Podcast appearances and mentions of johann sebastian

Folge 271: Vieles spricht dafür, dass der junge Bach nach seinem Stimmbruch ein Privatschüler des Lüneburger Stadtorganisten Georg Böhm war, nicht zuletzt ein Fund, den Michael Maul in Weimar gemacht hat.

Folge 270: War Bach etwa ein Schulabbrecher? Seine Laufbahn als Sopranist und Mettensänger in Lüneburg war jedenfalls recht kurz. Die Zeit dort im Norden wurde ihm dennoch nicht zu lang.

Folge 269: Eigentlich hätte Bach bequem in Ohrdruf die Schule abschließen können. Er wechselte aber nochmal die Schule und ging nach Lüneburg. Warum eigentlich?

Folge 268: Nach dem Tod von Mutter und Vater wurde Bach 1695 zu seinem älteren Bruder Johann Christoph nach Ohrdruf geschickt, der die weitere musikalische Erziehung übernahm.

Folge 267: Seine ersten zehn Lebensjahre verbrachte Bach in Eisenach, umgeben von Musik: Sein Vater war der oberste Stadtpfeifer und in der Stadtkirche spielte mit Johann Christoph Bach auch ein Verwandter die Orgel.

Folge 266: Im Bach-Kanal startet mit dieser Folge eine neue Serie, in der in vielen kleinen Episoden die Biographie Bachs erzählt wird. Am Beginn gibt es einen Blick auf Bachs Vorfahren in Thüringen.

Una de las formas musicales que mejor representa el Barroco es la “Suite”, un conjunto de danzas, la mayoría de origen francés, con las que podemos disfrutar durante horas ya que la inmensa mayoría de los autores de ese período compusieron una buena cantidad de ellas. En el programa de hoy contamos con 2 buenos ejemplos: George Friedrich Haendel y Johann Bernhard Bach, un primo muy querido por el gran Johann Sebastian. Tras desaparecer del repertorio habitual durante más de un siglo, las suites volvieron a adquirir protagonismo a finales del siglo XIX y así podemos disfrutar en este programa de momentos extraídos de obras compuestas en el siglo XX por Josef Suk, Aaron Copland, Mario Pilati y el japonés Isotaro Sugata. Así de variada es la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender

Folge 258: Maul & Schrammek wagen sich endlich an das "Opus summum" von Bach, die h-Moll-Messe. In Folge 1 werden die chronologisch frühesten Teile – Sanctus, Kyrie und Gloria – genau auseinandergenommen.

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De Johann Sebastian Bach ass weltwäit ëmmer nach ee vun de meescht representéierte Komponisten an eise Concertshaiser. An hei zu Lëtzebuerg gouf elo decidéiert, dem Bach eng nei, zentral Plattform ze bidden. Ënner anerem fir "Bach in the Subways" kéint dat eng Erweiderung erméiglechen. Mee och un neien Iddie feelt et net, wéi d'Grënner Rosch Mirkes, Arend Herold an Noah Mayer am Gespréich mam Christophe Mirkes verroden hunn.

Jewels chats with Kelowna Actors Studio Resident Music Director Spencer "appropriately named" Bach about his passion for playing, teaching, learning, listening to and sharing music and particularly musical theatre. Thank you for the music. If lockdown taught us anything, it was the importance of art. OH and is Spencer related to Johann Sebastian? We may never know.email: jewelssays@gmail.comInstagram: @jewelssaysSpencer's Instagram: @spencer_bachEpisode ReferencesKelowna Actors StudioJohann Sebastian Bach Hosted on Acast. See acast.com/privacy for more information.

durée : 01:58:39 - Le Bach du dimanche du dimanche 28 juillet 2024 - par : Corinne Schneider - La Tchéquie : 4e étape du tour d'Europe avec la musique de Bach, à l'écoute de la soprano Hana Blazikova, du Collegium Marianum et de l'Ensemble Inégal, du Collegium 1704 de Vaclav Luks et de Musica Florea de Marek Stryncl ; puis « La musique des Bach avant Johann Sebastian » (émission n° 282) - réalisé par : Emmanuel Benito

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Did Bach write this? Many think not. It's brilliant nonetheless!  We get into a talk about aspects of this motet which would or would not be hallmarks of Johann Sebastian. BWV 230 as performed by the Netherlands Bach Society

Osrednji glasbeni dogodek na Programu Ars bo nocoj ob 20.00 koncert v Komornem studiu. V okviru cikla oddaj Komorni studio bo v studiu 13 gostoval mednarodno uveljavljeni čembalist in organist Tomaž Sevšek, ki bo igral na čembalo in klavikord. Čembalist in organist Tomaž Sevšek, po rodu iz Šoštanja, se kot koncertni solist in komorni glasbenik posveča glasbi za različne instrumente s tipkami od pozne renesanse do glasbene avantgarde 20. in 21. stoletja. Ob igranju se raziskovalno poglavja tudi v izvajalsko prakso glasbo iz preteklih obdobij, ki jo izvaja. Klavir in orgle se je začel učiti v Glasbeni šoli v Velenju. Orgle je študiral na Visoki šoli za glasbo v Freiburgu pri Zsigmondu Szathmaryju in čembalo pri Robertu Hillu. Dodatno se je izobraževal pri Davidu Higgsu in Arthurju Haasu na glasbeni akademiji Eastman v Rochestru v ameriški zvezni državi New York. Tomaž Sevšek je specialist za različne, predvsem zgodovinske instrumente s tipkami: ''Izbral sem dve po tipu različni glasbili, torej ta velik 16-čeveljski čembalo in pa klavikord. Znano je, da je Johann Sebastian Bach že leta 1719 poskrbel, da so na dvoru v Köthnu, kjer je deloval, naročili velik, 16-čeveljski čembalo. Očitno so ga navduševali: polnost registra, ki igra oktavo nižje, in pa veliko število različnih zvočnih kombinacij. Bachov prvi biograf Johann Nikolaus Forkel je menil, da je Johann Sebastian najraje igral prav na klavikord, saj mu je ta omogočal prav posebno spevnost klavirske igre – in ta naj bi bila za velikega skladatelja najpomembnejša. Klavikord je bil verjetno najpomembnejše glasbilo s tipkami v Nemčiji v 2. polovici 18. stoletja, kar je takrat zaznamoval glasbeni ''slog občutenja.'' Čembalist Tomaž Sevšek je leta 2005 soustanovil uspešni ansambel za staro glasbo Musica cubicularis in nato še Zavod za umetniško poustvarjanje in izobraževanje na področju stare glasbe Harmonía Antíqua Labacensis. Tomaž Sevšek bo nocoj igral na baročni dvomanualni čembalo, izdelan po modelu nemškega izdelovalca Hassa iz leta 1734 kot kopija čembala s 16-čeveljskim registrom, ki je največji čembalo v Sloveniji. Ob tem čembalu bo predstavil klavikord, pri nas manj znani instrument s tipkami po izvirnem Hubertovem modelu iz leta 1789, ki je kopija vezanega klavikorda. Podrobneje o obeh glasbilih bo čembalist predstavil v pogovoru med koncertom, na katerem bo izvedel pester spored skladb iz 18. stoletja: Toccato v D-duru in dva Dueta v e-molu in F-duru Johanna Sebastiana Bacha, Sonato v F-duru Carla Philippa Emanuela Bacha ter dve priredbi za čembalo: arije iz opere Rinaldo Georga Friedricha Händla v priredbi Williama Babella za čembalo in Koncerta v F-duru za violino in godala Giuseppeja Tartinija, ki ga je kot čembalski Koncert v D, št. II, priredil Tartinijev mlajši sodobnik Leonhard Frischmuth. Koncert si boste ob 20-ih lahko tudi ogledali na Arsovi spletni strani. Številno občinstvo, ki se je udeležilo svečanosti ob odprtju novih prostorov Akademije za glasbo Univerze v Ljubljani v prenovljeni palači Kazina, je dokaz, kako težko je bila selitev pričakovana. Na prostorsko stisko so namreč opozarjali več kot 20 let. Ta in prihodnji teden na akademiji potekajo dnevi odprtih vrat. Še do nedelje pa lahko ujamete, v kinu ali na spletu, 33. Ljubljanski mednarodni filmski festival. Tokrat se bomo ozrli k trem delom, ki se lotevajo temačnejših tem. In ko smo že pri teh: v Milanu v razstavišču Kraljeve palače je na ogled razstava slikarja drobnih pošasti, nočnih mor in oniričnih vizij, Hieronymusa Boscha. Namen je, da bi z njo dopolnili tisti del renesančne zgodovine, ki je napolnjen z domišljijskim svetom in sanjami. In še o koledarju Celjske Mohorjeve družbe bomo spregovorili. Vabimo vas, da prisluhnete pripovedim o književnosti in arhitekturi: v Plečnikovem letu, ko obeležujemo 150. obletnico rojstva velikega slovenskega arhitekta, bodo nocoj odprli osrednjo razstavo z naslovom Plečnik: metropola, kraj, vrt. Na njej bodo predstavljeni realizirani in nerealizirani projekti Jožeta Plečnika z Dunaja, Prage in Ljubljane, njegovi zapiski, intimne skice, risbe, načrti, makete, kipci – med njimi nekateri, ki še niso bili predstavljeni širši javnosti. Več o razstavi v oddaji, v kateri smo spregovorili tudi o knjigah Samo en ples, biografiji plesne umetnice Marte Paulin Schmidt ter Midva ne bova rešila sveta, eseji o teorijah zarote. na fotografiji: Plečnik na Dunaju v Wagnerjevi šoli, okoli 1898 © Dokumentacija MGML, Plečnikova zbirka

Osrednji glasbeni dogodek na Programu Ars bo nocoj ob 20.00 koncert v Komornem studiu. V okviru cikla oddaj Komorni studio bo v studiu 13 gostoval mednarodno uveljavljeni čembalist in organist Tomaž Sevšek, ki bo igral na čembalo in klavikord. Čembalist in organist Tomaž Sevšek, po rodu iz Šoštanja, se kot koncertni solist in komorni glasbenik posveča glasbi za različne instrumente s tipkami od pozne renesanse do glasbene avantgarde 20. in 21. stoletja. Ob igranju se raziskovalno poglavja tudi v izvajalsko prakso glasbo iz preteklih obdobij, ki jo izvaja. Klavir in orgle se je začel učiti v Glasbeni šoli v Velenju. Orgle je študiral na Visoki šoli za glasbo v Freiburgu pri Zsigmondu Szathmaryju in čembalo pri Robertu Hillu. Dodatno se je izobraževal pri Davidu Higgsu in Arthurju Haasu na glasbeni akademiji Eastman v Rochestru v ameriški zvezni državi New York. Tomaž Sevšek je specialist za različne, predvsem zgodovinske instrumente s tipkami: ''Izbral sem dve po tipu različni glasbili, torej ta velik 16-čeveljski čembalo in pa klavikord. Znano je, da je Johann Sebastian Bach že leta 1719 poskrbel, da so na dvoru v Köthnu, kjer je deloval, naročili velik, 16-čeveljski čembalo. Očitno so ga navduševali: polnost registra, ki igra oktavo nižje, in pa veliko število različnih zvočnih kombinacij. Bachov prvi biograf Johann Nikolaus Forkel je menil, da je Johann Sebastian najraje igral prav na klavikord, saj mu je ta omogočal prav posebno spevnost klavirske igre – in ta naj bi bila za velikega skladatelja najpomembnejša. Klavikord je bil verjetno najpomembnejše glasbilo s tipkami v Nemčiji v 2. polovici 18. stoletja, kar je takrat zaznamoval glasbeni ''slog občutenja.'' Čembalist Tomaž Sevšek je leta 2005 soustanovil uspešni ansambel za staro glasbo Musica cubicularis in nato še Zavod za umetniško poustvarjanje in izobraževanje na področju stare glasbe Harmonía Antíqua Labacensis. Tomaž Sevšek bo nocoj igral na baročni dvomanualni čembalo, izdelan po modelu nemškega izdelovalca Hassa iz leta 1734 kot kopija čembala s 16-čeveljskim registrom, ki je največji čembalo v Sloveniji. Ob tem čembalu bo predstavil klavikord, pri nas manj znani instrument s tipkami po izvirnem Hubertovem modelu iz leta 1789, ki je kopija vezanega klavikorda. Podrobneje o obeh glasbilih bo čembalist predstavil v pogovoru med koncertom, na katerem bo izvedel pester spored skladb iz 18. stoletja: Toccato v D-duru in dva Dueta v e-molu in F-duru Johanna Sebastiana Bacha, Sonato v F-duru Carla Philippa Emanuela Bacha ter dve priredbi za čembalo: arije iz opere Rinaldo Georga Friedricha Händla v priredbi Williama Babella za čembalo in Koncerta v F-duru za violino in godala Giuseppeja Tartinija, ki ga je kot čembalski Koncert v D, št. II, priredil Tartinijev mlajši sodobnik Leonhard Frischmuth. Koncert si boste ob 20-ih lahko tudi ogledali na Arsovi spletni strani. Številno občinstvo, ki se je udeležilo svečanosti ob odprtju novih prostorov Akademije za glasbo Univerze v Ljubljani v prenovljeni palači Kazina, je dokaz, kako težko je bila selitev pričakovana. Na prostorsko stisko so namreč opozarjali več kot 20 let. Ta in prihodnji teden na akademiji potekajo dnevi odprtih vrat. Še do nedelje pa lahko ujamete, v kinu ali na spletu, 33. Ljubljanski mednarodni filmski festival. Tokrat se bomo ozrli k trem delom, ki se lotevajo temačnejših tem. In ko smo že pri teh: v Milanu v razstavišču Kraljeve palače je na ogled razstava slikarja drobnih pošasti, nočnih mor in oniričnih vizij, Hieronymusa Boscha. Namen je, da bi z njo dopolnili tisti del renesančne zgodovine, ki je napolnjen z domišljijskim svetom in sanjami. In še o koledarju Celjske Mohorjeve družbe bomo spregovorili. Vabimo vas, da prisluhnete pripovedim o književnosti in arhitekturi: v Plečnikovem letu, ko obeležujemo 150. obletnico rojstva velikega slovenskega arhitekta, bodo nocoj odprli osrednjo razstavo z naslovom Plečnik: metropola, kraj, vrt. Na njej bodo predstavljeni realizirani in nerealizirani projekti Jožeta Plečnika z Dunaja, Prage in Ljubljane, njegovi zapiski, intimne skice, risbe, načrti, makete, kipci – med njimi nekateri, ki še niso bili predstavljeni širši javnosti. Več o razstavi v oddaji, v kateri smo spregovorili tudi o knjigah Samo en ples, biografiji plesne umetnice Marte Paulin Schmidt ter Midva ne bova rešila sveta, eseji o teorijah zarote. na fotografiji: Plečnik na Dunaju v Wagnerjevi šoli, okoli 1898 © Dokumentacija MGML, Plečnikova zbirka Vabimo vas, da prisluhnete pripovedim o književnosti in arhitekturi: v Plečnikovem letu, ko obeležujemo 150. obletnico rojstva velikega slovenskega arhitekta, bodo nocoj odprli osrednjo razstavo z naslovom Plečnik: metropola, kraj, vrt. Na njej bodo predstavljeni realizirani in nerealizirani projekti Jožeta Plečnika z Dunaja, Prage in Ljubljane, njegovi zapiski, intimne skice, risbe, načrti, makete, kipci – med njimi nekateri, ki še niso bili predstavljeni širši javnosti. Več o razstavi v oddaji, v kateri smo spregovorili tudi o knjigah Samo en ples, biografiji plesne umetnice Marte Paulin Schmidt ter Midva ne bova rešila sveta, eseji o teorijah zarote. na fotografiji: Plečnik na Dunaju v Wagnerjevi šoli, okoli 1898 © Dokumentacija MGML, Plečnikova zbirka

Die 35-jährige Dirigentin leitet als erste Frau den Münchener Bachchor. In dieser Folge von „In aller Ruhe“ spricht sie über kulturelle Bildung, die Zeitlosigkeit von Bach und die Stille im Kulturbetrieb während der Pandemie.

Shadow drop: Wout Neutkens / sneak preview episode / eenvoudigweg blind aanklikken en kijken Gast: Wout Neutkens Audio nabewerking: Jasper Cremers Mecenas Patreon / sponsors : Josha Sietsma, Sietske's Pottery, Cartoon Box Steun Open Geesten / Zomergeesten / Boze Geesten Podcast

Welcome to Glenn Robison's Rapidly Rotating Records, bringing you vintage music to which you can't not tap your toes, from rapidly rotating 78 RPM records of the 1920s and '30s. Do you know who this fellow is? He's composer and musicologist Peter Schickele and discoverer of P. D. Q. Bach, “the oddest of Johann Sebastian […] The post A P.D.Q. Edition of RRR #1229 February 4, 2024 appeared first on Glenn Robison's Rapidly Rotating 78 RPM Records.

durée : 01:58:38 - Le Bach du dimanche du dimanche 10 décembre 2023 - par : Corinne Schneider - Au programme de cette 274e émission : on part en Suède sur les traces de Johann Jacob Bach (1682-1722), frère aîné de Johann Sebastian ; le CD de M. Blanchard (viole de gambe) et D. Ares (clavecin) ; des places à gagner pour l'Oratorio de Noël à l'Arsenal de Metz par Le Concert Lorrain (15 déc.) - réalisé par : Emmanuel Benito

After the huge success of his previous Deutsche Grammophon album, devoted to works by Mozart, oboist Albrecht Mayer turns his attention to the uniquely talented Bach family. For Bach Generations, he has chosen a selection of music by four members of the family: Johann Sebastian himself (1685-1750), Johann Christoph (1642-1703), Carl Philipp Emanuel (1714-1788) and Johann Christoph Friedrich (1732-1795). There is also a transcription of a work by Gottfried Heinrich Stölzel, previously attributed to J.S. Bach. Recorded with the Berliner Barock Solisten and Gottfried von der Goltz (solo violin/concertmaster), Bach Generations is set for release on CD and digitally on 4 August 2023. Track Listing:1 Bach, J S: Keyboard Concerto No. 4 in A major, BWV1055 / I. Allegro2 II. Larghetto3 III. Allegro ma non tanto4 Bach, J S: Orchestral Suite No. 3 in D major, BWV1068: Air ('Air on a G String')5 Bach, J S: Orchestral Suite No. 2 in B minor, BWV1067: Badinerie6 Bach, J C F: Keyboard Concerto in A major, YC91 / I. Allegro (Cadenza: Mayer)7 II. Andante ma non troppo (Cadenza: Mayer)8 III. Allegro (Cadenza: Mayer)9 Stölzel: Bist du bei mir10 Bach, J S: Easter Oratorio BWV249: Sanfte soll mein Todeskummer11 Bach, C P E: Keyboard Concerto in G major, Wq. 9 (H412) / I. Allegro (Cadenza: Mayer)12 II. Adagio (Cadenza: Mayer)13 III. Allegro assai (Cadenza: Mayer)14 Bach, J C'ph: Ach, daB ich Wassers genug hätteHelp 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 broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Op zaterdag 16 september staat schrijver Abdelkader Benali in het theater om een overdenking te delen bij een muziekstuk van Bach. Tijdens zijn studententijd kwam Benali in aanraking met de muziek van Johann Sebastian. Sindsdien luistert hij nauwelijks meer naar andere muziek. In De Nacht van EO deelt hij in geuren en kleuren wat deze muziek zo magisch en universeel maakt. Hoe kan het dat de thema's die Bach raakt voor iedereen gelden, zelfs voor 21e-eeuwse, geseculariseerde en individualistische mensen zoals jij en ik?

Der große Bach? Damit war im späten 18. und frühen 19. Jahrhundert nicht Johann Sebastian, sondern sein Sohn Carl Philipp Emanuel Bach gemeint. Die aus Israel stammende Pianistin Einav Yarden sorgt auf ihrem neuen Album nun für so etwas wie Gerechtigkeit und stellt Vater und Sohn gleichberechtigt nebeneinander. Einav Yarden konstruiert nicht, sie spricht in Tönen, findet Christoph Vratz.

Se calcula que compuso cerca de 2.000 obras que abarcan música vocal, de cámara y orquestal para todo tipo de instrumentos, desde el órgano -que era su preferido-, al clavecín; pasando por violines, violas, violonchelos y contrabajos. De todas éstas, se conservan hoy la mitad:  unas 1.100 composiciones. Pero, además de músico y compositor, fue director de orquesta, maestro de capilla, cantor y profesor. Él fue JOHANN SEBASTIAN BACH, uno de los músicos más grandes de la historia. Pero ¿sabías que entre las virtudes de su música está la de ser un remedio infalible contra el insomnio? Johann Sebastian nació un 31 de marzo de 1685 en una destacada familia de músicos.  Nada menos que unos 50 miembros de la familia Bach sobresalieron en la música a lo largo de varias generaciones. Llevaba la música en la sangre, a su perfecta técnica se sumaba una extraordinaria capacidad de improvisar al teclado. Así fue “BACH”, el genio.

Michela Graziani"Bach"Pedro Eirasil ramo e la foglia Edizionihttps://ilramoelafogliaedizioni.itTraduzione a cura di Michela GrazianiStrutturato non in capitoli convenzionali, ma in quattordici sezioni, il libro parla di tutto ciò che ruota attorno alla figura del compositore tedesco: la musica in primis, a cui si aggiungono il ricordo di Bach attraverso la lettera della seconda moglie, Anna Magdalena, del 1750, la lettera di Gustav Leonhardt all'amico Nikolaus del 1973, il montaggio cinematografico di Straub e Huillet nel 1968 (dove Leonhardt ha interpretato Bach), Lisboaleipzig di Maria Gabriela Llansol; il ricordo di Anna Magdalena Bach nella biografia romanzata di Esther Meynell; i dibattiti musicali intrapresi da un gruppo di tecnici del suono newyorkesi; il silenzio della musica durante i viaggi della deportazione, tra cui quello di Etty Hillesum; il tema universale della vita e della morte e l'effetto catartico della musica celebrati nelle varie sezioni.La scrittura fluida, ora di impronta moderna, ora contemporanea, abbinata a un meticoloso e filologico approccio testuale e ad affascinanti intrecci intertestuali, rappresentano la cifra stilistica di Pedro Eiras che permette al lettore di lasciarsi trasportare in spazi e tempi diversi, solo apparentemente lontani tra loro.«Non si può risuscitare il XVIII secolo, ma inventare il passato in base al nostro desiderio. Per questo inventiamo il nostro desiderio. Per questo Esther Meynell è fedele soprattutto quando ritrae la scena più inverosimile: Anna Magdalena che sorprende Johann Sebastian a comporre, fuggendo, piangendo, proprio come piangiamo noi oggi.»Pedro EirasProfessore di Letteratura Portoghese presso l'Università di Porto e ricercatore presso l'Istituto di Letteratura Comparata Margarida Losa, dal 2001 Pedro Eiras è autore di opere di finzione narrativa (Bach, Cartas Reencontradas de Fernando Pessoa, A Cura, O Mapa do Mundo), teatro (Um Forte Cheiro a Maçã, Uma Carta a Cassandra, Um Punhado de Terra, Bela Dona), poesia (Inferno, Purgatório, Paraíso), saggistica (Esquecer Fausto, Tentações, Os Ícones de Andrei, Constelações 1, 2 e 3) e altri testi di più difficile classificazione (Boomerang, Substâncias Perigosas, [...], Regras para a Direcção do Espírito), solo per citarne alcuni. La sua produzione teatrale è stata rappresentata e tradotta in vari paesi europei. Nel 2006 Esquecer Fausto ha ricevuto il premio PEN Clube Português rivolto alla saggistica; nel 2021 Inferno è stato premiato a Vila Real con il prestigioso premio “António Cabral”. Vari libri di Pedro Eiras sono stati pubblicati in Brasile, Francia, Inghilterra, Romania. Bach è il suo primo libro edito in Italia.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Dedicamos este episodio al encuentro entre el jazz y la musica de J.S. Bach. Se ha dicho que Bach tocaba jazz, sólo que él no lo sabía. La improvisación jazzística tuvo sus precedentes en el barroco. Por ese motivo, en Bach los músicos de jazz encuentran estructuras armónicas y motivos melódicos que les sirven como punto de partida para crear versiones o improvisaciones. Bach es una fuente inagotable para el jazz. Playlist: Benny Goodman and His Orchestra - Bach Goes to Town (Preludio y fuga en swing); Enrico Pieranunzi, Orchestra Filarmonica Italiana & Michele Corcella - Vendome; The Modern Jazz Quartet - Precious Joy (BWV 147); The Modern Jazz Quartet - Django; Eddie South, Stéphane Grappelli & Django Reinhardt - Improvisation J.S. Bach, Part 2 (BWV 1043); Jacques Loussier - Toccata & Fugue In D Minor (BWV 565): The Ramsey Lewis Trio - Bach to the Blues (BWV 140); Lalo Schifrin - The Blues for Johann Sebastian; Svend Asmussen - Inventio 13 (BWV 784); The Swingle Singers - Choral 'Wachet auf, ruft uns die Stimme' aus 'Sechs Schübler Choräle', (BWV 645); Massimo Farao' Trio - March in D Major (BWV Anhang 122); The Classical Jazz Quartet - Oboe Concerto in A major, 2nd Movement (BWV 1055R); Camille Bertault - Goldberg (BWV 988).

Listen in to this Kura Tūturu | Real Gold track to hear from music librarian Marilyn Portman on a very special first printed edition of a musical score recently donated to Auckland Libraries Heritage Collections. Das wohltemperirte Clavier, oder, Präludien und Fugen durch alle Töne. By J.S. Bach, Book I is perhaps Bach's best-loved keyboard work. Known in English as "the 48" or the "Well-Tempered Clavier", it was composed and used as a valuable teaching tool for students. Learn more about this first printed edition : http://heritageetal.blogspot.com/2023/01/bachs-well-tempered-clavier-first.html Digital copy available here: https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/12770/rec/1 Music courtesy of International Music Score Library Project (IMSLP). Creative Commons License. https://imslp.org/wiki/Prelude_and_Fugue_in_E-flat_minor,_BWV_853_(No 8 Bach,_Johann_Sebastian) https://imslp.org/wiki/Prelude_and_Fugue_in_E_major,_BWV_854_(No. 9 Bach,_Johann_Sebastian) Performed by Peter Bradley-Fulgoni. Recorded September 2016 in St. Paul's Hall, Huddersfield University

CPE Bach was the second son of Johann Sebastian and Maria Barbara Bach and to say he was a prolific composer is putting it mildly. CPE Bach wrote loads of flute music--sonatas, chamber music, and dazzling concerti. The tremendous output of flute music had to do with the fact that he had a flutist for a boss--Frederick the Great of Prussia. His touching Sonata in A minor for solo flute was composed in Berlin in 1747 and the opening movement is a palate of fall colors --golden yellows, reds, mahogany, and conifer green. This piece is a kind of meditation on the fall--it has an intimate quality unlike any other and it expresses the sadness of the passing of summer, the gratitude for the harvest, and the quality of turning inward as we light our fires and face the winter.  MUSIC:Georg Philip Telemann, Fantaisie No. 12, performed by Karen KevraC.P.E. Bach, Cello Concerto in A minor, Allegro assai, performed by Alison McGillivray, and The English Concert C.P.E. Bach Harpsichord Concerto in D Minor, Allegro, performed by Jean Rondeau, with Sophie Gent, Louis Creac'h, Fanny Paccoud, Antoine Touche, Thomas de Pierrefeu, Evolène Kiener C.P.E. Bach Flute Concerto In D Minor,  Allegro Di Molto, performed by Jean-Pierre Rampal-flute, Pierre Boulez-conductor  C.P.E. Bach Sonata in A minor for unaccompanied flute, performed by Karen Kevra Robert Frost recites "Reluctance" -included for educational purposesPhotograph: Cornwall, Vermont backyard by Karen Kevra  Support the show

Maria Bach ist nicht verwandt mit dem berühmten Johann Sebastian. Sie hat zwischen den beiden Weltkriegen gelebt und exotisch gewürzte, spätromantische Musik geschrieben. Jan Ritterstädt stellt die Komponistin vor. Von Jan Ritterstaedt.

Poco se puede decir sobre Johan Sebastian Bach que no aluda a su excepcional talento e importancia en la historia como padre de la música occidental, su legado constituye un microcosmos único y maravilloso en el que la música habla por sí misma, pero hoy queremos darle una vuelta a su famoso apellido y buscar cuál fue el legado de sus sucesores, esos compositores que llevaron el peso de su apellido y que desarrollaron su carrera a la sombra del legado de Johann Sebastian, una serie de autores poco conocidos pero cuya creación sin duda es Mucho más que Mozart, con Ana Laura Iglesias.

Today we take our first dive into the St. John Passion.  In the very first measure of music, the strikingly twisted sounds of the oboes in harsh dissonances calls to mind the pain and anguish of the Passion story.  The scene is set for Good Friday. Bach's St. John Passion, performed by the Netherlands Bach Society, conducted by Jos van Veldhoven: https://www.youtube.com/watch?v=zMf9XDQBAaI Article on the St. John Passion by Alex Ross (quoted in this episode from 0:41 - 1:49): https://www.newyorker.com/magazine/2017/01/02/bachs-holy-dread IMSLP (International Music Score Library Project) page for Bach's St. John Passion free public domain scores, including scans of Bach's original manuscript: https://imslp.org/wiki/Johannespassion,_BWV_245_(Bach,_Johann_Sebastian)  

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Vandaag, ruim 300 jaar geleden, kwam Johann Sebastian Bach ter wereld in een muzikale familie. Daarom klinkt deze hele week muziek van de familie Bach. 

The Last Sunday after Pentecost: Christ the King ORISON: ‘Psalm 95' from Six Hymns to Doctor Watts – Alice Parker (b. 1925) PSALMS 93 and 150 – Plainsong, Tone VIII.3 and Charles Villiers Stanford (1852-1924) HYMN: Now thank we all our God (Tune: NUN DANKET ALLE GOTT) – mel. Johann Crüger (1598-1662); harm. Johann Sebastian […]

Join Russell Gant for our Tuesday Concert with Sarasota Orchestra featuring a program called All in the Family referring to the legendary Bach family. We'll hear from the well-known son CPE, of course the papa, Johann Sebastian, and a Sinfonie by W.F. Bach. Our Tuesday Concert with Sarasota Orchestra is every Tuesday night at 8:00 on Classical WSMR 89.1 & 103.9 and online at wsmr.org.

Simon Russell Beale was a choral scholar and the actor remains a serious musician who can play a Bach fugue. Now he is taking the role of Johann Sebastian in Nina Raine's new play Bach and Sons and he talks to Samira Ahmed about his relationship with the composer. Does being able to play Bach help him to play Bach? French Exit stars Michelle Pfeiffer as a Manhattan heiress who has to downsize to Paris with her son and cat when her money runs out after her husband's death. She was nominated for a Golden Globe for her performance in the comedy drama directed by Azazel Jacobs, adapted by Patrick deWitt from his own novel. Hannah McGill reviews. Lisa Taddeo came to prominence in 2019 for her nonfiction book Three Women, a chronicle of her subjects' sex lives. Over the course of eight years, the writer not only interviewed the titular three women but also immersed herself in their worlds. The result was one of the hits of the year. Now she returns with Animal, a raw and intense debut novel about sexual trauma and female rage. She tells Samira about the process of writing it and her hope that women who have suffered similar experiences will feel less alone after reading it. Presenter: Samira Ahmed Producer: Julian May Studio Engineer: Sue Maillot

Today, we are pleased to feature 2015 Honens Semifinalist Samson Tsoy's performance of C.P.E. Bach's Sonata in G minor Wq. 65/17. Carl Philipp Emmanuel (C.P.E.) Bach and three of this brothers all became professional musicians, each trained almost entirely by their famous father, Johann Sebastian. Like many fathers, J.S. wanted his sons to have careers to fall back on, especially since, at the time, uneducated musicians were often treated as servants. Before taking on music full-time, C.P.E. obtained a degree in law. As it turned out, he never needed his law degree as he went on to become a very famous musician in his own right. A well-respected keyboardist and composer, C.P.E. Bach is known for bridging the gap between the Baroque and Classical eras. -Watch the video edition of this excerpt at honens.com/home.

Chris and Sridhar discuss famous musical families, Carl Philipp Emanuel Bach and his father Johann Sebastian, the magnificence of the organ as an instrument, the affinities between Baroque and Jazz music, and a mysterious instrument conceived by Leonardo da Vinci. Also...we have merch! Go browse our wares—it's a great way to help support the show while repping our swag. We truly appreciate it. Impolite to Listen merch Useful Links: Sridhar's New York Times Crossword Carl Philipp Emanuel Bach - wikipedia Johann Sebastian Bach - wikipedia ITL #7: The Source Code (the Bach episode) Sridhar's essay on CPE Bach Teatro La Fenice in Venice Gabrieli in St Mark's Basilica Giovanni Gabrieli's Sonata XIII Rick Steves in St Mark's The Making of Gabrieli - mini documentary with John Williams Early Music Revival Bach Toccata and Fugue in D Minor Sideways - Why Pipe Organs Sound Scary Some of Bach's technical specs and a menu from his organ consulting days Bach - Organ Pedal Exercise BWV 598 Denis Bouriakov plays Bach Chaconne on flute Karl Joseph Riepp - organ builder Riepp's organ in Ottobeuren Abbey Karl Richter plays Bach at Ottobeuren Abbey Netherlands Bach Society - All of Bach Project Netherlands Bach Society play Vivaldi's "Winter" Notes inégales - wikipedia Bill Evans - wikipedia Bill Evans in conversation with his brother Harry Miles Davis - Stella by Starlight Ella Fitzgerald - Stella by Starlight Lullaby of Birdland - Count Basie Barthold Kuijken - Bach Partita for Flute Chick Corea & Hubert Laws play Bach MrVinylObsessive's video of So What by Miles Davis Kind of Blue - wikipedia The mysterious picture Sridhar sent to Chris Viola organista - wikipedia First performance on Leonardo da Vinci's viola organista Walter Isaacson - Leonardo da Vinci biography (highly recommended by both of us!)

It's a Monday Mini episode! There's no rom-com and no Producer Jim to reel us in. We discuss an array of topics including the Bachelor season finale, mozzarella sticks, full length mirrors, Bach, Goop, and we answer a Dear Rom-Comment question from a European comrade. Disclaimer: The sound quality is a little lo-fi, but it's cool it's punk.

Ein eher unbekannter Name aus der weitverzweigten Bach-Dynastie steht in dieser Sendung im Zentrum: Johann Bernhard Bach. Zu ihm hatte der fast gleichaltrige Johann Sebastian Bach mehrfach Kontakt.  Nicht nur, dass die beiden jeweils Götti von einem ihrer Kinder waren, Johann Sebastian schätzte auch die Musik von Johann Bernhard. Dessen vier Ouvertüren, also Orchestersuiten, hat er sich abgeschrieben und die Musik dadurch für die Nachwelt erhalten (wobei gerade die hier diskutierte Nummer 3 in Johann Sebastians persönlichem Archiv verloren ging, sie findet sich zusätzlich in einer anderen Sammlung). Johann Bernhard Bach wirkte am Hof von Eisenach und dürfte seine Ouvertüren für das dortige Orchester komponiert haben. Ein hervorragendes Orchester (von Telemann wurde das bestätigt) und eines, das den französischen Goût in der Musik besonders zu zelebrieren wusste. Und so darf man fragen, wie denn diese Musik klingen soll: eher in Richtung deutscher oder französischer Manier. Die fünf Aufnahmen, die bis jetzt von der 3. Ouvertüre erhältlich sind, werden miteinander verglichen. Gäste von Norbert Graf sind der Cembalist Jörg-Andreas Bötticher und die Geigerin Monika Baer.

Kalm met Klassiek is jouw dagelijkse dosis klassieke ontspanning. De muziek staat deze week helemaal in het teken van familie. Het is immers bijna kerst, dé tijd voor familie en samenzijn! We trappen af met de familie Bach. Want niet alleen Johann Sebastian had talent in z'n bloed... Neem een momentje voor jezelf en geniet van de muziek.

Zaterdag 5 december presenteert scheidend directeur van museum De Lakenhal, Meta Knol, Een goedemorgen met ... Muziek: Levine, Ari & Mars, Bruno; Locked out of Heaven; Wesseltoft, Bugge Clemens non Papa, Jacobus; Ave Maria; Egidius Kwartet Bach, Johann Sebastian; Cantate BWV.82, "Ich habe genug" ; aria, "Ich habe genug"; Kammerorchester Basel; Schröder, Julia; Scholl, Andreas [countertenor] Bach, Johann Sebastian; Matthäuspassion BWV.244 ; Deel II - nr.39, aria, "Erbarme dich"; Wiener Philharmoniker; Gillesberger, Hans; Heynis, Aafje Cummings, E.E.; That Melancholy Wolf, Hugo; Gedichte von Eduard Mörike - nr.23, "Auf ein altes Bild"; Ferrier, Kathleen & Spurr, Phyllis Sjostakovitsj, Dmitri; Concert voor cello en orkest nr.1, op.107 in Es gr.t. - deel III, "Cadenza"; Philadelphia Orchestr; Ormandy, Eugene; Rostropovich, Mstislav Dylan, Bob; Who Knows Where the Time Goes; Simone, Nina Strauss, Richard; Liederen voor zangstem en orkest (4), op.27 nr.4, "Morgen"; Radio Filharmonisch Orkest; Waart, Edo de; Margiono, Charlotte [sopraan] Piazzolla, Astor; Histoire du tango - deel II, "Café 1930" (Arr.); Huijnen, Cécile [viool];Grotenhuis, Marieke [accordeon] Davis, Miles; Flamenco Sketches – Studio Sequence1 Bach, Johann Sebastian; Suite voor klavecimbel BWV.813 in c kl.t., "Franse suite nr.2" - deel I, "Allemande"; Pires, Maria Joao [piano] Bach, Johann Sebastian; Das wohltemperierte Klavier boek 1, BWV.846-869 - "Prelude en fuga nr.10 BWV.855 in e kl.t."; Gould, Glenn [piano] Schwitters, Kurt; Ursonate (1921-31) exerpt # 3 Glass, Philip; Concert voor viool en orkest nr.2, "The American Four Seasons" - "Lied nr.1"; McDuffie, Robert Glazoenov, Aleksandr; De seizoenen, op.67 - deel I, "Winter"; Philharmonia Orchestra; Svetlanov, Yevgeni Schneider, Maria; Walking by Flashlight (the Thompson Fields Version); Maria Schneider Orchestra Schönberg, Arnold; Verklärte Nacht, op.4 - deel III; Chicago Symphony Orchestra; Barenboim, Daniel Honing, Yuri & Brederode, Wolfert; Black is the Colour

Zaterdag 5 december presenteert scheidend directeur van museum De Lakenhal, Meta Knol, Een goedemorgen met ... Muziek: Levine, Ari & Mars, Bruno; Locked out of Heaven; Wesseltoft, Bugge Clemens non Papa, Jacobus; Ave Maria; Egidius Kwartet Bach, Johann Sebastian; Cantate BWV.82, "Ich habe genug" ; aria, "Ich habe genug"; Kammerorchester Basel; Schröder, Julia; Scholl, Andreas [countertenor] Bach, Johann Sebastian; Matthäuspassion BWV.244 ; Deel II - nr.39, aria, "Erbarme dich"; Wiener Philharmoniker; Gillesberger, Hans; Heynis, Aafje Cummings, E.E.; That Melancholy Wolf, Hugo; Gedichte von Eduard Mörike - nr.23, "Auf ein altes Bild"; Ferrier, Kathleen & Spurr, Phyllis Sjostakovitsj, Dmitri; Concert voor cello en orkest nr.1, op.107 in Es gr.t. - deel III, "Cadenza"; Philadelphia Orchestr; Ormandy, Eugene; Rostropovich, Mstislav Dylan, Bob; Who Knows Where the Time Goes; Simone, Nina Strauss, Richard; Liederen voor zangstem en orkest (4), op.27 nr.4, "Morgen"; Radio Filharmonisch Orkest; Waart, Edo de; Margiono, Charlotte [sopraan] Piazzolla, Astor; Histoire du tango - deel II, "Café 1930" (Arr.); Huijnen, Cécile [viool];Grotenhuis, Marieke [accordeon] Davis, Miles; Flamenco Sketches – Studio Sequence1 Bach, Johann Sebastian; Suite voor klavecimbel BWV.813 in c kl.t., "Franse suite nr.2" - deel I, "Allemande"; Pires, Maria Joao [piano] Bach, Johann Sebastian; Das wohltemperierte Klavier boek 1, BWV.846-869 - "Prelude en fuga nr.10 BWV.855 in e kl.t."; Gould, Glenn [piano] Schwitters, Kurt; Ursonate (1921-31) exerpt # 3 Glass, Philip; Concert voor viool en orkest nr.2, "The American Four Seasons" - "Lied nr.1"; McDuffie, Robert Glazoenov, Aleksandr; De seizoenen, op.67 - deel I, "Winter"; Philharmonia Orchestra; Svetlanov, Yevgeni Schneider, Maria; Walking by Flashlight (the Thompson Fields Version); Maria Schneider Orchestra Schönberg, Arnold; Verklärte Nacht, op.4 - deel III; Chicago Symphony Orchestra; Barenboim, Daniel Honing, Yuri & Brederode, Wolfert; Black is the Colour

Special Guest Ty Staley, the Wasted Warrior, joins the Bachelor of Science to talk half the HoopTober titles they shared in during the hallowed season. Titles discussed in this portion include Tetsuo the Iron Man, the two Blacula films, the first two Coffin Joe movies, the Curse of Frankenstein, the Atomic Brain, Ginger Snaps, and Tobe Hooper's Lifeforce.Music-Bach, Johann Sebastian. Toccata and Fugue in D Minor for Organ.Alan Feanch and Ted Atking (unknown year). Top Night. On Kaleidoscope. France: Charles Talar Records.Audio loop from http://www.orangefreesounds.com/amb-ambient-music-loop/ Licence: The loop is permitted for commercial use under license “Attribution 4.0 International (CC BY 4.0)http://www.orangefreesounds.com/

From Revd John Davies, priest in charge of Clapham with Keasden and Austwick with Eldroth in the Diocese of Leeds. Prayers and reflections from the Churches Weekly Newsletter in a time of the coronavirus: Sunday 11 October 2020, The Eighteenth Sunday after Trinity. Featuring 'Be still, for the presence of the Lord' (David J Evans) performed by Kathryn Crosweller from the album 'Can You Hear My Heart?', 'Psalm 23' arranged and performed by Roland Fudge with soloist Grace Guthrie, and 'Make Me a Channel of Your Peace' (St Francis; Johann Sebastian von Tempelhoff) performed by Katherine Jenkins from the album 'Guiding Light'. Including my talk for the day, 'The Church is the party no-one wants to come to: a lament', also available here as a stand-alone podcast.

My guest today is Music Theorist, Organist and Composer, Derek Remeš. He is known for his research into the pedagogy behind Johann Sebastian's Bach method of composition and improvisation. He also is the admin for Facebook group that he started,”Composition and Improvisation in J.S. Bach's Germany”. ----- 0:36 What is your musical background? 2:37 Has anyone in Bach research looked at his craft of improvisation? 4:47 Do all organists have to improvise? 5:47 Did you have a background in improvisation before learning the organ? 6:45 The terminology of thoroughbass 7:49 Would Bach have used the term thoroughbass? 7:58 What do we know of Bach the teacher? Did he have many students and how long did he teach in his career? 10:09 How does thoroughbass relate to Counterpoint and did they talk about Counterpoint much? 15:18 CPE Bach mentioning that JS Bach avoided the “dry” exercises of species counterpoint 16:43 LM 4665, the anonymous manuscript that contained thoroughbass fugues 19:04 How did Bach begin teaching new students? 19:53 Did Bach expect strict counterpoint in thoroughbass? 21:06 How about parallel movement in the middle voices? 22:40 Did he stay with 4 voices or did he eventually shrink down to 3 or 2 voices? 25:17 Was there any instruction in how to write melodies? Like how the Italians practiced Solfeggio. 26:49 The Italian partimenti eventually had no figures, was that the same for Bach? 28:27 Did Heinichen, Niedt and Bach share the same conception of thoroughbass? 31:51 Heinichen updated treatise, after his trip to Italy and the connection to Bach 33:07 What are the differences between Heinichen's first treatise and his later updated version? 39:35 Is Heinichen an innovator? 42:03 After thoroughbass, the student moves on to chorales 43:40 The same melody in chorales but multiple, different basses with figures 45:37 Did they use solfeggio syllables like Do, Re Mi, Fa Sol, La? 49:01 Modes vs Major/Minor 49:35 What temperament are we supposed to play Bach's music in? 50:44 Going from chorales to fugues, when does the study of imitation happen? 53:56 Does being good at thoroughbass prepare you well for fugues? 54:51 Do you find that the study of thoroughbass has helped you in understanding tonal music of other eras? 56:09 What's the best way in your opinion, to learn counterpoint? 57:46 How would you reform music education? 1:02:22 On the modern use of “tonal” as a flippant, pejorative 1:03:43 Wrapping Up

Johann Sebastian, gespielt mit Transistoren und Elektronenröhren. Wir widmen uns dieses Mal den ungewöhnlichen, elektro-barocken Klangwelten der 60er Jahre mit der Schallplatte "Switched-on Bach".----------------------------------------------------Wikipedia-Artikel zur Schallplattenreihe:https://en.wikipedia.org/wiki/Switched-On_BachAlle Details zur Plattenreihe:https://www.discogs.com/de/Walter-Carlos-Switched-On-Bach/master/76226Wikipedia-Artikel zum Moog-Synthesizer:https://de.wikipedia.org/wiki/Moog-Synthesizer50 Jahre "Switched-on Bach":https://www.deutschlandfunk.de/50-jahre-switched-on-bach-synthesizer-zwischen-pop-und.807.de.html?dram:article_id=430931----------------------------------------------------Offizielle Facebook-Seite:https://www.facebook.com/pg/ForumOrganumLive-Benachrichtigungen auf dem Telegram-Kanal:https://t.me/ForumOrganum

Ob Mozart, Bach oder Beethoven. Männliche Komponisten prägen den Kanon der klassischen Musikgeschichte. Doch wie sieht es mit den Komponistinnen aus, mit Isabella Leonarda oder Rebecca Saunders? «Kontext» widmet sich den fehlenden Frauen im musikwissenschaftlichen Kanon und im Konzertbetrieb. Wolfgang Amadeus, Johann Sebastian, Ludwig: Die passenden Nachnamen kennt jeder. Aber was ist mit Emilie, Mel, Rebecca? Weder in Schulbüchern noch in den Konzerthallen sind sie besonders präsent. Auf den Spielplänen der klassischen Konzertsäle findet man sie – wenn überhaupt – selten. Partituren, Fachliteratur? Mangelware. Aber viele Komponistinnen und Musikerinnen prägten die Welt der klassischen Musik. Überwanden Hindernisse und gesellschaftliche Zwänge, um kreativ arbeiten und veröffentlichen zu können. Einige waren zu Lebzeiten sogar sehr bekannt, gerieten nach Ihrem Tod aber in Vergessenheit. Auch in der Pop- und Rockmusik müssen Frauen für ihre Sichtbarkeit kämpfen. Trotz Megastars wie Beyoncé oder Lady Gaga. Auch in der Region sind Musikerinnen in Bands und auf der Bühne untervertreten. Ein Blick auf das Line-up vieler Festivals zeigt: Männer stehen auf der Bühne, Frauen im Publikum. Die Headliner sind Männer, Machos mit Gitarren. «Kontext» stellt verschiedene Formen einer weiblichen Musikgeschichte vor – vom Buch bis zum Film. Und wir fragen: Warum werden Komponistinnen und Musikerinnen bis heute selten in den sogenannten Kanon aufgenommen? Weitere Themen: - «Komponistinnen»: Eine filmische und musikalische Spurensuche - Ein Verlag macht Furore – mit komponierenden Frauen - Streifzug statt Kanon: «These Girls»

We've called it, Stumpfest is the Coachella of the Blueyverse - but really, lockdown life means any excuse to get day drunk would feel like Coachella right now!  Gotta Be Done's gender wars are back (is Nail Salon a girls' game? Do blokes need a manly excuse to talk feelings?), there's prehistoric community-building, and is Bandit chanelling the Working Dog types over at Utopia? Oh, and as usual we're living for Myf Warhurst's transcendent one-liners.  Oh, and the tunes! With a lineup including Johann Sebastian, 80s hair metal, Suzanne Vega, Nelly and schoolyard hand clapping, this is a festival you don't want to miss!   ++ Gotta Be Done is ex-journos and Melbourne mums Kate McMahon and Mary Bolling, as we deep-dive every Bluey episode, with plenty of detours into mama life, childhood memories, and everything else we're bingeing, too! Follow us on Insta at @blueypod @marytbolling @katejmcmahon, Twitter at @blueypodcast, or Facebook at @blueypod.

A special guest episode!! Katie and Evan are joined by Harrison Hsiang of the band couchsleepers (formerly of The Giant Peach), to talk about self-isolation, mama’s special meatballs and his new album. Listen to the album we reviewed here: https://couchsleepers.bandcamp.com/ ‘Whatever I’ve Got’: 26:30 ‘Sleepless’: 40:00 ‘This Unmade Bed’: 49:00 Follow us on Soundcloud - PizzaMyHeart Instagram - @PizzaMyHeartPod Facebook - Pizza My Heart Podcast

23 maart 1685, Georgenkirche, Eisenach. Sebastian Nagel houdt zijn petekind vast, dat zijn naam zal dragen en de naam van Johann Ambrosius Bach, de vader van het kind. Kortom, Johann Sebastian’s doopdag! Johann Christoph Bach Der Mensch, vom Weibe geboren Vox Luminis Ricercar 347 3’37’’ Johann Christoph Bach Bist willkommen Vox Luminis Ricercar 347 2’18’’

Johann Sebastian Bach was born into a musical dynasty. The Bach family had over 300 years' worth of professional composers and musicians, but Johann Sebastian was the most famous of all of them. In addition to being one of the greatest composers the world has ever known, Bach was also an excellent organist and violinist.

Johann Sebastian Bach was born into a musical dynasty. The Bach family had over 300 years' worth of professional composers and musicians, but Johann Sebastian was the most famous of all of them. In addition to being one of the greatest composers the world has ever known, Bach was also an excellent organist and violinist.

Op de sterfdag van zijn vader, Johann Ambrosius Bach, een begrafeniscantate van Johann Sebastian. Welke Bach-stukken gaan er mee naar een onbewoond eiland? Deze ‘Actus Tragicus’ in ieder geval! Johann Sebastian Bach, Cantate BWV.106 ‘Gottes Zeit ist der allerbeste Zeit’ (Actus Tragicus), Gesualdo Consort & Musica Amphion

De op 11 februari 1684 gedoopte Johann Jakob Bach vertrok met het Zweedse leger, vestigde zich in Constantinopel, en stierf in Stockholm. Johann Sebastian schreef bij zijn afscheid een ontroerend Capriccio. Johann Sebastian Bach, Capriccio sopra la lontananza del suo fratello dilettissimo, BWV.992, Celine Frisch (klavecimbel)

Host Deardra Shuler talks with Desmond Richardson, one of the Artistic Directors of the Complexion Contemporary Ballet.  Complexions will feature its upcoming season at the Joyce Theater in NYC from January 21 – February 2nd.  Program A will feature the world premiere of “Love Rocks” a full company ballet set to works by the iconic GRAMMY Award winning singer and songwriter, Lenny Kravitz.  Photo credit for Love Rocks goes to Chad Wagner and Steven Trumon Gray, @THEGINGERB3ARDMEN; Sharen Bradford for Bach 25 Dance company photo and Woke photo by Joseph Franciosa. In the second week (Program B), the company will reprise “WOKE,” a physical reaction to the daily news. A bold and dynamic socially conscious one act ballet featuring the full company that examines our humanity in conjunction with today’s political climate.  Also  featured“BACH 25.” Set to the music of Johann Sebastian and Carl Philipp Emanuel Bach will be presented as part of Programs A*and  B.

In 1719 verbleef de grote Handel even in zijn geboorteplaats Halle, slechts 30 km van Cothen waar Bach werkzaam was. Johann Sebastian zette zich in een postkoets naar Halle en… kwam net te laat, Handel was al vertrokken. Een ontmoeting tussen deze twee – het is er nooit van gekomen. Georg Friedrich Handel, Solomon, HWV.67; Ouverture, Akademie fur Alte Musik Berlin olv Daniel Reuss Georg Friedrich Handel, Solomon, HWV.67; The Arrival of the Queen of Sheba, Akademie fur Alte Musik Berlin olv Daniel Reuss

En este nuevo programa de Anónimo IV hablaremos de la familia Bach. Analizaremos las causas por las que llegó a ser la familia musical más importante de la época en Alemania; exploraremos a los antepasados de Johann Sebastian y descubriremos la vida de sus descendientes. Además, en Músicas Encadenadas hoy nos acompañará Fernando Buide.

En este nuevo programa de Anónimo IV hablaremos de la familia Bach. Analizaremos las causas por las que llegó a ser la familia musical más importante de la época en Alemania; exploraremos a los antepasados de Johann Sebastian y descubriremos la vida de sus descendientes. Además, en Músicas Encadenadas hoy nos acompañará Fernando Buide.

durée : 01:58:14 - Carrefour de Lodéon - Acte II du dimanche 27 octobre 2019 - par : Frédéric Lodéon - Johann Sebastian, Johann Bernhard et Johann Ludwig Bach par Rinaldo Alessandrini et le Concerto Italiano (Naïve). Liszt par Jae-Hyuck Cho, orgue (Evidence). Nocturnes de Chopin par Bruno Rigutto (Aparté). Mozart par le Quatuor Van Kuijk (Alpha) - réalisé par : Sophie Pichon

Op 23 oktober 1694 trouwt de oudste broer van Johann Sebastian Bach. Groot feest natuurlijk, waarbij het zeker is dat zijn oude leraar Pachelbel aanwezig was, en Ambrosius Bach, de vader van Johann Sebastian. En er werd waarschijnlijk volop muziek gemaakt. Johann Pachelbel, Canon, Il Giardino Armonico; Gli Icogniti Johann Pachelbel, Musicalische Ergotzung; Partita V in C; Gli Icogniti

Hij heeft niet meegemaakt dat zijn dochter trouwde met een familielid van hem; Johann Michael Bach. Johann Michael was een neef van de vader van Johann Sebastian Bach, en zijn dochter, Maria Barbara trouwde met Johann Sebastian. Er is redelijk wat muziek bewaard gebleven van de in 1694 overleden Johann Michael Bach. Hoogste tijd om er eens naar te luisteren. Johann Michael Bach, ‘Herr, wenn ich Dich nur habe’; Vox Luminis olv Lionel Meunier

Het aantal vermaarde musici was erg hoog aan het hof van Dresden; de best betaalde onder hen was de luitist Sylvius Leopold Weiss. Hij was een goede vriend van Johann Sebastian, ze hebben zelfs samen gecomponeerd… en een ‘wedstrijd’ gehouden in improviseren. Ik hou van de luit, en van de muziek van Weiss… Sylvius Leopold Weiss, Sonate voor luit nr.1, Nigel North (luit)

Gewoonweg lief, vind ik het. Johann Sebastian informeert in juni 1740 of hij een ‘kneu’ kan ontvangen, een zangvogeltje, want zijn vrouw Anna Magdalena is ‘een zeer groot liefhebster van zulke vogels’. Dat betekent dat er in de woonkamer van de Bach’s een kooitje was met een zingende kneu… Euh, hoe klinkt een kneu eigenlijk? Francois (Le Grand) Couperin, Rondeau ‘Les Bergeries’, BWV. Anh.183 (uit: Klavierbuchlein Anna Magdalena Bach, 1725), Cristine Plubeau (gamba), Oliver Baumont (clavecimbel)

Wat klonk er op de verjaardagen van de familie Bach? Dit moet de 4-jarige Johann Sebastian hebben gehoord op 6 september 1689, de verjaardag van zijn oom Georg Christoph. Muziek: George Christoph Bach, Siehe, wie fein und lieblich ist es’, Concerto Palatino & Cantus Cölln, olv Konrad Junghänel

Hey, it’s Stiles from Brand Content Studios and here’s your Content Marketing Quickie for the week of June 4, 2019.   -Wanna learn some stuff about social media? Gee that’s swell, because Social Media Examiner just put out their 2019 Industry Report and these are always nuggets of information that are either reaffirming, or downright hard to believe. Despite warning signs and storm clouds, social marketers don’t care. They’re very bullish on it, even moreso than last year. They think it’s doing everything they want it to do: exposure, sales, thought leadership, you name it. The big 5 will likely stay the big 5, in order they’re using Facebook, Instagram, Twitter, LinkedIn and YouTube. Twitter? Really? Yes Twitter! It’s the 6th most-popular social platform for American users but #3 in the hearts of marketers. In fact, over a third plan to increase activity on Twitter even though usage has fallen 4 percentage points in 2 years. Anecdotally, I was following the Twitter hashtag during Digital Summit Atlanta and was stunned at the lack of participants and activity on it compared to just 5 years ago. On the other side of the coin, Americans are way more likely to use Pinterest and Snapchat than social marketers are. Facebook is de-prioritizing the News Feed and de-prioritizing publisher content, but social marketers do not care. 51% plan to increase their posting throughout this year. What Facebook is switching to is something consumers love, messaging. But you can count on social marketers to zig when the world is zagging. Only 39% of them plan on increase their Facebook Messenger activity, which is actually DOWN from 2018. But here’s something they’re getting right. They know they have to pay Facebook to get any reach. While 51% are increasing organic efforts, 59% are upping their Facebook ads game. So, in summary, it’s like social marketers feel like they just figured these channels out so they’re operating as if the platforms and user behavior don’t change. https://www.convinceandconvert.com/social-media-marketing/social-media-statistics-2019/   -Gonna take a shot in the dark here…you do lead generation campaigns don’t you? What do you hope to get out of that? Yeah, I know, leads, I’m not that stupid. But even SmartBrief wanted to know more about what the expectations are so they asked marketers and advertisers things like what do they see as "typical" success for lead gen campaigns. Over 30% want an average conversion rate of 10% or less but over half want 20% or less. Some wanted 50%+, they’re like the girl who turned into a blueberry on Willy Wonka. If you don’t test your landing pages, you are not alone. Only 24.5% do that "Always" or "Often". 16% "Never" do. How many fields do you make users grind through on your forms? 93% use 6 or less. The experts say you should shoot for 5 tops. Now to talk about my thing, content. Marketers are using all kinds of it. Tops on that list are white papers, ugh, videos and infographics. Most think promoting a video will deliver the strongest conversion rate. But at the same time, they put a lot of stock in the design, layout and copy of the landing page, feeling like that’s got the greatest impact on conversion. https://www.smartbrief.com/original/2019/05/survey-report-landing-page-habits-marketers   -Wow Andreesen Horowitz analyzed the living hell out of podcasting. I mean it’s a really in depth and thorough look at where things stand today. Who didn’t come out looking so good? Apple. 60% of podcast listening happens there and that app comes pre-installed on phone but has Apple been good for podcasting? Could be better. Like tons better. Even though the podcast app is in 900M iPhones worldwide, it only has 27M monthly active users in the US. That’s um, quite a gap. The other way Apple’s botched it is they don’t monetize podcasting on their platform at all – that’s made it hard for advertisers to jump in harder and heavier than they have. Yet another way Apple’s blown it is the metrics are non-existent. And of course, a lot of people think the app sucks. Overall, it paints a picture of Apple as a lead weight around podcasting’s ankles. In terms of the app, the study says “Users seldom feel passionately about the podcast app they’re using. The content is the core element users are engaging with.” That might be why Spotify already has 9% of podcast listening and iHeartRadio and Pandora are scoring from promoting podcasts to the large existing user bases they already have. Then there are what Andreessen Horowitz describes as “long-tail” listening apps, like Stitcher or Breaker, who are competing based on features users just like better. Advertisers are in and are largely very happy with the results they’re getting, but podcasting’s monetization is still lacking. Again, ad buying is manual and tedious, not like it is on Google and Facebook. And it needs those metrics and targeting tools. The report says, “The current state of monetization in podcasting mirrors the early internet: revenue lags behind attention.” But make no mistake, companies, probably not Apple, will figure these things out and podcasting’s monetization future looks very, very bright. http://www.insideradio.com/podcastnewsdaily/new-report-blames-apple-for-difficulties-in-making-money-from/article_dd49b3e8-8233-11e9-919e-5778e1456954.html   -Well earlier I told you how doe-eyed in love social media marketers are with Facebook, no matter what. So this story I assure you will not matter to them. But an eMarketer report tells us users are spending less time on it. And they say time spent on Facebook will go down even more or at best, stay flat for the foreseeable future. Do you spend 38 minutes a day on it? Because that’s the average and that’s down 3 minutes from last year. That may not sound like much unless it’s your 3-minute video that didn’t get seen. What’s going on? Why is interest going down? Several reasons. One, the scandals, the privacy issues, it all just keeps giving the brand impression that this is a company that’s learning to fly while it’s already 30,000 feet in the air and we’re all sitting there in coach hoping they get it right. Analyst Debra Aho Williamson also says the News Feed changes haven’t helped, because there’s less publisher content and apparently, your friends and family just aren’t that fascinating. Teens especially seem more than willing to not go on Facebook, and our lives depend on what teens think. So, the numbers aren’t great, and you know what you do when you have bad numbers? You hide them of course; this is the generation of transparency and authenticity. Facebook recently stopped disclosing metrics for its main app. The good news for them, Instagram’s fine. Usage should rise through 2021. https://mashable.com/article/facebook-use-declining-emarketer/   That’s the Content Marketing Quickie for this week. Subscribe, review it, let me know how to make this better for you…sounds like my honeymoon. And as Johann Sebastian said, I’ll be Bach next week. I’ll be…because that was his last name.

This week: Giants News, Bingo-related Follow Up, more Weird Baseball Things, and the Minor League Team of the Week.

This week: Giants News, Bingo-related Follow Up, more Weird Baseball Things, and the Minor League Team of the Week.

This week: Giants News, Bingo-related Follow Up, more Weird Baseball Things, and the Minor League Team of the Week.

aneddoti, scopiazzature, episodi divertenti, vere e proprie burle in musica. Oggi scopriremo la musica del mitico ventunesimo figlio di Johann Sebastian, P.D.Q. Bach

aneddoti, scopiazzature, episodi divertenti, vere e proprie burle in musica. Oggi scopriremo la musica del mitico ventunesimo figlio di Johann Sebastian, P.D.Q. Bach

aneddoti, scopiazzature, episodi divertenti, vere e proprie burle in musica. Oggi scopriremo la musica del mitico ventunesimo figlio di Johann Sebastian, P.D.Q. Bach

Am Donnerstag vor 334 Jahren wurde Johann Sebastian Bach geboren. Im MDR KLASSIK-Gespräch spricht der Leiter des Bachhaus Eisenach, Jörg Hansen, über Geburtstagspläne und was Bachs Kopf in Berlin macht.

So, you've heard of Johann Sebastian. But have you heard of Carl Phillip Emanuel? You will have after listening to this week's episode looking at just a small branch of the musical Bach family tree! Music: https://imslp.org/wiki/Herz_und_Mund_und_Tat_und_Leben%2C_BWV_147_(Bach%2C_Johann_Sebastian) https://creativecommons.org/licenses/by/3.0/legalcode https://imslp.org/wiki/Prelude_and_Fugue_in_C_major%2C_BWV_846_(Bach%2C_Johann_Sebastian) https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode https://imslp.org/wiki/Flute_Sonata_in_E-flat_major%2C_H.545_(Bach%2C_Carl_Philipp_Emanuel) https://creativecommons.org/licenses/by-sa/4.0/legalcode https://imslp.org/wiki/Symphony_in_B-flat_major%2C_H.658_(Bach%2C_Carl_Philipp_Emanuel) https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode

Today’s episode is a delightful chat with Grant Kaplan, Associate Professor of Theology at Saint Louis University. Grant is an expert in nineteenth-century German Catholic theology, fundamental theology, Modern philosophy and theology, and a whole lot of other fascinating topics. He is also the author of René Girard, Unlikely Apologist: Mimetic Theory and Fundamental Theology (Notre Dame, 2016). After an initial foray into Grant’s ill-advised fashion choices (a crop top was involved), cooking failures (high temps and cheese don’t mix), and favorite bar (The Columns Hotel in New Orleans), we talk about the people, places, texts, and ideas that helped shape Grant into the theologian he is today. TITLES REFERENCED IN MAIN SEGMENT Alison, James. The Joy of Being Wrong: Original Sin Through Easter Eyes. New York: Crossroad, 1998. Alison, James. On Being Liked. London: Darton, Longman & Todd, 2003. Bloom, Allan. Closing of the American Mind: How Higher Education Has Failed Democracy and Impoverished the Souls of Today’s Students. Reissue edition. Simon & Schuster, 2012. Doran, Robert M. The Trinity in History: A Theology of the Divine Missions, Volume 1: Missions and Processions. Toronto: University of Toronto Press, 2012. Girard, René. I See Satan Fall Like Lightning. Translated by James G. Williams. Maryknoll, N.Y: Orbis, 2001. Girard, René. Things Hidden Since the Foundation of the World. Translated by Stephen Bann and Michael Metteer. First edition. Stanford: Stanford University Press, 1987. Heidegger, Martin. Being and Time. Translated by John Macquarrie and Edward Robinson. New York: Harper Perennial Modern Classics, 2008. Kant, Immanuel. Critique of Pure Reason. Edited by Paul Guyer and Allen W. Wood. Cambridge: Cambridge University Press, 1998. Lawrence, Frederick. The Fragility of Consciousness: Faith, Reason, and the Human Good. Edited by Randall S. Rosenberg and Kevin Vander Schel. Toronto: University of Toronto Press, 2017. Lewis, C. S. Mere Christianity. Revised & Enlarged edition. San Francisco: HarperOne, 2015. Lonergan, Bernard J.F. Method in Theology. Edited by Robert M. Doran and John D. Dadosky. Collected Works of Bernard Lonergan, Volume 14. Toronto: University of Toronto Press, 2017. MacIntyre, Alasdair. After Virtue: A Study in Moral Theory. Third Edition. Notre Dame, Ind: University of Notre Dame Press, 2007. Milbank, John. Theology and Social Theory: Beyond Secular Reason. 2nd Edition. Oxford: Wiley-Blackwell, 2006. Moore, Sebastian. The Crucified Jesus Is No Stranger. 2nd edition. New York: Paulist Press, 2018. TREASURES OLD AND NEW Purvis, Zachary. Theology and the University in Nineteenth-Century Germany. Oxford: Oxford University Press, 2016. Drey, Johann Sebastian. Brief Introduction to the Study of Theology: With Reference to the Scientific Standpoint and the Catholic System. First American edition. Notre Dame, IN: University of Notre Dame, 1994. We have a Patreon! Check out the page at https://www.patreon.com/systematically Please consider making a much-appreciated donation. We’re still working through what special content we will provide for our subscribers (mini-episodes, submission opportunities, merch, etc.), but we promise the perks will be exciting. As always, your support is greatly appreciated! Our theme music is “14 Ghosts II” by Nine Inch Nails, available at https://archive.org/details/nineinchnails_ghosts_I_IV “14 Ghosts II” is used under a Creative Commons Attribution Non-Commercial Share Alike license. We would like to thank Trent Reznor and Nine Inch Nails for the use of this track. Follow and chat with us on Twitter @SystematicPod Email us at SystematicallyPodcast@gmail.com Subscribe and Review us on iTunes: Systematically Podcast Lastly, if you enjoy our conversations, please share them with your friends!

Bach in Eisenach, Bach in Leipzig … diese Geschichten sind bekannt. Aber Bach und Dresden? Auch da gibt's einiges zu erzählen. Und das tut der Schriftsteller Ralf Günther in seinem neuen Buch „Als Bach nach Dresden kam“.

Bjarki har fastnat för Bachs överskattning och David lacear en sån jävla freestyle-jingel. David får glänsa med sin sex&relations kunskap med lyssnarfrågor och Boxarpodden ber oss att ge tips på hur de kan förbättra sitt innehåll. Top3 är giftig igen och CP lyser upp närvaron med sin briljans. 

An accompanying note for Bach’s Partita N2 from the Six Sonatas and Partitas BMW 1009. Sources Bach, Johann Sebastian. BACH, J.S.: 6 Partitas. Gutmann, Peter. “Bach’s Sonatas and Partitas for Solo Violin.” Classical Notes, 2004, www.classicalnotes.net/classics/partitas.html. Kelly, Thomas Forrest. Music Then and Now. Norton, 2013. Schröder, Jaap. BACH, J.S.: Sonatas and Partitas for Solo Violin, Naxos, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.557563-64&catNum=557563&filetype=About%2Bthis%2BRecording&language=English.

Panelen imponeras av det genetiska materialet i familjen Bach, går i spinn över Bohuslav Martinus kusliga ballader och gillar showandet men saknar djupet i Münchenfilharmonikernas tolkning av Bartók. Veckans skivor: BACH - MAGNIFICATS Musik av Johann Sebastian, Johann Christian och Carl Philipp Emanuel Bach Ensemblen Arcangelo Sångare: Joélle Harvey, Olivia Vermeulen, m. fl. Jonathan Cohen, dirigent Hyperion CDA68157 BARTÓK Konsert för orkester och pianokonsert nr 3 Javier Perianes, piano Münchens filharmoniker Pablo Heras-Casado, dirigent Harmonia Mundi HMM902262 BRAHMS - THE PIANO TRIOS Emanuel Ax, piano Leonidas Kavakos, violin Yo-Yo Ma, cello Sony 88985407292 BOHUSLAV MARTINU & JAN NOVÁK Orkester och körmusik: Bukett och Filharmoniska danser Pragradions symfoniorkester och körer Tomás Netopil, dirigent Sångare: Katerina Knezikova, Michaela Kapustova, Jaroslav Brezina m.fl. Supraphon SU4220-2 Referensen: Den definitiva inspelningen av Bartóks "Konsert för orkester". Så har den kallats, dirigenten Fritz Reiners berömda RCA Living Stereo-inspelning från 1955 tillsammans med Chicagos symfoniorkester. Alexanders val: Skräckfilmmusikens glömda kompositör Han skapade musiken till den klassiska rysaren "Mumien" och skrev operor, konserter för violin, piano och cello, flertalet körverk och en mängd kammarmusik. Men idag är det få som minns Franz Reizenstein. Alexander Freudenthal lyfter den Nürnbergfödde brittiske kompositören ur glömskan och berättar om hans liv och musik. Andra i programmet nämnda eller rekommenderade inspelningar: Ton Koopmans inspelning av Johann Sebastian Bachs Magnificat med Amsterdams barockorkester och kör från 1998. Ensemblen Ricercars inspelning av Johann Sebastian Bachs Magnificat från 2009, utgiven på Mirare. Ferenc Fricksays inspelning av Bartóks Konsert för orkester med Berlinradions symfoniorkster från 1957, utgiven på Deutsche Grammophon. Javier Perianes inspelning av Felix Mendelssohns Lieder ohne Worte, Sånger utan ord från 2014, utgiven på Harmonia Mundi. Beaux Arts-trions inspelning av Brahms pianotrior på Philips från 1987. Maria-Joao Pires, Augustin Dumay och Jian Wangs inspelning av Brahms pianotrior från 1995, utgiven på Deutsche Grammophon. Karel Ancerls inspelning från 1955 av Bohuslav Martinus sångcykel "Bukett", utgiven på Supraphon.

Looking ahead to International Women's Day, Lucie Skeaping talks to Rebecca Cypess of Rutgers University in New Jersey about music played, collected and commissioned by the Jewish salon hostess Sara Levy (1761-1854), student of Wilhelm Friedemann Bach and great-aunt of Felix Mendelssohn. Levy was a remarkable woman and was hugely important in the preservation and perpetuation of the Bach family tradition in the late 18th and early 19th centuries, before Mendelssohn ignited the widespread craze for Bach's music in 1829. At a time before Jews had legal rights in Prussia, Levy's father received special status as a "court Jew" (ie, financier) to Frederick the Great. Sara and her siblings benefited from his wealth and position, and received the finest musical education available. By 1774 she was studying harpsichord with no less a teacher than Wilhelm Friedemann Bach (1710-1784), eldest son of the great JS Bach). In 1783, when she married Salomon Levy, Friedemann presented her with a song, "Herz, mein Herz sey ruhig" (Heart, my heart, be still) as a gift. Around the time of her marriage, Sara began to host salon gatherings in her home, in which men and women, Jews and Christians, gathered to socialize and to discuss new cultural ideas. However, unlike other salons hosted by women in Enlightenment Berlin, which were centred primarily around literature, Sara's salon was musical. She became a keyboard virtuoso, defying the expectation documented in the many collections of "Damen Sonaten" (Ladies' Sonatas) of the late 18th century that women could play only easy pieces. By the mid-1790s she was performing outside of her salons as well, in concert series and, later, as a concerto soloist at the amateur music society known as the Singing Academy of Berlin. Sara Levy was also a collector - among the first to take an interest in the preservation and performance of music of previous generations, especially that of J.S. Bach. This was at a period when older music in general was neglected in favour of newer music, and when the music of Johann Sebastian in particular was viewed as old-fashioned and overly difficult to understand. Yet Sara Levy, along with her sisters and her husband, played solos, chamber music, and concertos by Bach and his contemporaries, and their soirées constituted what the composer Johann Friedrich Reichardt called a "Bach cult." Around 1813, Sara donated the majority of her enormous collection of manuscript scores and printed sheet music to the Singing Academy of Berlin. It was there, in 1829, that her great-nephew Felix Mendelssohn Bartholdy staged his famous performance of J.S. Bach's St. Matthew Passion - the event that sparked the so-called "Bach revival" of the 19th century. Sara was also a patron of new music. Some of the keyboard fantasies of W.F. Bach are preserved only in manuscripts associated with Levy and her circle, suggesting that she or her family may have commissioned them, heard the composer play them, and played them themselves. It's thought she may also have commissioned the late quartets of C.P.E. Bach.

26.02.1834: Johann Sebastian Staedtler hat einen Farbstift erfunden

In the fading light of December 1717, a carriage rumbles along the road to Cöthen. As the candlelit moated castle comes into view, the approaching family crane their necks to get a better look at their new home-town. The rural setting is a far cry from the hubbub of Weimar but there's promise in the air. The family are of course the Bachs, Johann Sebastian and his wife Maria Barbara, and four children: nine-year-old Catharina Dorothea, seven-year-old Wilhelm Friedman, three-year-old Carl Philipp Emanuel, and the toddler Johann Gottfried Bernhard. This journey, taken 300 years ago, marked a new and exciting development for the young family, and considerable promotion for Bach. Looking back on the moment, Sebastian would later write: a 'change in my fortunes... took me to Cöthen as Cappellmeister. There I had a gracious Prince, who both loved and knew music, and in his service I intended to spend the rest of my life. Hannah French delves into the history surrounding his move to Cöthen, his eventual departure, his relationship with the Prince Anhalt Cöthen, and the music he composed there.

Across The Tracks welcomes Behind the Breaks 3x champ, Johann Sebastian. He came by the studio and discussed his process in the studio, methods for winning beat competitions, and projects he has in the works. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

I serien "Musik och kropp" möter vi människor som på olika sätt har en relation till musik och kropp. I första programmet: författaren Elisabeth Åsbrink Jakobsen och journalisten Martin Schibbye. Vi möter Elisabeth Åsbrink Jakobsen i Köpenhamn. Hon har fått Ryszard Kapuciski Award, Dansk-svenska kulturfondens kulturpris och svenska Augustpriset för sin bok "Och i Wienerwald står träden kvar". Elisabeth Åsbrink Jakobsen har även skrivit böckerna "Smärtpunkten" och "Bläck" samt teaterpjäserna "Räls", "Dr Alzheimer" och "Pojken och Det Sjungande Trädet". Hon var tidigare fast anställd på Sveriges Television, där hon arbetade som redaktör med granskande journalistik på Uppdrag Granskning. Hon skriver regelbundet krönikor och recensioner i Dagens Nyheter. För några år sedan blev Elisabeth Åsbrink Jakobsen allvarligt sjuk och tillbringade sex veckor på sjukhus. Cecilia Bartolis sång i Selve amiche gav lindring till hennes svårt sjuka kropp. Upplevelsen av att ha varit så nära döden blev avgörande för Elisabeth Åsbrink Jakobsens beslut att börja skriva. Nina Simones röst och ord ledsagar henne då. I sina böcker och artiklar arbetar Elisabeth Åsbrink Jakobsen ofta med minnet som arbetsmaterial vår samtids minne, Europas minne och med sina egna kroppsminnen. Hon minns hur hon som fyraåring sitter under sin fars piano i ett regn av Bach. Goldbergvariationerna spelade av Glenn Gould, en grekisk bouzouki-orkester och Beethovens sjunde symfoni, med Berlinfilharmonikerna och Herbert von Karajan, blir för Elisabeth Åsbrink Jakobsen en bro mellan kropp och själ. Martin Schibbye tar emot oss i hemmet i Farsta utanför Stockholm. För sina utrikesreportage i främst Syd- och Sydostasien fick han Publicistklubbens pris till Anna Politkovskajas minne. Med fotografen Johan Persson tillbringade han 438 dagar (deras boktitel) i det ökända Kalityfängelset i Etiopien. Den första tiden satt Martin Schibbye isolerad i en minimal cell. Frånvaron av musik förvärrar ensamheten. Jag går snabbt ner mig i mörka tankar. Kanske är jag skyldig. Kanske blir jag kvar här hela livet. Jag tänker i cellen att min mormor hade klarat det här bättre. Utantill kan hon psalmer, dikter och sånger en kulturskatt hon alltid bär med sig och kan hämta kraft ur. Det är olidligt att lyssna till den nationalistiska propagandamusiken som fängelseledningen kör ut dygnet runt på maxvolym. Men det är underbart att få in en mp3-spelare fylld med musik hemifrån. Thåström sjunger We are the Soldiers of the Human Race och även Laleh, Broder Daniel, Nick Cave och Club 8 blir musikaliska livlinor. När Martin Schibbye lyssnar på kärleksballaden Love in December bryts de psykiska försvaren ner och gråten väller fram i längtan efter hustrun Linnea. Låtlista Kropp och musik 1: BODY AND SOULFrank Eyton/ Edward Heyman/ Robert SourBillie Holiday/ Harry Edison/ Ben Webster/ Jimmy Rowles/ Barney Kessel/ Red Mitchell/ Alvin StollerVERVE 00383, 589 932-2 HAN TUGGAR KEXLaleh Pourkarim,Laleh PourkarimLalehLOST ARMY 27706, 5050467 6919- 5-7 SYMFONI NR 7 A-DUR OP 92Ludwig Van Beethoven,Herbert Von Karajan/ Berliner PhilharmonikerDGG00174, 415 121-2 SELVE AMICHEAntonio Caldara,OkändCecilia Bartoli/ György FischerDECCA 00171, 436 267-2 SELVE AMICHEAntonio Caldara,OkändCecilia Bartoli/ György FischerDECCA 00171, 436 267-2 FEELING GOODLeslie Bricusse/ Anthony Newley,Leslie Bricusse/ Anthony NewleyNina Simone/ Rudy Stevenson/ Hal MooneyVERVE 00383, 065 021-2 FEELING GOODLeslie Bricusse/ Anthony Newley,Leslie Bricusse/ Anthony NewleyNina Simone/ Rudy Stevenson/ Hal MooneyVERVE 00383, 065 021-2 GIRL FROM SYROS ISLANDOkänd,Native Rythm BandMARATHON MEDIA INTERNATIONAL LTD 33901, GIRL FROM SYROS ISLAND 2008 GIRL FROM SYROS ISLANDOkänd,Native Rythm BandMarathon MediaInternational Ltd 33901, GIRL FROM SYROS ISLAND 2008 Prelude And Fugue In C Minor From Das Wohltemperierte Klavier Book 1 No.2 (Bwv.847)Bach, Johann Sebastian /(1685-1750),Justas Dvarionas (Piano) SYMFONI NR 7 A-DUR OP 92Ludwig Van Beethoven,Herbert Von Karajan/ Berliner PhilharmonikerDGG00174, 415 121-2 GOLDBERG- VARIATIONERNA (BWV 988)Johann Sebastian Bach,Glenn GouldSONY CLASSICAL 15676, SMK 64126 GOLDBERG- VARIATIONERNA (BWV 988)Johann Sebastian Bach,Glenn GouldSony Classical 15676, SMK 64126 BEVÄPNA DIG MED VINGARJoakim Thåström/ Per Hägglund,Joakim ThåströmJoakim ThåströmRAZZIA RECORDS 26959, RAZZIA 200 SHORELINEHenrik Berggren,Henrik BerggrenBroder DanielDOLORES RECORDS 06633, DOL 140 CC COWBOYSImperiet,ImperietImperietMISTLUR 05653, MLRCD 115 LOVE IN DECEMBERJohan Angergård,Johan AngergårdClub 8LABRADOR 22278, LAB 018 AND NO MORE SHALL WE PARTNick Cave,Nick CaveNick CaveMUTE 05834, CDSTUMM 164 

Donald Macleod explores the life and music of Carl Philipp Emanuel Bach, the second son of Johann Sebastian

Johann Sebastian Punk dal vivo a Radio1 Music Club

Violinwerke von Johann Sebastian und Carl Philipp Emanuel Bach | Lisa Batiashvili (Violine) | François Leleux (Oboe) | Kammerorchester des Symphonieeorchesters des Bayerischen Rundfunks

6th public recording of the Bach Collegium Paris on March, 31st 2012, Église Réformée de l'Étoile (Paris 17th). Patrizia METZLER, directeur musical. Claire COUZELIN, soprano. Xavier JACQUES, alto. Tarik BOUSSELMA, ténor. Fabien LERICHE, basse. Johann Sebastian BACH (1685-1750) Cantata BWV 4 "Christ Lag in Todesbanden" ... read more about this program on : http://www.bachcollegiumparis.org/repertoire/bach-cantate-bwv-4-christ-lag-in-todesbanden © All right reserved Bach Collegium Paris - Paris, France

I never think it should be played the same way twice.

First public recording of the Bach Collegium Paris on July, 9th 2010 in Basilique Sainte-Clotilde (Paris 7th). Patrizia METZLER, musical director. Chiara SKERATH, soprano. Antoine LE ROUX, contretenor. David TRICOU, tenor. Émilien HAMEL, baryton. BACH Johann-Sebastian (1685-1750) Cantata BWV 147 “Herz und Mund und Tat und Leben” “Jesus bleibet meine Freude” (final choral) J.S. Bach wrote Cantata 147 to celebrate the feast of the Visitation of the Virgin Mary and it was first performed during his first year at the Thomaskirche in Leipzig on July 2, 1723. In 1716 he had composed a six movement work with the same title during his time in Weimar where it was intended to be sung on the 4th Sunday of Advent. The revisions he undertook for the performance in Leipzig included substantial citatations from the Song of Mary (the Magnificat in Luke, chapter 1) thus making it fit into the liturgical requirements for the Feast of the Visitation. The text for the original Weimar work was composed by the librettist Salomon Franck and although it was not unacceptable for the Feast of the Visitation, Bach expanded from the work from six into ten movements to satisfy all the liturgical requirements in Leipzig. The additional movements included three recitatives and the concluding movements of the first section, as well as the replacement of the final movement of the work with another stanza from Martin Jahn's chorale text. ... read more about this program on : http://www.bachcollegiumparis.org/repertoire/bach-cantate-bwv-147 © All right reserved Bach Collegium Paris - Paris, France