1889) (3:08) No. 5 Papillons, Op. 28 (1:41) *First Recordings This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

In 2022, at the end of a series of performances dedicated to Felix Mendelssohn (1809-1847), Claudio Cruz (violin), Adonhiran Reis (violin), Gabriel Marin (viola), and Alceu Reis (cello) from the award-winning Quarteto Carlos Gomes, decided to record the entirety of Mendelssohn's string quartets. In this project with the Azul Music label, the first volume is the album MENDELSSOHN: STRING QUARTETS NO. 1, 2 & 3.Mendelssohn simultaneously published his first two quartets — No. 1 in E flat major, Op. 12 (1829), and No. 2 in A major, Op. 13 (1827) —, but he inverted the chronological order when numbering these pieces that, even in his youth, showed his full maturity. The subsequent Quartet — No. 3 in D major, Op. 44 No. 1 (1838) — is a work the composer was proud of, as evidenced by his letter from July 30, 1838, to violinist and friend Ferdinand David (1810-1873).Tracks1. String Quartet No. 1 in E-Flat Major, Op. 12, MWV R 25: I. Adagio non Troppo – Allegro non Tardante (07:33)2. String Quartet No. 1 in E-Flat Major, Op. 12, MWV R 25: II. Canzonetta. Allegretto (03:47)3. String Quartet No. 1 in E-Flat Major, Op. 12, MWV R 25: III. Andante Espressivo (04:07)4. String Quartet No. 1 in E-Flat Major, Op. 12, MWV R 25: IV. Molto Allegro e Vivace (08:46)5. String Quartet No. 2 in A Major, Op. 13, MWV R 22: I. Adagio – Allegro Vivace (08:20)6. String Quartet No. 2 in A Major, Op. 13, MWV R 22: II. Adagio non Lento (07:22)7. String Quartet No. 2 in A Major, Op. 13, MWV R 22: III. Intermezzo. Allegretto con Moto – Allegro di Molto (05:08)8. String Quartet No. 2 in A Major, Op. 13, MWV R 22: IV. Presto – Adagio non Lento (09:55)9. String Quartet No. 3 in D Major, Op. 44 No. 1, MWV R 30: I. Molto Allegro Vivace (13:50)10. String Quartet No. 3 in D Major, Op. 44 No. 1, MWV R 30: II. Menuetto. Un Poco Allegretto (05:55)11. String Quartet No. 3 in D Major, Op. 44 No. 1, MWV R 30: III. Andante Espressivo ma con Moto (05:10)12. String Quartet No. 3 in D Major, Op. 44 No. 1, MWV R 30: IV. Presto con Brio (08:29)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Bárbara Leu from Azul Music.         

We'll look at the two piano trios of Op. 70: No. 1, the famous "Ghost" Trio in D Major, and No. 2, the less famous but still very interesting Trio in E-flat Major.  

Gillian Moore's personal recommendation for Mahler's epic 'Symphony of a Thousand'

This is arguably Chopin's most famous piece. In this episode, we listen to a recording of it on an 1851 Erard piano, and discuss the characteristics of a nocturne. The elements are: Minor 3, pedal, and trill with pedal.

Jeremy Bowen is the BBC's award-winning international editor. He has been reporting from the world's conflict zones, including Iraq, Bosnia, the Middle East and Ukraine, for more than 30 years. Jeremy was born in Cardiff in 1960. His father was a journalist for BBC Wales, who covered the Aberfan disaster in 1966, and his mother was a press photographer. In 1984, after university, Jeremy joined the BBC as a news trainee and in 1989 he starting reporting from Afghanistan and El Salvador. From 1995 to 2000 he was based in Jerusalem as the BBC's Middle East correspondent. During that time he reported on the assassination of the Israeli prime minister Yitzhak Rabin. His coverage of the event won him the Royal Television Society's Award for Best Breaking News report. In 2022 Jeremy started reporting on the ground in Ukraine and earlier this year he returned to Iraq to discover how the country was coping, 20 years after the US-led invasion in March 2003. Jeremy lives in London with his partner Julia. DISC ONE: Let's Stay Together - Al Green DISC TWO: Symphony No. 2 in E-Flat Major, Op. 63: II. Larghetto. Composed by Edward Elgar and performed by Hallé Orchestra, conducted by Sir John Barbirolli DISC THREE: Piano Concerto No. 2 in C minor, Op 18. Composed by Sergei Rachmaninoff and performed by Vladimir Ashkenazi (piano) with the London Symphony Orchestra, conducted by André Previn DISC FOUR: America - Simon & Garfunkel DISC FIVE: La bohème: O soave fanciulla. Composed by Giacomo Puccini and performed by Plácido Domingo, Montserrat Caballé, London Philharmonic Orchestra, conducted by Georg Solti DISC SIX: Denn alles Fleisch, es ist wie Gras. Composed by Johannes Brahms and performed by Berliner Philharmoniker, conducted by Herbert von Karajan DISC SEVEN: In My Life – The Beatles DISC EIGHT: Waterloo Sunset - The Kinks BOOK CHOICE: The Complete Novels of George Orwell LUXURY ITEM: A manual typewriter CASTAWAY'S FAVOURITE: Symphony No. 2 in E-Flat Major, Op. 63: II. Larghetto. Composed by Edward Elgar and performed by Hallé Orchestra and Wiener Singverein, conducted by Sir John Barbirolli Presenter Lauren Laverne Producer Paula McGinley

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.MANYO - 棘；2.Xeuphoria - Listless；3.Arthur Rubinstein,Frédéric François Chopin - Nocturne No. 2 in E Flat Major, Op. 9, No. 2；4.Aage Kvalbein - Sicilienne。

On this week's lecture, resident lecturer Bruce Adolphe discusses Beethoven's Trio in E-flat major for Piano, Violin, and Cello, Op. 1, No. 1. Featuring a performance by Wu Han, piano; Chad Hoopes, violin; David Finckel, cello

夜到底承载了人类多少古往今来不为人知的情绪呢？聊聊肖邦，聊聊“夜曲之父”约翰菲尔德，聊聊夜曲这个以“夜”为主要意象载体的古典音乐题材。曲目列表：0:26- Chopin: Nocturne Op. 27, No. 26:56- Mozart: Serenade No. 13 in G Major, K. 525 "A Little Night Music": I. Allegro9:00- Nocturnes of John Field：Nocturne No. 1 in E-Flat Major. Molto moderato14:16- Nocturnes of John Field：Nocturne No. 2 in C Minor. Moderato e molto espressivo19:26- Nocturnes of John Field：Nocturne No. 10 in E Minor. Adagio25:45- Nocturnes of John Field：Nocturne No. 5 in B-Flat Major. Andantino28:56- Chopin: Nocturne No.2 in E-flat, Op.9, No.234:48- Chopin: Nocturne No.20 In C Sharp Minor,Op.Posth 40:20- Chopin: Nocturne in C Minor, Op. 48 No. 1 (Live)48:07- Tchaikovsky：Nocturne in C-Sharp Minor, Op. 19, No. 4 (Live)

From 1825-1827, Mendelssohn wrote 3 of his most beloved and most played works: his Midsummer Night's Dream Overture, his String Quartet, Op. 13, and the piece were going to talk about today, his Octet. What is truly astonishing about these three pieces is that they were all written before Mendelssohn turned 18 years old. Mendelssohn was the greatest prodigy in the history of Western Classical Music, writing music so spectacular at such a young age that it almost overshadows his later, more mature, works. In my opinion, the greatest of these three towering early pieces from Mendelssohn is his octet. It is a piece of structural perfection, ingenuity, innovation, and most of all, it is a piece of such youthful enthusiasm that it is impossible to not put a smile on your face. We'll talk all about this piece today, from its soaring first movement, to its contemplative second movement, the brilliant third movement, and the bubbling last movement. Let's discuss this miracle of a piece together - join us!

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Winter Garden - Evening Star；2.Arthur Rubinstein,Frédéric François Chopin - Nocturne No. 2 in E Flat Major, Op. 9, No. 2；3.Johann Sebastian Bach - Air -Suite No. 3 In D Major, Bwv 1068。

There are many strange creatures lurking in Lake Erie; all are dangerous - except one! Join us as we follow Erie's gentle giant: the shellfish-eating, Giant Mudpuppy; from waking to hibernation, and a great escape, there is much to explore!Writing, narrating, & editing by Ballyraven.MUSICGrossman, Ewell, Grainger - Dubois, Sonatine for Two BassoonsBen Nestor - 1st Mvt_ The Lake at NoonJohn Bartmann - Safari TimeZight - Winter In The Woods (Piano)Soni Ventorum Wind Quintet - Danzi_ Wind Quintet Op 67 No 3 In E-Flat Major, 2 Andante Moderato, Danzi_ Wind Quintet Op 67 No 2 In E Minor, 3 Menuetto AllegrettoDaniel Veesey - Sonata No. 1 in F Minor, Op. 2 No. 1 - I. Allegro, Sonata No. 1 in F Minor, Op. 2 No. 1 - II. Adagio, Sonata No. 1 in F Minor, Op. 2 No. 1 - IV. PrestissimoJason Shaw - CHASIN' IT35-11-09_002_The_Bat_WomanKevin MacLeod - Gioachino Rossini_ Ranz des Vaches, J. S. Bach_ Brandenburg Concerto No4-1 BWV1049, Camille Saint-Saëns_ Danse Macabre - Isolated Harp, J. S. Bach_ Cello Suite #1 in G (on Dulcimer) - Prelude, SonatinaSOUND EFFECTSsaphe "birds on the lake"theshaggyfreak "Waves on the Lake"Benboncan "Lake Waves 2.wav"JarredGibb "Dinosaur 3.wav"craigsmith "S27-12 Mastodon growls; dinosaur.wav"CGEffex "Dinosaur_Far off dinosaur step.mp3"swinning "Alien or Dinosaur Sounds"gjgaura "whispers-supernatural.mp3"Joao_Janz "Digital Radio Rack Unit Knob Turn Snap 1_1"NebulousRoyale "Radio transmission morse code @4606.2kHz Poland"harveyjnz "Radio Interference/Static (Recorded from Ghetto Blaster)"Magnesus "Demonic Whisper"audiolarx "water_bubbles_02"klangfabrik "pointpeleebirds.aiff"bromoon "Water"mariannadeoliveira "SFX_RADIO_Changing out of the station"InspectorJ "Boiling Water, Large, A.wav", "Bubbling, Large, A.wav", "Ambience, Night Wildlife, A.wav", "Splash, Jumping, F.wav"Henrythetrain "Digging Snow.wav"LeandiViljoen "Digging.wav"SpliceSound "Hand digging dirt, leaves crunch.wav"RUncELL "Dig wet sand-05.wav", "Dig wet sand-02.wav", "Dig wet sand-01.wav"f3bbbo "Digging in wet course sand (raw file)"wescwave "underwater5 06-09-2012.wav"Yin_Yang_Jake007 "Shovelling Dirt.mp3"mucky_pete7 "MONSTER BREATH 2.wav"DaNi7337 "Carlos R - Swimming in the Pool.wav"xdlxedgbrdkjgrunkk "Low voice (archive).mp3"adviseme333 "Fish approaching"nuncaconoci "male sigh.wav"kyles "swirling winter wind gusty grains sand.flac"mitchellsounds "fallingsnow_windFRONTLR.wav"sithjawa "Elizabeth Lake 1 - Ravens and cars.mp3"straget "Blackbird 2"arnaud coutancier "Barefoot steps on sandy beach"JettMoshe "BabyAligatorImitation.mp3"D.jones "Alligator Growls 02.wav"Chilljeremy "Sea Monster.wav"rs272001 "sea monster noises"Svarvarn "Swiss chocolate sea monster.wav"bbrocer "Chomp Chew Bite.wav"Daphne_in_Wonderland "Footsteps on sand.wav"JiggleSticks "Dropping WateSupport the showIn the Field Instagram. Facebook.Grab a cryptid study, visit the Ballyraven store.Check out Lycaon's other projects.Become a Forfend Cryptid Wildlife Protection Agent: join the Ballyraven Patreon.The official Ballyraven Cryptid Wildlife Protection Agency website.

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽&云公子，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：587586744 背景音乐：1.渡辺雄一 - 木もれ阳の午后;2.Chad Lawson - Nocturne in E-Flat Major, Op. 9, No. 2 (Arr. By Chad Lawson for Piano);3.Nelson Freire - Nocturne op. 32 no 1 B maj;4.SOUND HOLIC - 星の祈り 千年の梦／｢千年幻想郷 ~ History of the Moon｣。

In this second half, we discuss the changes cotton production brought to the United States. Mechanization and factory towns shifted the economics not only of sleepy agricultural communities, but the country as a whole. Of course, factory work brought its own significant problems, but we really can't deny the long-term impact of cotton on the formation of the modern world. Intro Music: Zac Bell Transition Music: Beethoven, Sonata No. 4 in E Flat Major, Op. 7-III. Allegro, Paul Pitman Exit Music: Jean Claude Hatungimana Cover Art: Emily Noble Day

Recording Wolfgang Amadeus Mozart's piano and violin sonatas is a tour de force. Thirty-six works spanning more than a quarter of a century, from childhood to the last years of the composer´s short life, so long of art, of the great master of Salzburg.Tracklist1. Sonata for Piano and Violin in C Major, K. 296, No. 17: I. Allegro Vivace (09:00)2. Sonata for Piano and Violin In C Major, K. 296, No. 17: II. Andante Sostenuto (06:07)3. Sonata for Piano and Violin In C Major, K. 296, No. 17: III. Rondeau, Allegro (04:57)4. Sonata for Piano and Violin in F Major, K. 376, No. 24: I. Allegro (07:35)5. Sonata for Piano and Violin in F Major, K. 376, No. 24: II. Andante (05:29)6. Sonata for Piano and Violin in F Major, K. 376, No. 24: III. Rondeau, Allegretto Grazioso (06:41)7. Sonata for Piano and Violin in F Major, K. 377, No. 25: I. Allegro (06:07)8. Sonata for Piano and Violin in F Major, K. 377, No. 25: II. Andante (08:52)9. Sonata for Piano and Violin in F Major, K. 377, No. 25: III. Tempo di Menuetto (06:24)10. Sonata for Piano and Violin in B-Flat Major, K. 378, No. 26: I. Allegro Moderato (09:23)11. Sonata for Piano and Violin in B-Flat Major, K. 378, No. 26: II. Andantino Sostenuto e Cantabile (06:23)12. Sonata for Piano and Violin in B-Flat Major, K. 378, No. 26: III. Rondeau, Allegro (04:34)13. Sonata for Piano and Violin in G Major, K. 379, No. 27: I. Adagio-Allegro (12:26)14. Sonata for Piano and Violin in G Major, K. 379, No. 27: II. Tema e Variazioni (10:39)15. Sonata for Piano and Violin in E-Flat Major, K. 380, No. 28: I. Allegro (09:58)16. Sonata for Piano and Violin in E-Flat Major, K. 380, No. 28: II. Andante con Moto (09:16)17. Sonata for Piano and Violin in E-Flat Major, K. 380, No. 28: III. Rondeau (04:35)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Bárbara Leu from Azul Music.         

On this week's lecture, resident lecturer Bruce Adolphe discusses Chopin's Nocturne in E-flat major for Piano, Op. 9, No. 2 as well as Chopin's Sonata in G minor for Cello and Piano, Op. 65. Featuring a performance by Nicholas Canellakis, cello; Michael Stephen Brown, piano

虽然同属“古典音乐三巨头”，贝多芬与海顿、莫扎特在时间线上俨然已经是下一个世代的人了，那个时间的欧洲风云突变，启蒙思想兴起，一切的变化对贝多芬的音乐创作也产生了很大的影响。本期节目我们就来聊聊这些影响在贝多芬音乐中留下来的痕迹，以及贝多芬在音乐上是如何成为那个时代乃至整个古典时代的代表人物的。欢迎关注+订阅，欢迎互动，感谢收听。包含曲目：0:26- Piano Trio No.7 in B-Flat major - I. Allegro moderato (降B大调第7钢琴三重奏《大公》，作品 97)13:40- Symphony No. 3 in E Flat Major, Op. 55 "Eroica" - Finale. Allegro molto (E major)27:25- Beethoven: String Quartet No.13 in B flat major, Op.130 - 5. Cavatina (Adagio molto espressivo) (降B大调第13号弦乐四重奏，作品130 - 第五乐章 小歌调 - 深情的柔板)35:30- Symphony No. 9 in D Minor, Op. 125 - II. Molto vivace - Presto (D小调第9号交响曲，作品125“合唱” - 第二乐章 甚活泼)

Many of the problems modern teachers are facing aren't new, so we're going back in time to find out how our education system became a system that teachers are currently fleeing. Come to find out, modern teachers inherited low pay, limited respect, and a system that strips communities of their cultural traditions. In this episode, hear how Indian Boarding Schools and the American Industrial Revolution have left traces on modern education, and how these traces are contributing to teachers' decisions to leave education.   Music:  Theme Song By Julian Saporiti “Sonata No.13 in E Flat Major, Op. 24 No. 1-II. Allegro, Molto, e Vivace” by Daniel Veesey is in the Public Domain. “Railroad's Whisky Co” by Jahzzar is Licensed under a CC BY-SA license. “Ugly Truth” by HoliznaCC0 is in the Public Domain. “Upsurge” by Jonah Dempcy is  a  CC BY-NC license. “Green Lights”  by Jahzzar is licensed under a CC BY-SA license. “Pizz” by Andrew Christopher Smith is licensed under a CC BY-NC-SA Transcript: I had a band teacher once hold me after class and force me eat a beef and bean burrito. He sat in front of me on the piano bench to make sure that I ate it. I was a freshman, in the middle of the high school wrestling season, and I was cutting weight for my first varsity tournament – where I'd end up getting my lips knocked off. My teacher, Mr. Duran, was short, wiry, wore jeans with a braided leather belt and a button-down shirt. He had round-framed glasses, combed his hair to the side, and more than once told me to listen to the greats like Chick Webb and not just the white guys that made it on the radio.  He was in his 30th year of teaching, and he was not shy about giving advice. While I ate the burrito, Duran talked about playing baseball in college and how abruptly a life of sports could come to an end but how long a life of music could last. This was mature guidance, albeit, guidance that I see more value in now than I did then. Duran would garnish each class with stories that worked to guide us towards being kind human beings. There were days in Jazz band where he would sit in the center of the tiered room, legs crossed, saxophone neck strap still on, and tell us about his past. When Mr. Duran was in college at the University of Northern Colorado in the 1960s, the Count Basie Orchestra went through town and stopped at the university. UNC was known for its jazz programs and one of Basie's saxophone players dropped out and they needed a replacement. Count Basie was one of the most influential musicians from the Swing Era – he was like a swing minimalist. Duran jumped at the opportunity. He got to travel and play with the band and experience life as a musician – more specifically as a musician of color. One time he and a buddy from the orchestra went into a diner and were refused anything more than water. Duran was Mexican and his friend was Black, and it was the middle of the 1960s. In protest, they sat in the big window of the diner for 3 hours, sipping their water, putting themselves on display for anyone who walked by. I love that story – this man, my teacher, saw inequity and faced it with defiance. Duran's lessons were eye-opening. I didn't realize that those stories served as parables on ethics and kindness until I became a teacher and started telling stories of my own to serve the same ends. Duran used his history to help us become better humans. And isn't that why we turn to history? Well, today, we're going to take a lesson from Duran and examine the history of education in the U.S. And because the history of education is tremendous, we have to narrow it down. So we'll focus on two aspects of history that set precedents for modern education, for the current system from which modern teachers are exiting.. We are going to start with Indian Boarding Schools, and then we'll take a look at the American Industrial Revolution. This is Those Who Can't Teach Anymore, a 7-part podcast series exploring why teachers are leaving education and what can be done to stop the exodus. I'm Charles Fournier. Here is part 2: “Inheritance” Caskey Russell:  I'm going crabbing this weekend. I own a boat with my brothers. And yeah, we go out and catch crab. And there'll be salmon season soon. So I kind of got back into the ocean style lifestyle. This is Caskey Russel. I got to catch up with him over a zoom call this summer. He is the Dean of Fairhaven College at Western Washington University. He grew up in Washington and is from the Tlingit tribe. I know Caskey because he taught for 17 years at the University of Wyoming, he was a dean of American Indian Studies, and he was my thesis chair and educational guide when I was at the university. Some of Caskey's research for his PhD program dug into the history of Indian Education, specifically Indian boarding schools. Caskey Russell: My grandmother and her brothers, aunts and uncles, all went to Chemawa Indian School, in Salem. And it was a mixed bag. If you are asking yourself, wait, who's this Caskey guy and what do Indian Boarding Schools have to do with teachers quitting? Here's how. We know that historical atrocities leave a trace on modern institutions, so we need to recognize that Indian boarding schools have left their mark on modern education. They are a  part of the system of inequity modern teachers have inherited. Indian Boarding Schools are an example of the deculturalization that has occurred in education. One of many. Attempts to strip communities of their cultures happened with just about everyone in this country at some point that didn't fit into the male, able-bodied, straight, white, Anglo Saxon Protestant category. Traces of these inequities remain in education, deculturalization still happens, and teachers working towards inclusion in a system that was based on exclusion often run into roadblocks – think book bans or accusations that teachers are trying to indoctrinate kids - and these roadblocks are pushing teachers out of education. So to better understand the inequities in modern education, this thing that is frustrating teachers to the point of quitting, we need to look at where some of those attempts at deculturalization originated. We need to look at Indian Boarding Schools. And we need to listen to someone like Caskey.  Caskey Russell: They liked the sports. They like some of the music, but my uncle Stanley Pradovic, I remember he said, “I used to dream of feasts, seafood feasts that they had in Alaska.” And  my grandmother was able to keep the Tlingit  language because she didn't go to boarding school, but her brothers did not.  You step back and look at the whole system and how destructive and just kind of the cultural genocide aspect. My grandmother would say she didn't know her brothers because when she was born, her brothers were gone away from her earliest memories. And so she didn't get to know her brothers right away. It did break families up. And I was just chatting with my mom last night. My mom said the other family had no control over what it was determined for them. And again, not having control over that seems to be the key to it, nor having input in the education nor valuing…and then having a different model, different cultural notion of success. And then the military and the Christianization, all that together, just adds problem on top of problem, instead of being empowering and enlightening, that really becomes conforming, sort of thing. What happened to Caskey's family was a result of centuries of efforts to deculturalize tribes. Early European colonizers of the US  set a precedent of trying to assimilate tribes into a single monolithic culture. Colonizers disregarded tribal traditions and languages and failed to see that tribes already valued education for their youth. So the assumption that public education started with Horace Mann in 1837 is an assumption that values eurocentric education over the public education that was already in the Americas.  Part of this is because the purposes of education differed. Many Native communities saw educating children as a means to pass on generational knowledge and teach children how to be a successful part of the community. 17th-century Plymouth settlers specifically saw education and literacy as a method to keep Satan away. Children needed to be able to read so they could read the Bible. A pilgrim minister explained: “[There] is in all children, though no alike, a stubbornness, and stoutness of mind arising from natural pride, which must, in the first place, be broken and beaten down; that so the foundation of their education being laid in humility and tractableness, other virtues may, in their time, be built thereon” (42). But tribes did not beat down their children, did not read the Bible, and were able to survive and thrive in what Pilgrims saw as wilderness. So Pilgrims worked to impose their educational priorities onto tribes as a way to cast out Satan, and ultimately gain control of Indigenous people. This effort to assimilate and control only compounded over the next few centuries By the 19th century, congress was also making efforts to deculturalize and assimilate tribes. Thomas Jefferson who had a big role in the removal of Native Americans from their lands also had a One Nation idea when it came to Native Americans – an assumption that required assimilation through education. In 1816, Jefferson explained the value of education: “Enlighten the people generally and tyranny and oppressions of body and mind will vanish like evil spirits at the dawn of day. Although I do not, with some enthusiasts, believe that the human condition will ever advance to such a state of perfection as that there shall no longer be pain or vice in the world, yet I believe it susceptible of much improvement, and most of all in matters of government and religion; and that the diffusion of knowledge among the people is to be the instrument by which it is to be effected” (101)). Jefferson believed a democratic, not a moral education which was what kids were getting at the time, was essential to democracy and he's right, but his One Nation idea required a monolithic ideal that did not value other cultures. He wanted tribes to conform to his image of being American. This focus on conformity was baked into the American educational philosophy. The Civilization Act of 1819 saw Thomas McKenney, the first head of the Office of Indian Affairs begin a process of Native American deculturization  – they created a tribal school system run by white missionary teachers hoping to gain control of tribes through the power of education and assimilation. When Andrew Jackson became president in 1829, he saw some of the educational progress made by tribes as dangerous to America's goals of gaining control of lands.   So, in 1830, America passed the Indian Removal Act, which brutally uprooted tribes and relocated them. Thirty years later, the Indian Peace Commission began reservation schools or day schools. But again, the cultural genocide that all of these acts and efforts had hoped for weren't as effective as the government Wanted. This is when the government stepped in again. Paired with the Dawes Act of 1877 that worked to split reservation lands into private property began the start of the boarding school movement in 1879. Each step was a process working towards killing cultures in an attempt to control land, people, and ideas – all largely through some form of education. The start of the boarding school experiment can  be attributed to Captain Richard Henry Pratt. Caskey Russell: Pratt actually had a number of prisoners of war under his charge at St. Augustine, Florida. Besides being given military uniforms, they would teach them. And so the way he sold the first  boarding schools was that instead of being at war with natives, you can educate them. The US could educate them, and kind of eradicate native culture through educating towards whiteness. Caskey explained that the thought was that education would help the government avoid the expenses of war. Caskey Russell: So there are a group of Plains Natives that were transported to St. Augustine, that was his kind of first experiment. And then he was able to go to Congress and get some money. And he took them to The Hampton Institute and eventually to the Carlisle Indian Industrial School So Pratt's experiment led to the establishment of the Carlisle Indian Industrial School in Pennsylvania in 1879. This was around the same time that Pratt made a famous statement to congress: Caskey Russell: He says to Congress, “You have heard Sherman say the only good Indian's a Dead Indian. I would agree with this one kind of difference that you can kill the Indian save the man.” That's what education can do. That's the motto. And so, there was based on military kind of military boarding school style, and they opened up across the country. And they were often religiously affiliated, and religious institutions given  them control of them. Which, you know, was another part of the boarding schools was the religious education, the eradication of tribal cultures, tribal religions, and the inculcation of Christianity, the various sects of Christianity across the country. Each step taken by congress, in the name of education, was an effort to prioritize one culture over others, one idea of success over others - often through religious means, because again, early education was morality based. And they did this through legislation and through educational policy. Even though many of these efforts are pretty old, we still feel the educational effects of prioritizing a single culture or single idea of success.. Elizabeth Smith, a veteran teacher of 20 years who teaches on a reservation still sees this today.  Elizabeth Smith: Even though I can count on my hand, the number of students that I've taught that have graduated and have a white culture, sort of experience with what would be known as success, quote, unquote   Caskey sees this idea in what is tested or valued as a bottom line in public education. These are things that dismiss differentiated cultural values. Caskey Russell: Did the schools reward students let's say for instance, this the schools Wind River  reward students for knowing the traditional clan system,  speaking Arapaho or Shoshone for knowing traditional ways, whether it's kind hunting, traditional use of land, traditional plants respond medicine, knowing being prepare, or being an apprentice for ceremony, none of that none of that culturally important stuff that was really important to Native people, especially young people they could dream of, you know, I'm going to fulfill these goals, these roles, these social roles one day, none of that's important, it seems like an American school system, right? When you're going to take the SAT or the ACT, are they going to value the hours you spent with your grandparents trying to learn the language or learning stories or learning traditional ways? Of course not. This is a part of the inheritance of modern education, something teachers have to grapple with consistently. How can we educate students to be a part of a community that through legislation or policy doesn't seem to value all traditions and cultures within that community? Or how to reach a measure of success that isn't culturally misaligned or based on morality? Caskey Russell:A handful of them might be successful in kind of the white American ideal. But that's not the only measure of success, nor is it maybe a healthy measure of success, right, for Native people. It would be wonderful to let other ideas of success, community success, success as a human being within a community flourish in the school setting. This question of how to honor a diverse spectrum of students lands on teachers in the classroom. Though legislators and school boards may make efforts to dictate what can and can't be taught in the classroom, the reality is it's teachers and administrators who are working with kids – and kids from a wide spectrum of communities who have often been forced into a specific, standardized idea of success, which might not be culturally conscious. This is exactly how Indian boarding schools started, they forced kids from diverse tribes into a standardized idea of success initially using arguments for morality to do so. We recognize this as bad now, so why are forms of it still happening?   A big concern of some of the teachers who have decided to leave teaching was the start of limits and  restrictions about what can and can't be taught in the classroom. Many of these limits originate from argument about morality that are backed by religious groups that want to dictate what is happening in the classroom. Think of Mr. Wacker from last episode who is still frustrated with the banning of Toni Morrison's The Bluest Eye for moral arguments or Mr. Atkinson who felt his curriculum being squeezed by people who didn't appreciate class conversations about varying cultural perspectives on current events.  And, as we saw with the history of Native American education, this is not new – even though many founding fathers, who were deists themselves, advocated for the separation of church and state and were adamant that education focus on democratic values rather than religious values. John Adams wrote to his wife Abigail:  “I must study Politicks and War that my sons may have liberty to study Mathematicks and Philosophy. My sons ought to study Mathematicks and Philosophy, Geography, natural History, Naval Architecture, navigation, Commerce and Agriculture, in order to give their Children a right to study Painting, Poetry, Musick, Architecture, Statuary, Tapestry and Porcelaine.” John Adams does not reference education and say study the Bible. And fellow former president James Madison did not mince words in a letter that pushed against church use of government land, which would later include schools: “The purpose of separation of church and state is to keep forever from these shores the ceaseless strife that has soaked the soil of Europe with blood for centuries.” And these beliefs worked their way into legislation with the inclusion of the Establishment Clause in the First Amendment, which Thomas Jefferson said was “A wall of separation between the church and state.” And though we know Jefferson's view of education wasn't very inclusive, if we combine this idea of the separation of church and state with a modern inclusive reading of Jefferson's thoughts that education is to “Educate and inform the whole mass of the people. They are the only sure reliance for the preservation of our liberty,” We get a pretty good idea that education is a means to inform a free-thinking, diverse population that has different belief systems.  The founders knew the danger of letting religion seep its way into government - they just broke free of a country that allowed that to happen. So to have a system of education that would inform the whole mass of people without perpetuating the deculturalization we saw with the Indian Boarding schools, which have their origins in religious schooling, that system would need to accommodate the diversity of that mass of people.  This means that teachers would need the trust of the public and  freedom to use their expertise to do their jobs, which would likely include selecting a wide range of materials to accommodate a diverse student population. This freedom and trust is not something being granted to modern teachers. There is currently a trend of parents, legislators, and school board members criticizing teacher efforts to support diverse student needs, often through moral critiques. Which stems from a lack of trust and the same morality based fear that sparked early deculturalization efforts in the United States. So, this isn't new. This is another part of what teachers have inherited from previous generations of educators, a lack of professional respect that translates to a lack of autonomy in the classroom, low pay, and a smattering of other things that are driving teachers from their jobs. Here's Elizabeth again: Elizabeth Smith: And let me clarify, you know, when I say I love teaching, I do love teaching. To say that I love where I'm at right now, no, I do not. I am not satisfied with the way my job is going. I'm not satisfied with the way I feel inside every single day coming home from work. It's like a battlefield. It is intense. It is stressful. My family has noticed it and made comments on it, you know, and I don't have the patience to deal with my own children. And what am I going to do if I don't do this? I've got 20 years of expertise invested in this. And I've spent a lot of time learning how to do the things that I do and I enjoy improving it. As of now, she is planning on staying in education. And all of those 20 years have been spent teaching on reservations. She attributes this in part to why she loves her work so much, why she's planning on staying. There is a different level of respect that she sees in these schools and a higher level of appreciation, which goes a long way. But this doesn't mean that there still isn't a lack of professional trust or respect that she feels from being a teacher.  Elizabeth Smith: There's so much micromanaging and so many expectations that are put on us that are really insulting, actually, to our intelligence and to our professionalism. And I understand that there are teachers who are unaware of the ways that they're doing things are unprofessional and unintelligent. So I get the admin has to make some allowances and come up with some plans for how to deal with teachers that are not as aware of themselves and their skills as they should be, you know, so I understand that but the blanket statements.. To address where these blanket solutions may originate from, we are going to take another look at history through a little different lens than what we've been using so far.  When I asked teachers about what pushed them out of education, they echoed Elizabeth's frustrations. Lack of respect was a major reason people left. But this is not new, like the history of inequity in education, the lack of professional respect has been a thread through public education's history. So we are going to pull on that thread and look at the tradition of not valuing or respecting teachers.   Stephanie Reese: As a teacher, you're going to be marginalized, and you're not going to be taken seriously. Ron Ruckman: I think a lot of administrators, They just don't have any idea there, and they don't really think of us as professionals, you know, they don't really think of us as being able to do our job. Christie Chadwick: As a teacher, we're managing all these expectations. And I think that that's not acknowledged by the general population. Teachers want to be seen as professionals. This came up in interviews in reference to being trusted to make decisions about curriculum, in being more autonomous, and in getting paid better. When thinking about why teachers have inherited a lack of professional respect in the present, it might have to do with the American Industrial Revolution: Colby Gull: We were built on an industrial model. Get them in, stick the widget on him and get him out the other side of the door. Right. And that's just not how humans work. This is Colby Gull, he is the managing director for the Trustees education Initiative in the College of Education at the University of Wyoming. Colby has been a teacher, a coach, a principal, and a superintendent. He's run the educational gamut. And he points out that the structure of education does not necessarily promote the growing and sharing of ideas. Colby Gull: And we live in now the idea economy. And we're still not teaching in the idea economy. We're teaching in the industrial economy where you buying and selling goods. But our economy now is based on ideas and sharing of ideas and debating and discussing, and I don't know, people make a lot of money with their ideas.  And this structure of education, this factory style model, which looks similar to the military approach seen with Indian Boarding Schools, started and gained popularity during the American Industrial Revolution at the end of the 19th century. Along with this more industrial model the precedent for the amount of respect teachers received was set. I see several ways in which history has handed down a dismissive attitude toward teachers.  As Common Schools gained popularity in the mid-19th century, young women were also moving to cities for better economic opportunities. And these women were hired as teachers in droves because they could be paid substantially less than men. This compounded since teaching was seen as respectable employment for women - it matched the stereotype that women were naturally nurturing. Both the image of teachers as nurturers and the trouble with pay is consistent with what we see today.  Here's Stephanie Reese, a former PE teacher who left education and became the general manager of Blacktooth Brewing Company. Stephanie Reese: Absolutely money matters. I was in so much debt. You know, with loans, whether they're student loans, or just credit card, or whatever it is, I had a lot in college, had a lot while I was teaching. and teaching just doesn't give you that opportunity.. And  level increases are a fucking joke. Unless you've been in, you've been in I call it like, like you've been in the pen. You've been in for 34 years, you've given one kidney, you have four degrees, master's degrees, preferably doctorate even better, and you've given up your will to live, and those those things will give you more money. Part of the consistently poor pay has to do with the hierarchical structure in education. After the Civil War, the first iteration of the department of education was created, in order to track what the nation's schools were doing. So there was an expectation for the availability of public schooling. Once the American Industrial Revolution hit towards the end of the 19th century, factory jobs boomed. More people flocked to cities meaning there were more kids and more of a need for teachers. With more men transitioning to better paying factory jobs, even more women were moving to the classroom. The large number of women serving as teachers was accepted at a time when women weren't given many professional opportunities. Administrative roles – principals, superintendents, and the like – were held by men. And many high school positions were still held by men. So a hierarchy that prioritized male control and male decision making was very clearly in place. Mark Perkins, a former teacher and administrator and current parent and professor of Educational Research methods at the University of Wyoming, points out that this hierarchy has remained even if the original gendered reasons for its creation haven't. Mark Perkins:  I think there's a power hierarchy. And I don't think that teachers have been empowered enough to express their professional expertise. I think that teachers are approached as a service industry. And so, we want teachers to parrot curriculums. We want them to be experts in their content, as long as their expertise doesn't contradict with our preconceived notions of reality. So I think there's a sociological phenomenon that goes on in schools.  I think it's a common phenomenon. The system of becoming an administrator in some cases  was once based on seniority. So the most senior teacher would inherit the role of principal. This changed when a degree was required to become a principal or superintendent, which also prevented women from gaining access to these administrative positions by making them require a degree because women weren't often able to access such an education. So these days, some administrators are in the position without having had a tremendous amount of time in education, which can make administrator impact or insight into the classroom difficult. Ron Ruckman, who just left teaching after 23 years, explains that the lack of experience can be glaringly obvious for some administrators who are disconnected from the teachers. Ron Ruckman:  You know, and then there's other administrators that just don't want to have anything to do with your classroom, you know, and they want to make decisions, but they don't want to, they don't communicate with you or ask you things. There's a lot of that especially in rural districts. We've spent so much time and money in this district doing initiatives and buying products. And, you know, I can't imagine how much money we've just wasted, you know, buying stuff that, you know, on, based on a good salesman that convinced somebody that they needed it. Whereas had they come and asked us would have been like, no, no, that that would be a really dumb thing to do. That's not going to work. You know, but there's just that kind of an apt idea that teachers really are, you know, don't really know what they're what, you know, they don't really know anything other than their subject. And we're, we're pretty smart. Most of us, you know. (Beeping) This was perfect timing. That beeping was for a fire. Ron is the Battalion Chief for the Pinedale fire department - he has a lot of roles in his community because he is intelligent and capable and because of not being respected for being intelligent and capable, he quit teaching to pursue the other things he's good at.  Some of the ways teachers are not seen as capable has to do with how education is standardized. In the late 19th century, as cities got larger and more and more kids were put into schools, urban schools started to split students into grade levels. Around this time and into the early 20th century, there was a development of what historian David Tyack (Tie-yak) described as the One Best System of education – this saw a focus on specific, easily assessed, and easily sequenced subjects of study. This also did more to highlight non-academic items like good attendance, behavior, and willingness to follow directions, which all aid in creating people who would fit into an industrial economy. This structure was useful when more and more students were placed into a class. And by the early 20th century, politicians and administrators were seeing schools as being a solution to the nation's woes. Traces of these industrialized values are very present in modern classrooms, and it makes Allison Lash, who taught art in New York City and Austin, Texas, sad at what she sees. Allison Lash: A friend of mine had said one thing about why he's doesn't like education is just that you go to school to learn how to work, basically, to get you ready to go out in the world and work. And that's sad. Like, I just want to live. I don't want to worry about working and how to make money and pay your school loans and your bills. It used to bother me that kids would get rewarded for being in school every day. And it's all about money. It's all about how many kids are in their seats every day for the school district to make money. And it was sad, it was sad that kids would win awards for like, being their everyday awards. Like who really cares? They're totally ignoring mental health and even if the kid is sick, you stay home. It's really sad when you go into elementary school and you see the kids quiet and lined up in a line and like “shhhhh,” and I remember teaching that and  I know that I guess order is not wanted, and I don't know if needed is even the right answer. Teach kids to be a good person. The rise of industry during the American industrial revolution also saw a rise in unions and strikes. Because teachers were mostly women, and many of the strikes of the time were more militant and potentially violent, women were less likely to take part in strikes and efforts to gain better pay. This was not helped by the fact that men held leadership positions in education, so they did not make efforts to better the work environments of teachers because these men just weren't affected. The  National Education Association, which was founded in 1857, wasn't just for teachers, so administrators, men, were also in charge of Union happenings. It wasn't until 1910 when Ella Flagg Young was elected as the NEA president that the union started taking more steps to help teachers. But the difficulty in changing and revising educational structures is still present. Chris Rothfuss, a parent and Wyoming State Senator and member of the Senate Education committee, knows this all too well. While we have a coffee in Laramie, Wyoming, Chris explains that change may require a cultural shift inspired by younger generations .  Chris Rothfuss:  I think a large part of the reason why we develop into what we are really is the way this country industrialized and grew and had a middle-class work ethic through the mid-20th century, that shaped a lot of the way things are done. And the philosophy about why things are done, the way they're done, where there is a common viewpoint that I think is handed down from generation to generation that if you just work hard, put your nose to the grindstone, that you will be successful, and things will go your way, and you'll have a good life. I think part of what's changing that, is that this emerging generation is realizing that while that may have been true, a lot of what allowed that to be true, was frankly, taking on debt that is generational debt and handing that debt down to the next generation. So effectively exploiting the future for the benefit of the present. This younger generation isn't enthused about that as they're learning more about it, and rightly so. And they don't see a path to a traditional life as being what they aspire to. A potential reason for major shifts not having occurred in the past might have to do with economic uncertainties. For every economic depression and war to occur in the 20th century, money was pulled from education to help the war or economic problems, but that money was not necessarily given back to education. Teacher pay was often cut when other unionized jobs like factory work was not cut because there was an assumption that teachers, being mostly women, would not need to support their families. During WWII, when more women went to work in factories, those women who were still teaching saw how much better the pay was for the women who went to work in factories. The impact of war and economic troubles also resulted in  a more factory-like structure in the classroom. This was often a result of trying to accommodate a larger student population with less resources, and it was also an easier way to measure student achievement. This created an educational structure that overwhelms teachers, which makes best practices more difficult and stretches teachers thin. Molly Waterworth, who just left teaching this year after 8 years in the classroom, explains the reality of being overwhelmed as a teacher.   Molly Waterworth:  The reality is that if you have 150 kids, there's no way that you're going to grade all of their work in seven and a half hours that you have with them during the day. There's no way. It's just a mathematical impossibility.  The truth is, teachers have inherited being paid poorly, being overworked, and not being treated with respect. Sadly, much of this is associated with the trend of women in the profession within a patriarchal society. And the teaching profession is still dominated by women. The NEA reports that about 3 quarters of teachers are women, and teachers still get payed about 74% of what equivalent degreed professions earn.  So, teachers are leaving education, but the reasons they are leaving are a result of problems that have been percolating since the start of public education in the United States. Efforts at deculturalization seen with the Indian Boarding Schools have left an impact and pattern on modern education, just like the treatment of women and industrialization of education has left an impact on how teachers are currently treated.  This does not mean that public education needs to end, but like any inheritance, we need to acknowledge and deal with the problems. We need to see that there have been attempts to address inequity in education with efforts like Brown v Board in 1954, Title IX in 1972,  and the disabilities act of 1975. But continuing to return to a standardized, one-size-fits-all approach that matches an industrial structure of education just does not work – it doesn't value teacher expertise, nor does it meet the students with unique cultural backgrounds or needs where they are. And because teachers have been tasked with addressing these inequities with limited freedom and trust and resources, many are calling it quits. This needs to change – teachers need to be able to disclaim this inheritance for their sake and for the sake of their students.  Next time, we will look at how the perception of teachers might be influenced by pop-culture.  TEASE: “Robin Williams isn't going to do that.” That will be next time on Those Who Can't Teach Anymore. Thank you for listening. Be sure to subscribe to our podcast, leave a review, and share episodes with everyone you can think of. This episode was produced by me, Charles Fournier. It was edited by Melodie Edwards. Other editing help came from Noa Greenspan, Sarah-Ann Leverette, and Tennesee Watson. Voice Acting by Rory Mack, David Whisker, Rick Simineo, and Markus Viney who also offered editing help. Our theme song is by Julian Saporiti. All other music can be found on our website. A special thanks to Elizabeth Smith, Caskey Russell, Stephanie Reese, Ron Ruckman, Molly Waterworth, Christy Chadwick, Colby Gull, Mark Perkins, and Allison Lash for taking time to sit down and chat with me. This dive into history was greatly aided by two books: American Education: A History by Wayne J. Urban and Jennings L. Wagoner, Jr. and Deculturalization and the Struggle for Equality: A Brief History of the Education of Dominated Cultures in the United States by Joel Spring……This podcast is funded in part by the Fund for Teachers Fellowship.

Rudolf Buchbinder – Soirée de Vienne sounds echoes of the celebrated Austrian pianist's home city in the form of music closely associated with it. The recording, released by Deutsche Grammophon on 25 November, captures both the lost world of salon soirées and Vienna's legendary attitude to life, with its heady blend of intensity and insouciance, earthiness, and beauty.Track Listing:1 Soirée de Vienne, Op. 56 04:472 No. 2, Pizzicato-Polka 03:323 No. 1 in D Major (Arr. Tausig for Piano) 05:534 Waltz in G-Flat Major, D.Anh.I/14 "Kupelwieser Walzer" 01:295 No. 5, Allegro, ma non troppo. 03:156 Fantaisie-impromptu, Op. 66 04:367 No. 2 in E-Flat Major 03:498 No. 2 in C-Sharp Minor 03:439 No. 2 in B Minor 04:0410 No. 1 in A-Flat Major :3411 Liebeslied, S. 566 (After Schumann's Widmung, Op. 25 No. 1) 03:2712 I. Allegro molto moderato 08:4013 II. Allegro 04:4014 III. Andante 06:0115 IV. Allegretto 07:5116 Frühlingsstimmen Walzer, Op. 57 06:1917 No. 6 in A Minor (After Schubert) 06:37Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Norwegian pianist and conductor Leif Ove Andsnes has been called “one of the most gifted musicians of his generation” by The Wall Street Journal. He has won worldwide acclaim, eleven Grammys nominations, and six Gramophone Awards. In 2012, Andnses partnered with the Mahler Chamber Orchestra for an ambitious multi-year project titled “The Beethoven Journey,” performing all five piano concertos in 15 countries across three continents. Recently, Andsnes and the Mahler Chamber Orchestra collaborated on their second multi-year project, “Mozart Momentum 1785/86,” exploring one of the most creative and productive periods of the composer's career. Leif Ove Andsnes tells Alec about how the piano is his first language, how he prepares before a concert and what he feels all great pianists have in common.  You can listen to all of the music from this episode and other selections from Leif Ove Andsnes in a curated playlist here.  The following compositions are featured in this episode: Grieg: Piano Concerto in A minor, Op. 16 – 1st movement - Allegro Molto Moderato Leif Ove Andsnes (piano); Berlin Philharmonic Orchestra, Mariss Jansons (With the kind permission of Warner Classics)   Ludwig van Beethoven, Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor" : I. Allegro, Leif Ove Andsnes (piano)  (With the kind permission of Sony Classical)   Rachmaninov: Piano Concerto No. 2 in C minor, Op. 18 - 3rd movement – Allegro scherzando Leif Ove Andsnes (piano); Berliner Philharmonic Orchestra, Antonio Pappano (With the kind permission of Warner Classics)   Janáček: On The Overgrown Path Series 1 - JW 8/17: I. Our evenings (Moderato - Adagio)  Leif Ove Andsnes (piano); Mahler Chamber Orchestra (With the kind permission of Warner Classics) See omnystudio.com/listener for privacy information.

In a reversal of the past four years, President Biden has vowed to take on the violent threat posed by the far-right. But how? On this week's On the Media, a look at the techniques and tactics used to undermine extremism, here and abroad. 1. Brad Galloway [@bjgalloway1717], a former neo-Nazi and now case manager with Life After Hate and ExitUSA and coordinator at the Center on Hate, Bias and Extremism at Ontario Tech University, on how he and his colleagues work to get far-right extremists to accept responsibility for their choices and move beyond hate. Listen. 2. Kurt Braddock [@KurtBraddock], professor of communications at American University, and the author of Weaponized Words: The Strategic Role of Persuasion in Violent Radicalization and Counter-Radicalization, on messaging campaigns designed to neutralize rightwing propaganda, conspiracy theories, and calls to action. Listen. 3. Ross Frenett [@rossfrenett], co-founder of Moonshot CVE, on redirecting people away from extremist search results online. Listen. 4. Stig Jarle Hansen [@stigjarlehansen], co-editor of the Routledge Handbook for Deradicalisation and Disengagement on the long, checkered history of global de-radicalization efforts, and Michael German [@rethinkintel], fellow with the Brennan Center for Justice's Liberty & National Security Program, and author of Disrupt, Discredit, and Divide: How the New FBI Damages Democracy, on how the term "radical" has always swayed in the wind of power and the perils of the "de-radicalization" framing. Listen. Music: Schubert — Piano Trio No. 2 in E-Flat Major, Op. 100 Khaled Mouzanar — Cockroachman Marcos Ciscar — The Old House Tom Waits — Way Down in the Hole Chopin — Berceuse In D Flat Major, Op. 57   On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.