Podcasts about Johann Sebastian Bach

Ravensburg, and you are very much forgiven if you cannot place it on the map, is today a town of 50,000 in the far south eastern corner of Baden-Württemberg between Friedrichshafen, home of the Zeppelins, and the city of Ulm and its majestic church tower. If you have heard of it, it may be because of Ravensburger, the publisher of puzzles and boardgames, but you would not have associated it with any great mercantile or commercial activity.Nevertheless, in the 15th century it housed the headquarters of a company that held a near monopoly in the trade between Spain and the empire and in certain wares, namely linen and a special cloth variously called barchent, bombast or fustian.Before we get into Ravensburger and the Grosse Handelsgesellschaft, we need to put the whole region into the context of the free imperial cities of the 15th century.Trading routes of the HABW_11_03_Ravensburger_Handelsgesellschaft.jpg (4957×3535)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 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 Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic Knights

Für Robert Schumann gibt es nur ganz oder gar nicht: Entweder lähmt ihn seine Depression oder er ist buchstäblich nicht zu bremsen. Dann komponiert er ein Klavierquartett auch schon mal in Windeseile. Von Michael Lohse.

As part of our Earth Serenade series, we honor French organist and Bach specialist Andre Isoir, who died in 2016. Working with Isoir's son, Daniel, we bring you this lovely and serene Fantasia and Fugue in C minor, by Carl Philipp Emmanual Bach, the son of Johann Sebastian Bach. Cinematography by astronauts on Expeditions 71 aboard the International Space Station in 2024. It's a magical journey and tribute to Andre Isoir. Series: "Earth Serenade" [Arts and Music] [Show ID: 40758]

Från moln till Mozart, från kustlinjer till livets slut, återfinns fraktaler. Helena Granström funderar över verklighetens och konstens struktur. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.När en matematiker försöker sig på att skämta kan det låta såhär:Vad står bokstaven B för i Benoit B Mandelbrot? Rätt svar: Benoit B Mandelbrot. Huruvida denna vits någonsin åstadkommer några skrattsalvor ska jag låta vara osagt, men den som förstår poängen har i alla fall också förstått vad som kännetecknar fraktalerna, de matematiska objekt som utforskades ingående av just denne Mandelbrot: att de innehåller delen som är helheten som innehåller delen som är helheten, och så vidare.Därav skämtets poäng: Namnet Benoit B Mandelbrot inneslutet i namnet Benoit B Mandelbrot inneslutet i namnet Benoit B Mandelbrot i all oändlighet.Man kan tänka på ett blomkålshuvud, eller ännu hellre på en romanesco: Bryt loss en bukett, och du kommer i denna bukett att få se det stora huvudet i mindre format. Bryt loss en mindre bukett av denna bukett, och så ännu en mindre från denna: Samma sak upprepar sig, med allt mindre kålhuvuden som fortsätter att spira från allt mindre kålhuvuden. En ovanligt hänförande fraktal kallad Mandelbrotmängden upptäcktes av Mandelbrot själv, och karakteriseras av att en förhållandevis enkel formel ger upphov till en närmast outtömlig komplexitet: ett outgrundligt överflödande universum alstrat av en simpel instruktion. Inför denna rikedom är det svårt att hålla fast vid tanken på att matematiken bara skulle vara något som människan har hittat på: ”Mandelbrotmängden är”, som matematikern Roger Penrose påpekat, ”inte något som det mänskliga sinnet har uppfunnit; den upptäcktes.” Precis på samma sätt som Mount Everest, finns den bara där.Men fraktalerna existerar alltså inte enbart i den rena matematikens sfär, utan i högsta grad i verkligheten: Vi kan finna dem i kustlinjer och floddeltan, ormbunkar och åskviggar, blodkärl och neuroner, galaxkluster och bergskedjor och moln. I var och en av dessa strukturer ser man helheten upprepa sig i de mindre delarna: Den som betraktar en del av en bergig kust kan inte utifrån dess form avgöra om det är en liten sträcka som de ser på nära håll, eller en längre på stort avstånd; och varje liten del av ett moln skulle, betraktad för sig själv, lika gärna kunna vara det stora molnet självt. Till och med vår arvsmassa är arrangerad enligt denna struktur, inpassad i den trånga cellkärnan genom identiska vikningar som sker i mindre och mindre skala. Naturen är, med andra ord, i högsta grad fraktal – och år 2016 kom ett antal polska kärnfysiker lite oväntat också fram till slutsatsen att detsamma gäller litteraturen.Det är en häpnadsväckande upptäckt, även om den kanske är lite mindre fruktbar än vad en författare skulle önska – för hur gärna jag än vill skulle jag inte kunna låta varje stycke i denna essä utgöra en miniatyr av helheten – och varje mening en miniatyr av varje stycke – och varje ord en miniatyr av varje mening. Även om det hade varit outsägligt elegant. Den amerikanska författaren Paul Auster har visserligen gjort gällande att den första meningen i hans roman Mr Vertigo innehåller essensen av hela verket – men den fraktala strukturen i kända verk av författare som Virginia Woolf och Robert Bolano låter sig avtäckas först genom ingående statistisk analys. De litteraturintresserade polska fysikerna genomförde till exempel en kartläggning av fördelningen av meningarnas längd i de romaner de studerade: Vad som framträdde var en form av idealt fraktalmönster, särskilt skönjbart i den typ av litteratur som brukar betecknas som medvetandeström. Mest fraktal av alla – till och med multifraktal, det vill säga innehållande fraktaler av fraktaler – lär James Joyces svårgenomträngliga Finnegan's Wake vara. När det gäller lyrik har en ambitiös forskare med en besläktad metod lyckats med konststycket att finna Cantormängden, en annan känd fraktal, i form av förekomsten av ordet know i en dikt av den amerikanske poeten Wallace Stevens. Och även i musiken är det möjligt att finna fraktala strukturer – föga förvånande till exempel hos en kompositör som Johann Sebastian Bach, i vars tredje cellosvit en musicerande matematiker lyckats identifiera ett påfallande exakt exempel på samma Cantormängd.Bevisar det att konstnärerna, tidigare än matematikerna, har förmått att uppfatta tillvarons inre struktur? Att dessa skapande människor på ett omedvetet vis har anat formen hos de kärl som fyller människokroppens lungvävnad, hos de kärl i vilka dess blod flödar och hos det nätverk av nervceller som överhuvudtaget gör aningar – omedvetna eller inte – möjliga. Kanske är det denna djupt liggande intuition som Mandelbrot själv också anspelar på när han konstaterar att barn inte undrar ”över temperaturen hos en gas eller kollisioner mellan atomer, utan över formerna hos träd, moln och blixtar.” Undrar de, för att de i dessa former identifierar något märkvärdigt bekant, något som lånar sin form också åt deras eget inre?Men å andra sidan skulle författarnas benägenhet att skriva fram fraktaler kunna ges en mer prosaisk förklaring än så, för också det mänskliga livets yttre ramar låter oss ju stifta bekantskap med det fraktala: Dygnet kan förstås som en miniatyr av året som i sin tur kan framstå som en miniatyr av det mänskliga livsförloppet. Men inte bara det: Möjligen, skriver matematikern Michael Frame i den märkliga lilla skriften The Geometry of Grief, kan även sorgen sägas uppvisa en självlikhet på olika skalor, eftersom varje sorg i sin tur består av många små delsorger, varje förlust av en mängd olika möjligheter eller tillfällen eller erfarenheter som för alltid gått förlorade. Inuti sorgen över en älskad människas bortgång, oövervinnerlig i sin väldighet, finns sorgen över att aldrig mer få hålla hennes hand, över att aldrig mer få höra hennes röst, över att aldrig mer få vända sig till henne med sina tankar. Och det faktum att de många små sorgerna liknar den stora sorgen i art om än inte i storlek gör det möjligt, fortsätter Frame sitt resonemang, att öva sig: Att lära sig ett sätt att tackla den väldiga, till synes ohanterliga sorgen, genom att prövande och försiktigt ta sig an de mindre sorgerna, en i sänder. Och betraktat med den fraktala geometrins blick framstår på sätt och vis hela livet så, som en repetition i liten skala för de stora skeenden som hela tiden – och samtidigt, bara långsammare – utspelar sig: varje glädje en liten replik av den större glädjen, varje misslyckande och varje närmande och varje känslosvall en replik av sina större motsvarigheter av vilka de också utgör en del. Och förstås – detta är väl den fraktala livsstrukturens dystraste sida – utgör var och en av tillvarons otaliga förluster en sorts miniatyr av den slutliga förlust som väntar oss alla, den av livet självt.Hur man ska gaska upp sig efter en sådan nedslående insikt är inte helt klart – men kanske kan åtminstone matematikerna ibland oss finna lättnad i ännu ett exempel på humor för de få:–Hur gick det för matematikern som blev gammal och sjuk, dog han? –Nejdå. Han förlorade bara några av sina funktioner. Helena Granströmförfattare med bakgrund inom fysik och matematik

Para los que no creen en maldiciones: bienvenidos también! Porque aunque ustedes digan que todo tiene explicación, hay cosas que ni la ciencia ni los datos pueden traducir. Cosas que se sienten. Que pesan!Este episodio se tejió con silencios, con ausencias que marcaron más que las voces. Una de las voces que mejor conocía la historia —quien sabía el corazón palpitante de este relato— prefirió quedarse al margen, sin embargo estuvo presente durante la grabación. No lo culpamos. El fanatismo, en Costa Rica, no siempre entiende de metáforas. Aun así, lo que logramos grabar huele a confesión contenida, a café viejo, a pólvora mojada. Hay sinfonías rusas que lloran en el fondo, y sonidos sacados de películas de ciencia ficción de los años 50 que parecen más profecía que decorado.Si, Nikolay Myaskovsky hubiera escuchado este episodio, nos habría dedicado al menos tres movimientos tristes, con oboes y cuerdas de luto. Porque esto no es una crónica deportiva, es una marcha fúnebre. A veces en broma. A veces no tanto.Se habla de Zárate, de Olegario, del pecado de cruzar una línea invisible. Pero también hablamos del

The counts, dukes and ultimately kings of Württemberg had risen to the top by winning the genetic lottery. Their eldest sons tended to be competent, some even extremely so, their wives brought in dowries and sometimes entire counties, and they ruled for long enough that the next generation took over when they were ready.But all that falls apart in the 15th century. They are suddenly afflicted with the disease of dynasties, states inherited by babies and buffoons, some of them managing to be both. That would normally be the death nail for a noble House, but not this time. The Landtag, the Estates of Württemberg step in to protect the fledgling state, deposing buffoons when necessary and ruling on behalf of the babies. This is one of the lesser known and even more extraordinary political histories in europe and well worth listening to.And as a bonus we also investigate why the regions around Stuttgart, Mannheim, Karlsruhe and Freiburg have become hubs of technology and precision engineering, an area where there was no coal, no mining or any other natural advantage – except for the wine – no seriously, it was the wine. Can Winegrowing Cause Rural Development? Evidence from Baden-Württemberg | European Review of Economic History | Oxford AcademicThe 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 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 Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward Expansion

Brandenburg - nicht nur Rainald Grebe widmete diesem Bundesland eine Hymne: Johann Sebastian Bach komponierte gleich 6 Konzerte für den Markgrafen von Brandenburg, die später als "brandenburgische" bekannt wurden. Ein barockes Best Of, in dem Bach alle möglichen Instrumente seiner Zeit kombiniert und durch Charme und Leichtigkeit bezaubert - ebenso wie durch den Mut zum Experiment. Von Dominik Mercks.

Aujourd'hui nous sommes le mardi 29 avril, de la deuxième semaine du temps pascal et nous fêtons sainte Catherine de Sienne, vierge et docteur de l'Église, patronne de l'Europe .Née en 1347, Catherine est la vingt-troisième enfant d'un teinturier de Sienne. Illettrée, elle aura cependant un tel rayonnement qu'elle parviendra à faire revenir le Pape d'Avignon à Rome. Nous demandons la grâce d'être unis comme elle au mystère... Chaque jour, retrouvez 12 minutes une méditation guidée pour prier avec un texte de la messe ! A retrouver sur l'application et le site www.prieenchemin.org. Musiques : Fais-nous marcher à ta lumière de Claude Bernard, Jo Akepsimas interprété par Ensemble vocal Resurrexit - Chantons en Église - 24 chants pour les temps de l'Avent et de Noël © ADF-Bayard Musique ; Concerto in D Minor BWV1043 Largo de Johann Sebastian Bach interprété par Daniel Estrem - Baroque Concertos on 8 String Guitar © Creative Commons by-nc-sa license from Magnatunes.

Vandaag een aflevering in de serie "In Stukken". Die Kunst der Fuge van Johann Sebastian Bach wordt in stukken geknipt. Aan de hand van de fragmenten in de mooiste opnames wordt het stuk onder de loep genomen. Panelleden: fagottist Alban Wesly en klavecinist Tineke Steenbrink.

Knut Elstermann nähert sich Johann Sebastian Bach auf ganz persönliche Weise – über bewegte Bilder und bewegende Momente. In seinem Buch "Bach bewegt" spürt er der Wirkung Bachs im Film nach.

What is it like to be a prince? Well, not quite what it is set out to be, in particular when you are a smaller prince, not in stature, but in land.The margraves of Baden are such princes. In the 15th century their main territory, a slither of South-West Germany, just 60km long was too small to play on the European, even on the German stage, but too big to escape the need of massive palaces and warfare.What makes Baden so fascinating is that despite its handicap, it managed to become a medium sized state, one half of Baden-Württemberg. The way there was a long one, involving friendship and loyalty to the death, piratical princesses, alchemy, someone called the Türkenlouis, a sun-shaped city and some skilled diplomacy. Hyperlink to map of Baden: HABW_06_01.jpg (5750×6500)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 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 Ottonians Salian 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 Reformation

Johann Sebastian Bach: Cantata No. 4 “Christ lag in Todesbanden”: Opening ChorusSiegen Bach Choir CollegiumJohann Rosenmuller Ensemble Ulrich Stotzel, conductorZdenek Macal, conductorMore info about today's track: CPO 555098-2Courtesy 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

Episodio #172en este episodio de Dirección Coral Online analizo *Clone*, un cuento de Julio Cortázar que emplea una estructura basada en *La Ofrenda Musical* de Johann Sebastian Bach. Explico cómo cada personaje corresponde a un instrumento de la obra y cómo esta organización influye en la narración. También profundizo en la presencia de Carlo Gesualdo, cuya vida y música aportan un trasfondo temático clave en la historia del grupo vocal protagonista del cuentoSuscribirte a mi newsletter https://www.dopplerpages.com/gusespada-D9EA4/Form6-62234 

An accomplished cellist, TED Fellow Joshua Roman has practiced his instrument daily since he was a child — until a severe case of long COVID almost robbed him of his ability to play. In an inspiring talk, he plays a piece by Johann Sebastian Bach, shares how he found his way back to music and then performs a staggering new solo composition, titled "Immunity." Hosted on Acast. See acast.com/privacy for more information.

An accomplished cellist, TED Fellow Joshua Roman has practiced his instrument daily since he was a child — until a severe case of long COVID almost robbed him of his ability to play. In an inspiring talk, he plays a piece by Johann Sebastian Bach, shares how he found his way back to music and then performs a staggering new solo composition, titled "Immunity."

An accomplished cellist, TED Fellow Joshua Roman has practiced his instrument daily since he was a child — until a severe case of long COVID almost robbed him of his ability to play. In an inspiring talk, he plays a piece by Johann Sebastian Bach, shares how he found his way back to music and then performs a staggering new solo composition, titled "Immunity."

Between the time the first Nobel Prize was awarded in 1901 and 1933, a total of 31 were awarded to German scientists and politicians. To name just a few, Wilhelm Röntgen (1901), Max Planck (1918), Albert Einstein (1921) and Werner Heisenberg (1932) for Physics, Emil Fischer (1902), Fritz Haber (1918), Walther Nernst (1920) and Hans Fischer (1930) for chemistry, Emil von Behring (1901), Robert Koch (1905) and Otto Warburg (1931) for medicine, Theodor Mommsen (1902), Gerhart Hauptmann (1912) and Thomas Mann (1929) for literature and Gustav Stresemann for peace. The UK and France received 17 and 15 respectively, whilst the US picked up just 6 during that same period. How could German universities rise to such dominance during the 19th and early 20th century from very humble beginnings? That is what we will look at in this episode.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 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 Ottonians Salian 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 Reformation

This weekit is back to the political landscape of the empire. We will travel upriver from Mainz via Worms and the not yet existent cities of Mannheim and Ludwigshafen to Heidelberg, my old hometown. And there we will meet the man who held one of the empire's most confusing titles, the count Palatinate of the Rhine, Elector and High Steward of the Empire. His name is Friedrich, Friedrich der Siegreiche, Frederick the Victorious, and being victorious is barely half of what is interesting about him.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 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 Ottonians Salian 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 Reformation

Ein Gipfelwerk unserer Kulturgeschichte, beleuchtet aus dem Blickwinkel von Judas, Petrus und einer hoffnungslosen Jüngerschar im Angesicht der Katastrophe. Ein akustischer Rundgang durch Bachs musikalischen Kosmos – auch als Bestandsaufnahme der Interpretationsgeschichte.

In this episode, we trace the journey of repair from the biblical story of Eden to the present-day church. We begin by looking at the rupture in Eden, the first human failure, which sets the stage for the entire narrative of repair in the Bible. The church, we argue, serves as the modern-day extension of God's original plan for renewal, where heaven and earth collide, and where God's work of restoration continues. Yet, this place of healing is also where significant ruptures can occur, often leaving members hurt and disillusioned.   The conversation highlights the delicate balance between idealism and realism when it comes to the church's role in repairing relational fractures. The church, like any human system, is not immune to dysfunction, but it is also the place where God's mission of restoration is most powerfully present. We discuss how leaders in the church must navigate the complexities of repair, creating spaces of safety and vulnerability while also confronting their own wounds. This episode offers listeners a deeper understanding of how spiritual growth and relational healing are inextricably linked, both for individuals and the community as a whole.     * * * Episode Links and References When Narcissism Comes to Church - Chuck DeGroat When the Church Harms People - Diane Langberg Redeeming Power: Understanding Power and Abuse in the Church - Diane Langberg Matthew 18:15-17 John 16:33   Artistic Offerings to Reflect On The Incredulity of Saint Thomas - painting by Caravaggio St. Matthew Passion (BWV 244) by Johann Sebastian Bach  . . . . . Stay connected: Instagram, Facebook YouTube (Unedited videos of each episode AND the Post Show Conversation.) Please subscribe to the podcast so you never miss an episode and we always welcome your reviews on Apple Podcasts.  Sign up to access the Being Known Podcast applications, the weekly exercises that connect what you are learning to your life in a practical way. 

"Wie weit doch Unverschämtheit Ignoranz bisweilen trägt" - besser als der englische Schriftsteller Samuel Johnson hätte man die Erfolgsgeschichte des ominösen Augenarztes John Taylor wohl nicht charakterisieren können. Wo immer dieser Kurpfuscher sein medizinisches Können zum Besten gab, war das Unheil nicht weit. Die schwarze Liste seiner Opfer ist lange. Unter ihnen: Johann Sebastian Bach und Georg Friedrich Händel, für die das erhoffte "Fiat lux" in ewiger Dunkelheit endete. Unser ZOOM erzählt die Geschichte.

“We should note the force, effect, and consequences of inventions which are nowhere more conspicuous than in those three which were unknown to the ancients, namely printing, gunpowder and the compass. For these three have changed the appearance and the state of the world.” wrote Francis Bacon in 1620. And almost everybody agreed.Printing changed everything, but how exactly did it change everything? That is a question nobody posed properly until Elisabeth L. Eisenstein got on the academic stage in the 1970s and the debate has not yet stopped. In this episode I will try to take you through some of Eisenstein's ideas on the how of the change and, in the end, attempt a raincheck on what we can learn from it for the information revolution we are living through right now. No worries, this is still the History of the Germans, so we will talk facts and dates and processes, with only occasional attempts at breaking into the ivory tower…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 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 Ottonians Salian 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...

"De juiste noot op het juiste moment (en het instrument speelt vanzelf)." - Stine deelt een levenswijsheid van Johann Sebastian Bach op zijn verjaardag. 

This podcast is now well into its fourth year and I have established my process for research, script writing and recording. As for research, that usually means going to the London Library and bend down to the lowest shelf to dig up some age-old copy of a German language book that happens to be the one and only works that goes into the kind of detail on the topic at hand you guys have gotten used to. Imagine my confusion when I started looking into Johannes Gutenberg and found not just a few books, but whole shelves of books in English, German, French, Italian and dozens more talking about even the most intricate details of the life and works of the inventor of the printing press.Drowning in this avalanche of material, I realized that at a minimum this story requires two episodes, one about how Gutenberg came to achieve this breakthrough and then the impact his invention had on the world and on the Germans in particular. Hence today's episode is about the man and his invention, though about the man we know so very little….And here is a video that helps understnding how the machine works: How a Gutenberg Printing Press WorksAnd a book recommendation: The Gutenberg revolution : the story of a genius and an invention that changed the world : Man, John, 1941- : Free Download, Borrow, and Streaming : Internet ArchiveThe 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 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 Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick...

Astronaut and photographer Don Pettit took these stunningly beautiful photos of the Caribbean with its incomparable island blues and clouds on October 3, 2024, aboard ISS 72. Also full of incomparable beauty are Bach's Motets. The voices soar with joy and reverence, especially in this recording by Solomon's Knot, a British ensemble. Here we present “Lieber Herr Gott, wecke uns auf” (Dear Lord God, wake us up) by Johann Christoph Bach, the older cousin of Johann Sebastian Bach. The Bach family was indeed full of musical genius. Series: "Arts Channel " [Arts and Music] [Show ID: 40594]

This Day in Legal History: Selma to Montgomery MarchOn March 21, 1965, Martin Luther King Jr. led the beginning of the third and final Selma to Montgomery march, a pivotal moment in the American civil rights movement. The march was a direct response to the violent suppression of earlier demonstrations and the systemic disenfranchisement of Black voters in the Jim Crow South. Just weeks earlier, peaceful marchers had been brutally attacked by law enforcement on “Bloody Sunday,” as they attempted to cross Selma's Edmund Pettus Bridge. That violence was broadcast nationwide, shocking the conscience of the country and mobilizing public support for voting rights legislation.The march that began on March 21 was federally sanctioned, with U.S. District Judge Frank M. Johnson Jr. ruling that the demonstrators had a constitutional right to march. Protected by federal troops and the National Guard, the marchers traveled 54 miles over five days, arriving at the Alabama State Capitol in Montgomery on March 25. Their numbers swelled to more than 25,000 by the time they reached the steps of the Capitol, where Dr. King delivered his famous "How Long, Not Long" speech, declaring that “the arc of the moral universe is long, but it bends toward justice.”This sustained campaign of nonviolent resistance laid the moral and legal foundation for the Voting Rights Act of 1965, signed into law just five months later. The Act outlawed discriminatory practices like literacy tests and poll taxes and empowered federal oversight of voter registration in areas with histories of discrimination. The Selma marches highlighted the power of constitutional protest and judicial protection of civil rights, reinforcing the essential role of federal courts in safeguarding democratic participation.There was once a towering oak tree that stood firm in the wind and, under it, a reed that bent whenever the wind blew. A tyrant came to the land of the reed and oak, stomping his boot wherever he pleased. The oak resisted and was chopped down. The reed, seeing this, bent deeper–letting the boot press it into the mud day after day. Years passed and the reed, still alive, whispered to the boot: “See? I'm wise – I survived.”The boot replied, “You're not wise. You're soft. The oak was crushed because it defied us. But you? I step on you because I can.” Then the boot ground the reed into the dirt—without another thought. In a move that underscores the growing influence of executive power over traditionally independent legal institutions, President Trump rescinded an executive order targeting Paul Weiss after the firm pledged $40 million in pro bono services aligned with his administration's political goals. The announcement followed a private meeting with firm chairman Brad Karp and was accompanied by a sweeping commitment: no DEI policies, merit-based hiring, and representation of clients across the political spectrum—including those favored by the administration.Trump had previously sanctioned Paul Weiss by revoking its security clearance and threatening client contracts, citing the involvement of former partner Mark Pomerantz in the Manhattan DA's prosecution of Trump. That campaign against Paul Weiss, part of a broader effort targeting over 20 legal entities, seemed aimed at punishing firms perceived as adversarial while promoting loyalty through coercion.Karp's public gratitude for the order's withdrawal—and his reported acknowledgment of “wrongdoing” by Pomerantz—reads less like a principled resolution and more like a compelled confession by a simpering coward. Paul Weiss, a firm with deep Democratic ties, has now aligned itself with a president actively dismantling traditional norms around legal independence, seemingly in exchange for restored access and favor.This capitulation signals more than just a thaw in Trump's icy relationship with Big Law—it may represent a strategic blueprint: punish, pressure, and reward compliance – like with dogs. Legal experts and those with eyes to see warn that this redefinition of executive influence risks turning law firms into instruments of political will rather than defenders from it.Trump Rescinds Paul Weiss Order as Firm Pledges $40 Million (2)Frustrated by constant helicopter and seaplane noise, New York lawmakers are pushing for a first-of-its-kind "noise tax" targeting non-essential flights over the city. The proposal, led by state Sen. Kristen Gonzalez, would charge $50 per seat or $200 per flight for tourist and luxury air travel, while exempting essential services like medical transport, law enforcement, and construction. The revenue—expected to reach $10–15 million annually—would fund the state's Environmental Protection Fund, a move Gonzalez says is critical amid federal environmental funding cuts under President Trump.The bill reflects growing anger among residents across socio-economic lines who say aerial traffic disrupts daily life, especially in parks and along waterfronts. App-based services like Blade have exacerbated the issue by making chartered air travel more accessible to the wealthy, turning the skies into noisy corridors over neighborhoods and landmarks.Supporters, including advocacy group Stop the Chop NY/NJ, hope the tax discourages unnecessary flights by raising costs. However, the helicopter industry, represented by Vertical Aviation International, strongly opposes the bill. They argue that aviation regulation is solely under federal jurisdiction and warn the tax could trigger lawsuits and threaten jobs. The group says it has already taken steps to reduce noise but acknowledges that changing flight paths often just shifts the problem from one area to another.The legislation has passed the state Senate but faces challenges in the Assembly, where it stalled last year. With a budget deadline approaching on April 1, negotiations continue.New Yorkers Sick of Hovering Helicopters Prompt Bid to Tax NoiseA federal judge has ruled that the Social Security Administration (SSA) likely broke privacy laws by giving Elon Musk's anti-fraud team, known as the Department of Government Efficiency (DGE), unrestricted access to sensitive personal data on millions of Americans. Judge Ellen Lipton Hollander of Maryland blocked any further data sharing and criticized the agency for turning over vast amounts of information without proper oversight. The judge described DGE's actions as a "fishing expedition" based more on suspicion than evidence, warning against overreach in the name of rooting out fraud.The data in question comes from the SSA's “Numident” database—its so-called “crown jewels”—which holds Social Security numbers, medical records, banking data, and more, some dating back to the 1930s. SSA officials admitted DGE staff had access to a “massive amount” of records, and privacy advocates said the team was embedded in the agency without vetting or training. The ruling requires DGE to delete any data it accessed.The decision is a significant setback for DGE and comes on the heels of another ruling limiting Musk's authority to shut down USAID, since he lacks Senate confirmation. President Trump's administration has defended DGE's mission, calling it a necessary tool to cut waste, but the court noted a disturbing lack of concern for citizen privacy. SSA's acting head, Leland Dudek, expressed confusion over the order's breadth and said it might require cutting off access for all SSA staff.Meanwhile, labor unions and advocacy groups involved in the lawsuit welcomed the decision, saying it defends Americans' data from unlawful government intrusion. DGE's aggressive tactics have drawn scrutiny across other agencies as well, with courts allowing access in some departments but blocking it in more sensitive areas like the Treasury.Judge stops Musk's team from 'unbridled access' to Social Security private data | ReutersChief Judge Diane Sykes of the 7th U.S. Circuit Court of Appeals will take senior status on October 1, creating the first appellate court vacancy during President Donald Trump's second term. Sykes, appointed by President George W. Bush and once considered a potential Supreme Court nominee under Trump, has served over three decades in both the Wisconsin and federal judiciary. Her transition to semi-retirement allows Trump to nominate a new full-time judge to the influential Chicago-based court, which currently holds a narrow 6–5 Republican-appointed majority.Sykes cited a desire to spend more time with family as her reason for stepping back from active service. She becomes the second federal appellate judge to announce senior status since Trump's return to office, following Judge Sandra Ikuta of the 9th Circuit. While four appellate vacancies remain from President Biden's term, Sykes's departure offers Trump his first direct opportunity to shape the 7th Circuit bench.Sykes has authored notable decisions, including one upholding Wisconsin's voter ID law and a dissent in a landmark 2017 case where the 7th Circuit ruled that LGBTQ employees are protected under Title VII. She criticized the majority in that case for overstepping legislative boundaries—a position later rejected by the Supreme Court in Bostock v. Clayton County (2020).7th Circuit's Sykes to take senior status, creating vacancy for Trump | ReutersThis week's closing theme is by Johann Sebastian Bach.This week, we close with a piece as enduring and elemental as the legal principles we often discuss: Johann Sebastian Bach's Cello Suite No. 1 in G Major, specifically its iconic Prelude. Born on this day, March 21, 1685, Bach remains one of the foundational figures in Western music—a composer whose work balances mathematical precision with deep emotional resonance. Though he wrote for kings and churches, his music speaks to the full range of human experience, from joy to lament, duty to wonder.The Prelude to this suite is among the most recognizable solo cello pieces ever written, opening with a simple G major arpeggio that expands into a flowing, almost improvisational meditation. It's unaccompanied, yet complete—no orchestra, no embellishment, just one instrument revealing infinite depth. Written around 1717–1723 during Bach's time in Köthen, the suites were not published in his lifetime and lay in relative obscurity until cellist Pablo Casals rediscovered them in the 20th century.The piece carries a quiet authority that feels apt for reflection—whether on a ruling, a civil rights march, or a government in turmoil. It's structured, yes, but never rigid; expressive, but never indulgent. The Prelude doesn't declare or argue. It invites, it unfolds. It reminds us, like authority best wielded, that elegance lies in clarity and that restraint can be a form of power.This week, we let the steady resonance of Bach's Prelude accompany us out.Without further ado, Johann Sebastian Bach's Cello Suite No. 1 in G Major, the Prelude. Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Episode 80: Johann Sebastian Bach and MerlinAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week we are setting off on our tour of the empire for real. And where better to start than with the most senior, most august of the seven prince Electors, the archbishop of Mainz, archchancellor of the empire, and holder of the decisive vote in imperial elections. We have already encountered a number of archbishops of Mainz in this podcast, from the treacherous Frederick who tried to overthrow Otto the Great (ep.3), to Willigis, the eminence grise of the empire under Otto II, Otto III and Henry II (ep.10-19) , Adalbert, first advisor and then adversary of Henry V (ep. 40), Peter von Aspelt, the man who put the Luxemburgs on the Bohemian throne (ep. 145) and lots more. But this series is not about grand imperial politics, but about the grimy territorial skullduggery inside the empire. And for Mainz this is a story that is deeply entangled with the history of Hessen. Where Mainz is ancient, tracing its' eminence back to a saint who had come across the water, Hessen was a new kid on the block amongst the imperial princes. But a very successful one. And at its beginning stood the 24 year-old daughter of a saint holding up her baby son to be acclaimed lord by the people, or some such thing. Maps of Mainz, the Landgraviate of Thuringia and Hessen: Maps • History of the Germans PodcastThe 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 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 Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward Expansion

Johann Sebastian Bach droht zu erblinden, die Folge wäre der Ruin. Im März 1750 lässt er sich vom Augenarzt und Scharlatan John Taylor operieren: ein riskanter Entschluss! Von Christian Kosfeld.

Many German histories skip over this period in order to get to the Reformation, which is a shame. Because the 15th century did not just shape the physical appearance of the country, but much of its geographical and mental make-up. 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 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 Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356

Many German histories skip over this period in order to get to the Reformation, which is a shame. Because the 15th century did not just shape the physical appearance of the country, but much of its geographical and mental make-up. 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 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 Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356

When Ernest Hemingway was interviewed by George Plimpton in 1958, he listed Johann Sebastian Bach fourth among those forebears he learned the most from. “I should think,” he told Plimpton, “what one learns from composers and from the study of harmony and counterpoint would be obvious.” It isn't. So, to help us understand how Bach influenced Hemingway's writing – in particular the first page of A Farewell to Arms – we welcome organist and Bach scholar, David Yearsley.With an expert to guide us, we explore Bach's biography and connections between these two artistic titans, discussing which of Bach's works Hemingway responded to most powerfully and how the music of “Mr. Johann” finds its way into Hemingway's WWI novel as well as other writings, such as To Have and Have Not. We are also privileged that David Yearsley agreed to play some Bach for us to illustrate counterpoint and other related ideas, so we hope you enjoy this special show!

Barbara ist geil und ruchlos is the title of a 17th century description of emperor Sigismund's second wife, Barbara of Celje and it goes on as follows:“Barbara, was a German Messalina, a woman of insatiable lust; so nefarious / that she had no god / nor angel nor devil / nor heaven nor hell/that she believed in. When her handmaidens fasted and prayed / she scolded them / that they tortured their bodies / to worship a fictitious god. Instead she admonished them / in her good Sardanapalian way / that they should in every way enjoy the pleasures of this life / because after this there is no other to be hoped for. This godless harlot / sought paradise on this foul earth in doglike lust / although she was already close to 60 years of age.” End quote.But this is not where it ends. The Irish writer Joseph Sheridan Le Fanu described her end, in an abandoned church in Styria thus: The features, though a hundred and fifty years had passed since her funeral, were tinted with the warmth of life. Her eyes were open; no cadaverous smell exhaled from the coffin. The two medical men, one officially present, the other on the part of the promoter of the inquiry, attested the marvelous fact, that there was a faint but appreciable respiration, and a corresponding action of the heart. The limbs were perfectly flexible, the flesh elastic; and the leaden coffin floated with blood, in which to a depth of seven inches, the body lay immersed. Here then were all the admitted signs and proofs of vampirism. The body, therefore, in accordance with the ancient practice, was raised, and a sharp stake driven through the heart of the vampire, who uttered a piercing shriek at the moment, in all respects as might escape from a living person in the last agony. Then the head was struck off, and a torrent of blood flowed from the severed neck. The body and head were next placed on a pile of wood, and reduced to ashes, which were thrown upon the river and borne away, and that territory has never since been plagued by the visits of a vampire.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 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

As a belated 92nd birthday tribute to our beloved Elly Ameling, I offer another episode of the Elly and Johann Show which features her in the music of Johann Sebastian Bach. If you twisted my arm, I might opine that she is simply the ideal Bach soprano, and these recordings, made between 1961 and 1981, stem from her absolute prime. In this episode, the majority of the works featured (from various cantatas, oratorios, masses, and passions), are duets, with a few trios and even a quartet thrown in for good measure. Siegmund Nimsgern, Werner Krenn, Hans Sotin, Birgit Finnilä, Yvonne Minton, Helen Watts, Elisabeth Cooymans, Peter Pears, Samuel Ramey, Norma Procter, Tom Krause, Gerald English, Marga Höffgen, and Fritz Wunderlich lend their voices in harmony with our Elly. The featured recordings teeter between early period performance efforts and my preferred “full-figured Bach” performance practice. Without exception however, the style is never heavy, never thuddy, but rather gracious, flowing, and mellifluous. The episode is capped with a stunning 1966 live performance of the soprano aria from the Matthew-Passion in which Ameling, just for a moment, restores my faith in humanity. Countermelody is a 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 journalist 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.

Nemone Lethbridge is a barrister who was called to the bar in 1956. One of very few female barristers working at the time, she encountered misogyny and was one of the trailblazers for women working in the legal profession who followed behind her. At her first Chambers, she wasn't allowed to share a toilet with her male colleagues and had to use the facilities in a nearby café. It was hard for her to find work and for some time she represented the Kray twins. After her marriage to a writer, and former convicted criminal was revealed, she was forced to leave the legal profession and they moved to Greece for a number of years where both of them had careers as writers having their work filmed for the BBC. Nemone returned to the Bar in 1981 and continues to do pro bono work at 92 years old. She lives in London.DISC ONE: Go Down, Moses - Paul Robeson DISC TWO: O Come, O Come, Emmanuel - The Choir of King's College Cambridge DISC THREE: Scarborough Fair – Simon & Garfunkel DISC FOUR: I Wanna Go Back to Dixie - Tom Lehrer DISC FIVE: Mozart: Le nozze di Figaro, K. 492 / Act 3: "Sull'aria ... Che soave zeffiretto" Performed by Edith Mathis (soprano), Gundula Janowitz (soprano), Orchester der Deutschen Oper Berlin and conducted by Karl Böhm DISC SIX: Strose to Stroma sou – Mikis Theodorakis DISC SEVEN: September Song - Gracie Fields DISC EIGHT: Herz und Mund und Tat und Leben, BWV 147: Chorale. Jesus bleibet meine Freude (Arr. for Piano) (Jesu, Joy of Man's Desiring) Composed by Johann Sebastian Bach and performed by Lang Lang BOOK CHOICE: The Rubaiyat of Omar Khayyam LUXURY ITEM: A doll CASTAWAY'S FAVOURITE: Mozart: Le nozze di Figaro, K. 492 / Act 3: "Sull'aria ... Che soave zeffiretto". Performed by Edith Mathis (soprano), Gundula Janowitz (soprano), Orchester der Deutschen Oper Berlin and conducted by Karl BöhmPresenter: Lauren Laverne Producer: Sarah Taylor

This week we bring the series about the reformation before the reformation to an end. It is time to take stock. What changes did 20 years of opposition to the established church and 15 years of war bring to Bohemia?How did Jan Hus, Jan Želivský, Wenceslas Koranda and Petr Chelčický influence Luther, Calvin, Zwingli, Müntzer and von Hutten? How did Zizka's reform impact the Swiss mercenaries and the German Landsknechte?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 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 Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356

We have a tendency to overlook the history of the smaller European nations even though they do quite often provide the laboratory where one could have seen the sign of things to come or calamities that could be avoided. One of these nations is Czechia, where events took place that could, should or did impact the History of the Germans, in 1989, in 1968, in 1938, in 1618 and in 1419-1437. Today we will talk about the very last one on this list, the moment when a complete confessional split was prevented, something Martin Luther, emperor Charles V and pope Leo X so disastrously failed to manage a hundred years later.I will also provide links in the show notes to books or podcasts relating to the other events in case you want to read ahead:Genscher in Prag - ein Polit-Krimi – DW – 30.09.2019Eyewitness to the 1968 Prague Spring – Cold War Conversations PodcastRobert Harris: MunichWDFpodcast.com 30 Years War SeriesThe 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 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 Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward Expansion