Podcasts about Johann Sebastian Bach

Celebrado em todo o mundo por sua música sacra, Johann Sebastian Bach tem também um lado “profano”. Entre suas obras, além de cantatas marcadas pela profundidade e pela transcendência, existem composições que possuem um caráter secular, obras irreverentes e debochadas e até mesmo, como se diz atualmente, música “de sofrência” - todas elas da mais elevada qualidade artística. É o que mostra esta edição de Manhã com Bach, que apresenta três músicas seculares do compositor alemão: o Quodlibet (BWV 524) - uma obra polifônica que mistura diferentes melodias e ritmos e utiliza letra bem-humorada, muitas vezes sem nenhum nexo -, o Concerto para Cravo em Ré Maior (BWV 1054) e a cantata Amore Traditore, “Amor traidor” (BWV 203). Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 18 e 19 de julho de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

Viviane Chassot gehört zu den renommiertesten Akkordeonistinnen überhaupt. Sie hat mitgeholfen, ihrem Instrument auch die klassische Musik zu erschliessen. Damit macht sie die klassische Musik auch jenen Menschen zugänglich, die sonst keinen Bezug zu ihr gehabt hätten. Geboren wird Viviane Chassot in Zürich. Sie wächst in Wollerau auf, wo das Akkordeon eine grosse Rolle spielt. Allerdings nicht im klassischen Bereich, sondern in Form eines Akkordeon-Orchesters, das es bis heute gibt. Viviane Chassot interessiert sich damals mehr fürs Ballett. Und zwar so sehr, dass es auch beruflich eine Option wird. Eine Ausbildung am Opernhaus Zürich wäre möglich. Da hört sie am Radio ein Stück von Johann Sebastian Bach. Gespielt auf einem Akkordeon. Das ändert alles. Vivianne Chassot ist Feuer und Flamme und entscheidet sich – weil in ihrer Familie nur ein Hobby erlaubt war – für das Akkordeon. Längst ist das Hobby Beruf. Viviane Chassot hat Werke von Haydn, Mozart und Rameau eingespielt und aufgeführt und so auch mit Grössen wie Simon Rattle oder Alfred Brendel zusammengearbeitet. Und sie verbindet Klassik, Jazz, neue Musik und Improvisation. Auch darin also eine Brückenbauerin. Von ihrer Pionierarbeit für das Instrument und ihrem differenzierten Zugang zum Klang, von ihrem Weg zum Erfolg und ihren Rückschlägen und Krisen, von ihrer Arbeit mit anderen Musikerinnen und Musikern und ihrer Liebe auch zur Rockmusik erzählt Viviane Chassot im Gespräch mit Gastgeber Michael Luisier. Die Musiktitel: - Meat Loaf: Alive - Joseph Haydn: Holde Gattin, dir zur Seite (Duett Adam&Eva), aus Die Schöpfung (Balthasar-Neumann-Ensemble; Thomas Hengelbrock, Leitung; Dorothee Mields, Eva; Locky Chung, Adam) - Aimee Mann / Rush: Time stand Still - Stefanie Heinzmann: Good - Johannes Brahms: 3. Allegro non troppo, aus Klavierkonzert Nr. 1 d-Moll op. 15 (Maurizio Pollini, Klavier; Berliner Philharmoniker; Claudio Abbado, Leitung) Der Einspieler: Josef Haydn: Presto, aus Klaviersonate e-Moll, Hob 16/34 (Viviane Chassot, Akkordeon) Erstausstrahlung: 23.11.2025

Aujourd'hui, je vous propose une promenade dans l'univers merveilleux de la musique baroque et surtout de répondre à une question : pourquoi Johann Sebastian Bach est-il considéré comme l'architecte de la musique occidentale ? Bach, ce compositeur allemand du 18ᵉ siècle, serait à la fois un sommet, une synthèse et un point de départ. Mais pourquoi lui ? Qu'a-t-il fait de si décisif pour que, trois siècles plus tard, musiciens, compositeurs et auditeurs continuent de le regarder comme une référence absolue ? Était-il un génie isolé ou le produit d'un monde musical déjà très riche ? Et surtout, en quoi son œuvre ressemble-t-elle à une architecture, solide, cohérente, presque mathématique, sur laquelle repose encore une grande partie de la musique occidentale ? Pour répondre, il faut revenir à son époque, à sa vie, à son langage musical, puis mesurer l'empreinte durable qu'il laisse. _____ "Briller en société" est un podcast original NRJ, à retrouver sur toutes les plateformes d'écoute et sur le site et l'application NRJ.fr Texte : Daphné Breytenbach Voix et mix : Louis Daubé. "Briller en société" est un podcast NRJ imaginé par Sarah Conan. Production : Lucie Huteau. Direction des podcasts : Anne-Cécile Kirry. ______ Et découvrez les autres podcasts produits par NRJ : - Le podcast Destin, sur les incroyables histoires de vie - Le podcast Inspirés, pour découvrir les coulisses de vos chansons préférées - Le podcast Palmarès !, parce que le cinéma s'écoute aussi en podcast ______ Briller en société est un podcast original NRJ, à retrouver sur toutes les plateformes d'écoute et sur le site et l'application NRJ.fr Texte : Daphné Breytenbach Voix et mix : Louis Daubé Rédaction en chef : Sarah Conan & Anaïs Koopman Production : Anne-Cécile Kirry & Marie Carette ______ Et découvrez les autres podcast produits par NRJ : - Le podcast Destin, sur les incroyables histoires de vie - Le podcast Inspirés, pour découvrir les coulisses de vos chansons préférées - Le podcast Gossip Love, sur la vie amoureuse des stars Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This week's episode is all about already existing music that's been adapted for video games, and it features everyone's favorite video game composers. Alberto José González? Nah, we're talkin' Johann Sebastian Bach! David Wise? More like David Bowie! From Cyndi Lauper to Claude Debussy, this episode's got all the greats covered.

Wie immer sprechen wir im ersten Teil unseres Programms über aktuelle Ereignisse. Als Erstes betrachten wir zwei Angriffskriege, die beide mit der Erwartung eines schnellen Sieges begannen. Einer wurde von Putin gestartet, der andere von Trump. Anschließend diskutieren wir eine Kontroverse um kubanische Ärzte, die in Kalabrien in Italien Notfall- und andere medizinische Dienste leisten. Danach sprechen wir über den Environmental Performance Index 2026, der letzte Woche veröffentlicht wurde. Ich bin stolz, dass europäische Länder den Index anführen. Und zum Schluss sprechen wir über die Wimbledon-Endspiele, die am vergangenen Wochenende ausgetragen wurden. Der Rest des Programms ist der deutschen Sprache und Kultur gewidmet. Die heutige Grammatiklektion konzentriert sich auf Temporal Adverbs. Johann Sebastian Bach gilt als einer der bekanntesten Komponisten überhaupt. Ihm zu Ehren wird jährlich das Bachfest in Leipzig veranstaltet, das jedes Jahr unter einem anderen Motto steht. Diesmal ging es um die Kunst, miteinander zu reden und einander zuzuhören – eine Fähigkeit, die man aus der polyphonen Melodieführung in Bachs Werken lernen kann. Deutschland hat es bei der Fußballweltmeisterschaft zum dritten Mal in Folge nicht unter die besten 16 geschafft. Das deutsche Team war nach einer umstrittenen Partie gegen Paraguay nach einem Elfmeterschießen spektakulär ausgeschieden. Das Schicksal hat uns mal wieder auf die Schippe genommen, und genau das ist auch die Redewendung dieser Woche: Jemanden auf die Schippe nehmen. Putin und Trump: Wenn ein kurzer Krieg zur Dauerkrise wird US-Regierung fordert, dass kubanische Ärzte Italien verlassen Europäische Länder führen den Environmental Performance Index 2026 an Wimbledon 2026: Comebacks als Zeichen von Willenskraft und Resilienz Lernen mit Bach Deutsche Nationalmannschaft erlebt erneute WM-Katastrophe

A Fuga em Sol Menor (BWV 1026), para violino e cravo, só foi reconhecida como obra autêntica de Johann Sebastian Bach em 2005, depois de passar a maior parte do século 20 sendo considerada espúria. A comprovação da autoria de Bach se deve ao musicólogo alemão Peter Wollny, diretor do Arquivo Bach, de Leipzig, e professor da Universidade de Leipzig, o mesmo pesquisador que, no final do ano passado, revelou a autenticidade de duas chaconas de Bach que também tinham a autenticidade contestada, conforme Manhã com Bach anunciou na ocasião (ouça aqui). De acordo com as pesquisas de Wollny, a Fuga em Sol Menor foi composta por Bach na corte de Weimar entre 1712 e 1714, o que faz dela a mais antiga música de câmara de Bach hoje preservada. O pesquisador demonstrou que o uso intenso de acordes duplos (ou seja, a técnica de tocar duas notas ao mesmo tempo) no violino e a textura a duas vozes da composição, presentes nessa fuga, são características estilísticas concebidas por Bach que prenunciavam técnicas que, depois, ele aplicaria nas suas extraordinárias Sonatas e Partitas para Violino, entre outras obras. Essa fuga de Bach é apresentada nesta edição de Manhã com Bach, que exibe ainda a Tocata e Fuga em Ré Menor (BWV 538), para órgão, e a cantata Nach dir, Herr, verlanget mich, "Por ti, Senhor, eu anseio" (BWV 150). Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 11 e 12 de julho de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

Il violoncellista ospite di Unica Radio racconta formazione, collaborazioni e il valore della musica dal vivo. La musica come linguaggio universale, capace di raccontare emozioni e creare connessioni. È questo il cuore dell'intervista a Flavio Malatesta, violoncellista ospite di Unica Radio, che ha ripercorso la sua storia artistica, dagli inizi da bambino fino ai progetti dedicati alla divulgazione musicale. Un percorso nato molto presto, in una famiglia dove le note facevano parte della quotidianità. Il violoncello è diventato per lui non soltanto uno strumento, ma una presenza costante che ha accompagnato crescita personale e professionale. Flavio Malatesta e una vita tra le note Il rapporto con la musica è iniziato quando aveva appena quattro anni, grazie ai genitori entrambi musicisti. Nei primi anni ha studiato sia violino sia violoncello, fino alla scelta definitiva dello strumento dalle sonorità più profonde. A nove anni è entrato al conservatorio, affrontando un percorso lungo e intenso che lo ha portato al diploma e successivamente a nuovi studi di perfezionamento. La musica, racconta, è stata inizialmente un gioco, poi un impegno sempre più importante. Durante gli anni del liceo è arrivato il momento della scelta tra due strade: continuare gli studi tradizionali o dedicarsi completamente alla carriera musicale. La decisione è maturata naturalmente, perché il violoncello era ormai parte della sua identità. Le orchestre e le esperienze che formano Nel corso della sua carriera Flavio Malatesta ha collaborato con diverse orchestre, spaziando dal repertorio barocco a quello classico e lirico. Tra le esperienze ricordate c'è la collaborazione con Roma Sinfonietta, orchestra legata anche alla lunga attività musicale del maestro Ennio Morricone, oltre a numerosi progetti orchestrali e formativi. L'attività musicale non è stata soltanto legata ai grandi palcoscenici. Il violoncellista ha partecipato anche a iniziative sociali e umanitarie, portando la musica in ospedali, strutture sanitarie e luoghi dove il concerto diventa occasione di incontro. Il valore della musica condivisa Uno degli aspetti più importanti del suo percorso è il rapporto con gli altri musicisti. Già durante gli anni di formazione ha sperimentato la bellezza degli ensemble di violoncelli, una dimensione che continua ancora oggi attraverso l'insegnamento. Suonare insieme significa creare un dialogo fatto di ascolto e collaborazione, dove ogni strumento contribuisce alla costruzione di un'emozione comune. Per Malatesta l'orchestra rappresenta proprio questo: un organismo formato da tante voci diverse che riescono a trasformarsi in un unico racconto musicale. Bach e il progetto Open Bach Tra i progetti più significativi c'è “Open Bach”, un format dedicato alle suite per violoncello solo di Johann Sebastian Bach. L'obiettivo è avvicinare il pubblico alla musica classica attraverso una narrazione che accompagna l'esecuzione. Flavio Malatesta racconta la storia delle composizioni e aiuta gli ascoltatori a entrare dentro le opere, rendendo la musica più accessibile e partecipata. Il progetto nasce dall'idea che il pubblico non debba soltanto ascoltare, ma comprendere e vivere ciò che accade durante un concerto. Vivaldi e la musica per tutti Un altro percorso importante è dedicato alle “Quattro stagioni” di Antonio Vivaldi. Nato come progetto educativo, il lavoro trasforma la celebre composizione in un'esperienza intera

Dinner and a show.CW: Gore, intense body horror, dismemberment, ocular destruction, vomiting, discussion of death of family members, familial strife, grief, mind control, vocal mourning, monster sounds, collapsing building/earthquake sounds.Written by Steve Shell and Cam CollinsProduced and edited by Cam Collins and Steve ShellNarrated and performed by Steve ShellSound design by Steve ShellThe voice of Haman Locke: Alex McDonald VillarealThe voice of Marlena Locke: Glenna GrantThe voice of Rachel Harlow: Dax DupuyThe voice of the Railroad Man: Yuri LowenthalIntro music: “The Land Unknown (The Where the Light Don't Reach Verses)” written and performed by Landon BloodOutro music: “Jerry” by Jacob Danielsen-Moore http://jacobdanielsenmoore.bandcamp.com/Additional music: “Actus Tragicus” by Johann Sebastian Bach performed by Ulf NorbergSpecial equipment consideration provided by Lauten Audio.LEARN MORE ABOUT OLD GODS OF APPALACHIA: www.oldgodsofappalachia.comCOMPLETE YOUR SOCIAL MEDIA RITUAL: Facebook Instagram BlueskySUPPORT THE SHOW: Join us over at THE HOLLER to enjoy ad-free episodes, access exclusive storylines and more.Buy t-shirts, hoodies, mugs, and other Old Gods merch. CLASSIC MERCH: merch.oldgodsofappalachia.comTOUR MERCH & SPECIALTY ITEMS: oldgodsmerch.com.Transcripts available on our website at www.oldgodsofappalachia.com/episodes.© 2026 DeepNerd Media. All rights reserved. No part of this audio production or its written transcript may be used or reproduced in any manner for the purpose of training artificial intelligence technologies or systems.Support this show http://supporter.acast.com/old-gods-of-appalachia. Hosted on Acast. See acast.com/privacy for more information.

Fugue in C minor, BWV 582, Johann Sebastian Bach (1685-1750) - Tracy Qian, organ by First Community Church

Um hino composto em 1524 pelo reformador alemão Martim Lutero, Christ lag in Todesbanden ("Cristo jazia em ataduras de morte"), inspirou Johann Sebastian Bach a compor uma cantata - também intitulada Christ lag in Todesbanden (BWV 4) -, quatro prelúdios corais, uma partita coral e uma fantasia. Essas sete composições são exibidas nesta edição de Manhã com Bach. A obra de Lutero é um hino de Páscoa, que nas suas sete estrofes celebra a ressurreição de Jesus Cristo. A melodia foi composta por Lutero em parceria com o compositor alemão Johann Walther (1496-1570), um dos mais importantes poetas luteranos da época da Reforma Religiosa do século 16. O hino foi publicado no hinário intitulado Eyn geystlich Gesangk Buchleyn (“Um livrinho de cânticos espirituais”), o primeiro hinário protestante, lançado em 1524, em Wittemberg, na Alemanha, e editado por Johann Walther, com prefácio de Lutero. E foi publicado também no Erfurt Enchiridion, hinário editado por Lutero que surgiu naquele mesmo ano de 1524. Por sua vez, para compor esse hino, Lutero se inspirou em outro hino, intitulado Christ ist erstanden (“Cristo ressuscitou”), considerado a mais antiga canção cristã alemã, que era cantata já por volta do ano 1100. Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 4 e 5 de julho de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

Wir springen in dieser Folge in die Mitte des 18. Jahrhunderts. Ein Augenarzt bereist in dieser Zeit nicht nur sein Heimatland England, sondern das gesamte vereinigte Königreich, schließlich auch den Kontintent und landet dann in Leipzig. Dort hat der berühmteste Musiker der Stadt, Johann Sebastian Bach, schon länger mit einem Augenleiden zu kämpfen, und der berühmte Augenarzt aus England wird ihn operieren. Nur, geht das auch gut aus? Wir sprechen in dieser Folge über Chevalier John Taylor, der in der Medizingeschichte manchmal als Pionier und oft als Quacksalber bezeichnet wurde, der aber tatsächlich eine Art Zwischenwelt in der Medizingeschichte bewohnte, in der die beiden Eigenschaften oft nicht so einfach voneinander zu trennen waren. // Erwähnte Folgen - GAG443: J.S. Bach oder Wie sich ein Komponist den Lebensunterhalt verdient – https://gadg.fm/443 - GAG546: Sarah Biffin, Miniaturmalerin – https://gadg.fm/546 // Literatur - Albert, Daniel M. / Paul Henkind, Men of Vision: Lives of Notable Figures in Ophthalmology, Philadelphia: W. B. Saunders, 1993. - Jackson, David M., „Bach, Handel, and the Chevalier Taylor“, in: Medical History 12/4 (1968), S. 385–393. - Lenth, Bert, „Bach and the English Oculist“, in: Music & Letters 19/2 (1938), S. 182–198. - Mounsey, Chris, Sight Correction: Vision and Blindness in Eighteenth-Century Britain, Charlottesville: University of Virginia Press, 2019. - Scholtz, Sibylle / Myriam Becker / Lee MacMorris / Achim Langenbucher, „Taylor. A Gold-Plated Charlatan“, in: Curiosities in Medicine: Alphabetically, Cham: Springer Nature Switzerland, 2025, S. 335–337. - Schwartz, Stephen G. / Christopher T. Leffler / Andrzej Grzybowski / Hans-Reinhard Koch / Dennis Bermudez, „The Taylor Dynasty: Three Generations of 18th–19th Century Oculists“, in: Historia Ophthalmologica Internationalis 1/1 (2015), S. 67–81. - Jones, Henry [zugeschrieben], The Life and Extraordinary History of the Chevalier John Taylor. Written from Authentic Materials, and Published by His Son, John Taylor, Oculist, Dublin: D. Chamberlain, 1761. - Zegers, Richard H. C., „The Eyes of Johann Sebastian Bach“, in: Archives of Ophthalmology 123/10 (2005), S. 1427–1430. Das Episodenbild zeigt John Taylor in der ersten Hälfte des 18. Jahrhunderts. Unser neues Buch „Mehr Geschichten aus der Geschichte“ erscheint am 4. September. Es kann hier signiert vorbestellt werden: https://shop.autorenwelt.de/products/mehr-geschichten-aus-der-geschichte-von-richard-hemmer-und-daniel-messner //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Geschichten aus der Geschichte jetzt auch als Brettspiel! Werkelt mit uns am Flickerlteppich! Gibt es dort, wo es auch Becher, T-Shirts oder Hoodies zu kaufen gibt: https://geschichte.shop // Wir sind jetzt auch bei CampfireFM! Wer direkt in Folgen kommentieren will, Zusatzmaterial und Blicke hinter die Kulissen sehen will: einfach die App installieren und unserer Community beitreten: https://www.joincampfire.fm/podcasts/22 Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

A Medalha Bach, uma honraria concedida pela Prefeitura de Leipzig, na Alemanha – cidade onde Bach exerceu a maior parte da sua carreira de músico –, foi entregue neste ano à Fundação Johann Sebastian Bach, de Sankt Gallen, na Suíça. A cerimônia de entrega da medalha ocorreu durante o tradicional Bachfest, o Festival Bach, realizado entre os dias 11 e 21 de junho, em Leipzig. Também durante o Bachfest, foi anunciado o resultado de uma enquete on-line, feita no ano passado pelos organizadores do festival, em que mais de 7 mil pessoas de 20 países votaram nas cantatas de Bach de sua preferência. As 50 cantatas mais bem votadas nessa enquete foram executadas durante os 11 dias de realização do Bachfest por diferentes coros e orquestras, entre eles o coro e a orquestra da Fundação Johann Sebastian Bach, de Sankt Gallen. Esta edição de Manhã com Bach destaca o trabalho da Fundação Johann Sebastian Bach e exibe duas cantatas de Bach que ficaram nas primeiras colocações naquela enquete on-line: as cantatas Wachet auf, ruft uns die Stimme, "Despertai, a voz nos chama" (BWV 140), que ficou em terceiro lugar na enquete, e Gottes Zeit ist die allerbeste Zeit, "O tempo de Deus é o melhor dos tempos" (BWV 106), que obteve a primeira colocação. A relação completa das 50 cantatas mais votadas na enquete on-line divulgada pelo Bachfest está disponível neste link. Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 27 e 28 de junho de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

Pastorale in F major, BWV 590, Johann Sebastian Bach (1685-1750) - Tracy Qian, organ by First Community Church

Prelude in B-flat major, BWV 560 Johann Sebastian Bach (1685-1750) - Tracy Qian, organ by First Community Church

durée : 00:16:17 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Jordi Savall enregistre un chef-d'œuvre de la musique sacrée, La Passion selon Saint Jean de Johann Sebastian Bach, composée en 1724. Reconnu pour sa sensibilité et sa rigueur dans l'interprétation baroque, le chef apporte une nouvelle dimension à cette œuvre monumentale. - équipe : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:16:17 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Jordi Savall enregistre un chef-d'œuvre de la musique sacrée, La Passion selon Saint Jean de Johann Sebastian Bach, composée en 1724. Reconnu pour sa sensibilité et sa rigueur dans l'interprétation baroque, le chef apporte une nouvelle dimension à cette œuvre monumentale. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Is de muziek van vroeger echt beter dan die van nu? In ieder geval is die eenvoudiger geworden, zeggen recente studies. Data-analisten onderzochten duizenden liedjes uit de afgelopen eeuwen en ontdekten dat de complexiteit in de melodie afneemt. Is muziek daarmee slechter geworden? Hoe meet je dat? En waarom zou je dat eigenlijk doen?Heeft u vragen, suggesties of ideeën over onze journalistiek? Mail dan naar onze redactie via podcast@nrc.nlDe muziek die in deze aflevering te horen is:'Grace' - Jeff Buckley'Feel good Inc.' - Gorrilaz, De la Soul'What is it about men. Live at North Sea Jazz Festival' - Amy Winehouse'Altijd is Kortjakje ziek' - Loulou en Lou'Komm, süsser Tod BWV478' - Johann Sebastian Bach door Leopold StokowskiHost: Karlijn SarisGasten: Berend Nieuwhof en Peter van der PloegRedactie en montage: Rosa van ToledoFoto: Getty ImagesZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

A quattrocento anni dalla nascita di Giovanni Legrenzi, avvenuta nel 1626 a Clusone, la città natale del compositore gli rende omaggio con un festival monografico concepito in una prospettiva pluriennale. Attraverso concerti, incontri di studio e iniziative divulgative, la manifestazione intende valorizzare la figura di uno dei protagonisti della musica italiana del secondo Seicento e approfondire il contesto storico e culturale nel quale si sviluppò la sua produzione.Ammirato dai contemporanei e stimato da musicisti quali Johann Sebastian Bach, Georg Friedrich Händel e Johann Adolf Hasse, Legrenzi fu tra le personalità più influenti del tardo Seicento. Erede della tradizione veneziana e al tempo stesso innovatore del linguaggio musicale dell'epoca, concluse la propria carriera come maestro di cappella della Basilica di San Marco, incarico che ne consacrò il prestigio nella storia della musica sacra italiana.Alla riscoperta moderna della sua opera ha contribuito in modo decisivo l'attività di Giovanni Acciai, che con l'ensemble Nova Ars Cantandi ha promosso importanti progetti discografici dedicati al compositore. Tra questi si colloca la pubblicazione per Naxos dell'Op. 3, Harmonia d'affetti devoti, raccolta emblematica della maturità legrenziana, nella quale convergono sapienza contrappuntistica, intensità espressiva e raffinatezza del linguaggio sacro.Di questo nuovo progetto discografico e dell'eredità artistica di Legrenzi dialoga Giovanni Conti con il maestro Acciai.

Jean-Pierre Bourquin ist Kinderonkologe, Forscher und leidenschaftlicher Cellist. Als Leiter der Onkologie am Kinderspital Zürich begleitet er Kinder und ihre Familien in den schwierigsten Momenten ihres Lebens. Gleichzeitig setzt er sich als Direktor des neuen nationalen Kompetenz -zentrums für Kinderkrebsforschung dafür ein, die Behandlung und Heilungschancen krebskranker Kinder weiter zu verbessern. Eine Erkenntnis begleitet ihn seit vielen Jahren: Kinder spüren immer, ob man ihnen die Wahrheit sagt. Ehrlichkeit und Vertrauen seien deshalb die Grundlage jeder Begegnung. Diese Haltung prägt seine Arbeit ebenso wie seine Überzeugung, dass Kinder niemals unterschätzt werden sollten. Geprägt wurde Bourquin von zwei Welten: der Medizin und der Musik. Sein Grossvater war Organist und vermittelte ihm früh die Freude an der Musik. Mit vierzehn Jahren entdeckte er seine Leidenschaft für das Cello – ein Instrument, das ihn bis heute begleitet. Musik bedeutet für ihn weit mehr als Erholung: Sie eröffnet ihm Räume, die sich mit Worten kaum beschreiben lassen, und verbindet ihn mit den grossen Fragen des Lebens. Trotz der täglichen Konfrontation mit Krankheit, Hoffnung und Verlust empfindet Bourquin seine Arbeit als Privileg. Familien in existenziellen Situationen begleiten zu dürfen, sei für ihn eine Aufgabe von grosser Sinnhaftigkeit. Gleichzeitig treibt ihn die Vision an, durch Forschung die Zukunft von Kindern mit Krebs nachhaltig zu verbessern. In «Musik für einen Gast» bei Eva Oertle spricht Jean-Pierre Bourquin über die Verbindung von Musik und Medizin, über seine Faszination für Kinder und deren Sicht auf die Welt sowie über die Frage, wie man mit Krankheit, Sterblichkeit und den Grenzen des Machbaren umgeht. Er erzählt von seinem Weg zum Cello und von seiner Vision einer besseren Zukunft für Kinder mit Krebs. Die musikalische Reise führt von Johann Sebastian Bach über Johannes Brahms und Ludwig van Beethoven bis nach Kolumbien – Musik, die sein Leben begleitet und geprägt hat. Die Musiktitel: - Johann Sebastian Bach: Prélude aus Cellosuite Nr. 4 Es-Dur (Jean-Guihen Queyras, Violoncello) - Johannes Brahms: Denn alles Fleisch, es ist wie Gras, aus Ein deutsches Requiem (Arnold Schoenberg Chor; Wiener Philharmoniker; Nikolaus Harnoncourt) - Ludwig van Beethoven: Prestissimo, aus Klaviersonate E-Dur op. 109 (Vikingur Olafsson, Klavier) - Carlos Vives: La tierra del olvido - Franz Schubert: Streichquintett C-Dur (Alban Berg-Quartett; Heinrich Schiff, Klavier)

Quais são as lições que o futebol podem nos ensinar sobre a vida? O que faz com que um jogo simples, disputado por onze jogadores de cada lado, seja capaz de emocionar multidões, atravessar gerações e permanecer vivo na memória de tantas pessoas? Neste episódio do Podcast Filosófico da Nova Acrópole, Danilo Gomes conversa com o professor voluntário Michael Queiroz sobre os aspectos filosóficos presentes no futebol. Muito além das táticas, dos resultados ou das rivalidades, o futebol é apresentado como uma rica metáfora da existência humana. A partir de exemplos do esporte, os participantes refletem sobre temas como coletividade, liberdade, disciplina, arte, adaptação, virtudes e aprendizado. Uma conversa leve e provocadora que convida o ouvinte a olhar para o futebol — e para a própria vida — com novos olhos. Afinal, será que os desafios que enfrentamos fora dos gramados são tão diferentes daqueles vividos dentro deles? E se cada partida escondesse lições valiosas sobre como viver melhor? Participantes: Danilo Gomes e Michael Queiroz Trilha Sonora: Prelúdio da Suíte para Violoncelo nº 1 em Sol Maior, de Johann Sebastian Bach.

When the pedalo of perusal cruised the lagoon of news this week, it paused to inspect the following ... … the particular magic of the late-night DJ … a Get Well card to dear Bob Harris … is Global Beatles Day a bridge too far? … the exquisite Britishness of the Manics, the Fall and the Small Faces … Cyprus Avenue, Soho, Asbury Park … the best places to visit to help you understand an artist who lived there … how T.Rex and Roxy Music were “too fancy” for America … Jagger, Screamin' Jay Hawkins, Johann Sebastian Bach? Musicians with the most children … All You Need Is Love – work of genius or “ropey old doggerel”? Plus birthday guest Paul Thompson, Foghat and watching the One World global-cast on a black and white telly.Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

When the pedalo of perusal cruised the lagoon of news this week, it paused to inspect the following ... … the particular magic of the late-night DJ … a Get Well card to dear Bob Harris … is Global Beatles Day a bridge too far? … the exquisite Britishness of the Manics, the Fall and the Small Faces … Cyprus Avenue, Soho, Asbury Park … the best places to visit to help you understand an artist who lived there … how T.Rex and Roxy Music were “too fancy” for America … Jagger, Screamin' Jay Hawkins, Johann Sebastian Bach? Musicians with the most children … All You Need Is Love – work of genius or “ropey old doggerel”? Plus birthday guest Paul Thompson, Foghat and watching the One World global-cast on a black and white telly.Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

When the pedalo of perusal cruised the lagoon of news this week, it paused to inspect the following ... … the particular magic of the late-night DJ … a Get Well card to dear Bob Harris … is Global Beatles Day a bridge too far? … the exquisite Britishness of the Manics, the Fall and the Small Faces … Cyprus Avenue, Soho, Asbury Park … the best places to visit to help you understand an artist who lived there … how T.Rex and Roxy Music were “too fancy” for America … Jagger, Screamin' Jay Hawkins, Johann Sebastian Bach? Musicians with the most children … All You Need Is Love – work of genius or “ropey old doggerel”? Plus birthday guest Paul Thompson, Foghat and watching the One World global-cast on a black and white telly.Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

durée : 00:10:06 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - L'un des traits essentiels de la pensée musicale de Johann Sebastian Bach est sans aucun doute sa vocation expérimentale. Cette aspiration permanente à franchir les frontières du possible traverse le programme de ce deuxième album en solo du claveciniste Cristiano Gaudio. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:10:06 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - L'un des traits essentiels de la pensée musicale de Johann Sebastian Bach est sans aucun doute sa vocation expérimentale. Cette aspiration permanente à franchir les frontières du possible traverse le programme de ce deuxième album en solo du claveciniste Cristiano Gaudio. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Kyrie, Gott heiliger Geist (Kyrie, God the Holy Spirit), BWV 671, Johann Sebastian Bach (1685-1750) - Robert Griffith by First Community Church

Here is an episode I have been dreaming of putting together since the very early days of the podcast: Black Bach, an historical survey of the solo vocal music of Johann Sebastian Bach as performed by African American singers. In nearly the entire first half of the Twentieth Century, the performance of Black singers was restricted primarily to the concert platform. Even young singers of color who were first making their mark in the 1950s barely dared to aspire to a career in opera. In such a context, the work of Bach. One of the first such singers was the great Marian Anderson, who leads off the episode. Other featured singers were sometimes renowned for their performances of Bach (Adele Addison, Carol Brice, Kathleen Battle), while others (Leontyne Price, George Shirley, Mattiwilda Dobbs, Shirley Verrett) were less so. There is, additionally, a tribute to our late beloved friend Roberta Alexander, a discussion of accessibility to all audiences of the music of Bach and performances by two great Black countertenors, a refreshing interlude by the exquisite Delcina Stevenson (pictured; still with us at the age of 93), and a surprise appearance by Nina Simone, whose entire musical life was inspired by and dedicated to, the music of Bach. This is the first of two episodes on the “Black Bach” theme; the next will follow later in the summer and will feature a new roster of great singers. The entire episode is dedicated to the memory of the great African American dramatic tenor Limmie Pulliam, who died unexpectedly this week. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Today we celebrate the topping out of the Habsburg empire. By the middle of the 16th century it reached its furthest extent as a political entity ruled by one man. Over the last 42 episodes we have seen this family of minor counts playing their game of snakes and ladders until they had amassed lordships over Austria, the Netherlands, Spain and large parts of Italy. Today we look at how they finally got hold of the last bits, Bohemia and Hungary.The story features a dutiful younger brother, the most cruel execution I have ever heard of, a foolish duke and an even more foolish king, the collapse of a kingdom, a love story and the reason for the incessant Habsburg inbreeding. I hope that will be enough to fill the last episode of this season.The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFor do it yourself merchandise go to: Merchandise • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season.So far I have:The OttoniansSalian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356The Reformation before the ReformationThe Empire in the 15th centuryThe Fall and Rise of the Habsburgs

Det fanns en oro i riket när de församlade ständerna den 16 juni 1527 steg in i dominikanernas kloster i Västerås för att samlas till Sveriges första riktiga riksdag med representation av alla fyra stånden.Gustav Vasa var pressad av upprorsrykten från Dalarna och stora skulder till Lübeck, men han hade en lösning – kyrkan skulle betala. Med mycken politisk teater, åtminstone enligt Peder Svarts krönika, lyckades Gustav vingklippa den mäktiga kyrkan och ta en stor del av deras rikedomar. Riksdagen blev också ett godkännande för en försiktig reformation.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med historikern Olle Larsson som skrivit boken Gustav Vasa – Furstar bland furstar. Detta är ett betalt samarbete med Västersås stad i inför 500 års-jubileet av Västerås riksdag år 1527.Västerås år 1527 räknas ofta som den första riksdagen i modern mening därför att ständerna här framträder tydligare som politiska aktörer i en förhandlingsprocess. Omkring 200 ledamöter nämns, och kungen lade fram sin proposition medan ständerna gav egna svar – ett mönster som gör det möjligt att tala om en riksdag som institution snarare än ett utvidgat rådsmöte.Att riksdagen hamnade i Västerås var inte självklart. Den var ursprungligen tänkt att hållas i Söderköping, men de oroliga förhållandena, särskilt i Dalarna, gjorde platsvalet osäkert. Västerås låg strategiskt så att kungens militära uppbåd snabbt kunde sättas in om läget försämrades norrut.Själva mötet kunde inte hållas på slottet eftersom det var härjat av unionsstriderna, och därför samlades man i dominikanernas kloster. Att just klostret blev riksdagens arena är talande: kort efteråt revs byggnaden och teglet användes för att renovera slottet – ett konkret eko av hur kyrkans resurser skulle komma att styras om till kronans behov.Det är också viktigt att notera att representationen inte var fullständig; den östra rikshalvan, Finland, var inte representerad. Ändå var uppslutningen och dokumentationen tillräckligt stark för att ge besluten särskild tyngd och för att Västerås 1527 i efterhand ska uppfattas som en milstolpe i riksdagens framväxt.I svensk tradition berättas också hur Gustav Vasa under förhandlingarna spelade högt – bland annat genom att antyda att han kunde avsäga sig ansvaret att styra om han inte fick stöd. Själva förloppet är källkritiskt svårt att följa i detalj; en central berättande källa är Peder Svarts krönika, som är omdiskuterad. Utfallet är däremot entydigt: ständerna accepterade en kursändring som gjorde kyrkans rikedomar åtkomliga för kronan.Bildtext: Västerås riksdag. Illustration av Elias Martin till Peder Svarts krönika, sent 1700-tal. På bilden skildras hur de fyra stånden håller enskilda överläggningar under riksdagen i Västerås 1527: adeln längst till vänster, därefter prästerna samlade kring biskop Brask (med biskopsmitra), följda av borgare och bönder. Bakom dem står kanslern Laurentius Andreæ, igenkännbar med långt skägg och kalott. Bilden ingår i samlingarna vid Uppsala universitetsbibliotek.Musik: Aria för sopran med obligat oboe ur Johann Sebastian Bachs kantat BWV 80, Ein' feste Burg ist unser Gott, komponerad och framförd i kyrklig kontext i Leipzig 1723. Musikexemplet belyser hur luthersk koraltradition blev konstmusik under reformationstidens efterklang. Johann Sebastian Bach. Wikimedia Commons. Public domain,Klippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

Prelude and Fugue in G Minor, BWV 55 Johann Sebastian Bach (1685-1750) - Robert Griffith by First Community Church

We are coming closer to the end of our series on the Fall and Rise of the House of Habsburg. We have seen the reconsolidation of Austria, the acquisition of Burgundy, the inheritance of Spain and today, we will look at the last stages of the Italian wars. This conflict, kicked off by king Charles VIII in 1494 had given “rise to changes of dominions, subversion of kingdoms, desolation of countries, destruction of cities and the cruellest massacres, but also new fashions, new customs, new and bloody ways of waging warfare, and diseases which had been unknown to that time”. Many players of this game had exited stage left and it was now just France and the Habsburgs in various alliances with the remaining Italian powers, who fought for control. The War of the League of Cognac, 1526 to 1530 was when brutality reached its zenith with the Sacco di Roma, the Sack of Rome that brought back the specter of the Vandals.A lot of drama to get through.The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFor do it yourself merchandise go to: Merchandise • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season.So far I have:The OttoniansSalian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356The Reformation before the ReformationThe Empire in the 15th centuryThe Fall and Rise of the Habsburgs

Met vandaag: Hanco Jürgens over welke rol Duitsland kan spelen in vredesonderhandelingen voor Oekraïne | Waarom zou Nederland de banden met het Syrische regime moeten aanhalen? | Nieuw boek over hoe heel Breda in 1940 op de vlucht sloeg | Waarom componeerde Johann Sebastian Bach in 1726 ineens vrijwel niets meer? | Presentatie: Mieke van der Weij.     

In 1521 four men dominated Europe. They were all in their twenties: King Henry VIII of England, born 1491, King Francois I of France, born 1494, Suleiman the Magnificent, Ottoman Sultan, born that same year, 1494 and the youngest of them, Charles V, Holy Roman Emperor, King of Spain, Sicily, Naples and Sardinia, lord of the Netherlands, duke of Austria and Count of Tyrol.How the world had changed. In the days of Charles' predecessor, the emperor Maximilian, European politics was a impenetrable maze of alliances and enmities involving roughly a dozen mid-sized powers trying to get a leg up on each other.Now we are down to four guys, dancing a political Ceilidh, all elegantly dressed, swiftly moving and swapping partners at every turn.In this episode we are going to look at the first rounds of Gay Gordons and Dashing White Sergeants up to the point where Charles V gets a lock on Francois I at the Battle of Pavia in 1525The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFor do it yourself merchandise go to: Merchandise • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season.So far I have:The OttoniansSalian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356The Reformation before the ReformationThe Empire in the 15th centuryThe Fall and Rise of the Habsburgs

Ladies and gentlemen, we have officially entered a timeline where classical music is controversial.Not lyrics glorifying violence. Not explicit content. Not even political propaganda. No, the problem—according to the ever-vigilant outrage patrol—is that stores like Walgreens and 7-Eleven are playing Bach and opera… and it's working. Fewer people loitering. Fewer encampments. Fewer disruptions to customers trying to buy toothpaste without stepping over a human tragedy.And somehow, that's the scandal.[X] SB – Classical music to keep Blacks awayScience behind it?Let's just say it out loud: at least it's not water cannons and German shepherds. Nobody's getting sprayed off the sidewalk like it's a 1960s newsreel. No one's being chased down an alley. It's violins, people. Cellos. A harpsichord having a quiet little moment.Johann Sebastian Bach is now apparently the face of systemic oppression.The psychology of why this works. The Left's selective compassion, which somehow has more energy for critiquing playlists than fixing homelessness. The economic reality for businesses stuck in the middle. And finally, the cultural irony of declaring classical music—arguably one of humanity's highest artistic achievements—as a tool of dehumanization.Because if Bach is the problem… then what exactly is the solution?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Maximilian I died on January 12th, 1519. But his likeness is everywhere. None of his predecessors left behind as many depictions of their life, from being fed by his nurse as a toddler to the Totenbild, the picture of the emperor in death, stripped of all his paraphernalia, even his teeth broken out.If you search in google for the most reproduced image of a Holy Roman Emperor, two come up, the portrait of Maximilian that Albrecht Dürer produced in Augsburg in 1518, as shown on last weeks episode artwork and Titian's equestrian portrait of Charles V after the battle of Mühlberg, which in turn is a composition that goes back to several equestrian portraits of Maximilian I.Basically, Maximilian I is the most visually present Holy Roman emperor of them all. And that is not by chance. As he said on several occasions, quote:"Whoever does not provide for his commemoration during his lifetime has no commemoration after his death and is forgotten with the sound of the bell that rings at his burial"The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFor do it yourself merchandise go to: Merchandise • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season.So far I have:The OttoniansSalian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356The Reformation before the ReformationThe Empire in the 15th centuryThe Fall and Rise of the Habsburgs

Johann Sebastian Bach - Magnificat in D: Magnificat BWV 243Yale Schola Cantorum and Collegium Players Simon Carrington, conductorMore info about today's track: Naxos 8.572161Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

The last decade of emperor Maximilian's reign was overshadowed by all three challenges to the emerging Habsburg empire gaining strength. The Ottoman empire was piling on resources by taking over Syria, Lebanon and Egypt. A vigorous new king of France, Francois I was turning the tide in the incessant Italian wars into his favor. And finally the greatest of threats to the dynasty emerged as the Prince Electors were contemplating to raise that self-same Francois I to the imperial title.In this episode we will look at how the prematurely aged and exhausted emperor tried to shield his grandsons Charles and Ferdinand from the ton of bricks that was coming down on them. And we will look at his last days and legacy. Clocking in at 18 episodes, Maximilian did achieve one of his objectives in life, outpacing the great emperor Frederick Barbarossa. Let's find out whether he did this only in terms of number of HotGPod episodes, or in other ways too.The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFor do it yourself merchandise go to: Merchandise • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season.So far I have:The OttoniansSalian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356The Reformation before the ReformationThe Empire in the 15th centuryThe Fall and Rise of the Habsburgs

These last dozen or so episodes we have examined the genesis of two of the three major strategic preoccupations of the Habsburg empire, the rivalry with the French kings and the relationship with the imperial princes. Today we will look at the build-up of the third major strategic challenge to the rulers of the Holy Roman Empire, the Ottomans. One can argue, and many have, that the threat of an Ottoman invasion in the 1520s and 1530s prevented the emperor Charles V from clamping down on the protestants in the empire. By the time the border had been stabilised and the Habsburgs could focus again on the religious and political changes in the German lands, it was too late to reverse events. There is an element of irony here that I will refrain from elaborating on.When Constantinople fell in 1453, the Christian nations of Western Europe assumed that they could regain the ancient capital of Byzantium and even Jerusalem if only they were united under the crusading banner. By the time Suleiman the Magnificent appeared before Belgrade in 1521, that had become inconceivable. The Christian nations, and in particular the Habsburgs were on their back foot.So, what had happened in these 70 years that made the Ottoman armies appear unbeatable?The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFor do it yourself merchandise go to: Merchandise • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season.So far I have:The OttoniansSalian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356The Reformation before the ReformationThe Empire in the 15th centuryThe Fall and Rise of the Habsburgs