Podcast appearances and mentions of johann strauss

Carlos Iribarren | Llegamos al final del año y queremos despedirnos por todo lo alto con 8 marchas que nos harán mover los cuerpecillos al ritmo de 1, 2, 1, 2… Cinco de ellas son joyas a descubrir mientras que las otras 3 son extraordinariamente conocidas. Sus autores son el estadounidense John Philip Sousa, el checo Julius Fucik y el austríaco Johann Strauss (padre)… ¿Te atreves a intentar tararearlas sin saber aún cuáles son? Carlos y Mario comparten conversación y disfrutan de un rato agradable en el que tienes un sitio privilegiado para contagiarte de la alegría de despedir 2025 con la mejor música del mundo: la que suena siempre en Hoy Toca, el programa de Clásica FM que te quiere sorprender.

For the final episode of 2025, and of Season Six of the podcast, I present pure frothy escapism from the delectable Mady Mesplé, the finest French coloratura of her generation. My original intention was to feature her exclusively in operetta repertoire, and I've stuck to that. But as I began to compile a setlist I realized that there was a subset of her recordings of this repertoire that presented her at her absolute finest: Viennese operetta, as translated into French. From her earliest recordings, operetta was central to her recorded canon, and from 1969 through 1980, she made a choice selection of complete recordings of operetta in French for the Pathé label. Throughout her recorded legacy, there are selections from works such as La veuve joyeuse, (Die lustige Witwe) Trois valses (Drei Walzer), Le pays du sourire (Das Land des Lächelns), Sang viennois (Wiener Blut) and others, which made such a smooth transition into French that they often sounded as if they were could originally have been set in that language. In addition, in the year 1971, Mesplé made a high-flying recording of Johann Strauss waltzes set to French texts that represents her at her vocal zenith. From all of these aforementioned sources, as well as from a 1980 recording of operetta arias with conductor Pierre Dervaux, come the selections for this episode. And for those who would like some Viennese operetta in its original language, the episode begins with the creator records from Franz Lehár's final original operetta Giuditta, as recorded by Richard Tauber and Jarmila Novotná with Lehár himself conducting the Wiener Philharmoniker. In whichever language you choose, let us waltz our way out of this horrific year into a more humane and livable 2026! 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.

Nicht einmal die Aktivitäten im Jubiläumsjahr 2025 konnten am Nachruhm des Walzerkönigs kratzen. Ein Blick in die Wiener Annalen lehrt jedoch: Der Start des heutigen »Superstars« in die Weltkarriere war einst beschwerlich und voller – auch politischer – Hindernisse. Kaiser Franz Joseph sah in dem Komponisten sogar einen Staatsfeind.

El Kaiser-Walzer (Vals del Emperador), Op. 437, es una obra orquestal compuesta por Johann Strauss II (1825-1899) en 1889 para celebrar el 40.º aniversario del reinado del emperador Francisco José I de Austria y su visita al káiser Guillermo II de Alemania, simbolizando la alianza austro-alemana. Estrenada el 12 de octubre de 1889 en Berlín, esta pieza es uno de los valses más grandiosos de Strauss, conocido por su elegancia, estructura extendida y atmósfera imperial. Aunque originalmente titulada Hand in Hand(en alusión a la alianza), se renombró Kaiser-Walzer para reflejar su majestuosidad."Crónicas Lunares di Sun" es un podcast cultural presentado por Irving Sun, que abarca una variedad de temas, desde la literatura y análisis de libros hasta discusiones sobre actualidad y personajes históricos. Se difunde en múltiples plataformas como Ivoox, Apple Podcast, Spotify y YouTube, donde también ofrece contenido en video, incluyendo reflexiones sobre temas como la meditación y la filosofía teosófica. Los episodios exploran textos y conceptos complejos, buscando fomentar la reflexión y el autoconocimiento entre su audiencia, los "Lunares", quienes pueden interactuar y apoyar el programa a través de comentarios, redes sociales y donaciones. AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ ORTOLARRY:  - NORTE 9 #175 ESQ. OTE 164. COLONIA MOCTEZUMA SEGUNDA SECCION. CDMX - NORTE 17# 211-A COLONIA MOCTEZUMA SEGUNDA SECCION C.P 15530 ALCALDIA VENUSTIANO CARRANZA CDMX  Teléfonos: 5557860648, 5524158512. Whatsapp: 5561075125 

Podcast: In Our Time Episode: The WaltzRelease date: 2024-04-11Get Podcast Transcript →powered by Listen411 - fast audio-to-text and summarizationMelvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight.WithSusan Jones Emeritus Professor of English Literature at the University of OxfordDerek B. Scott Professor Emeritus of Music at the University of LeedsAndTheresa Buckland Emeritus Professor of Dance History and Ethnography at the University of RoehamptonProducer: Simon TillotsonReading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020)Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018)Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011)Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018)Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill BucklandZelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001)Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022)Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013)Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009)Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006)Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012)Eduard Reeser, The History of the Walz (Continental Book Co., 1949)Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew LambDerek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz'Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973)Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009)Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013)Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016)David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023)Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002)Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

Estrenar el 1 de enero con el Concierto de Año Nuevo de la Orquesta Filarmónica de Viena ya es tradición para decenas de millones de personas en todo el mundo. La emisión en directo desde la Sala Dorada del Musikverein tiene como grandes protagonistas a los integrantes de la familia Strauss: Johann padre e hijo, así como sus hermanos Josef y Eduard. Autores prolíficos, lograron establecer una marca distintiva con sus interpretaciones y alcanzaron fama mundial en la incipiente industria de la música. El fundador de la dinastía, Johann Strauss padre (1804-1849), ya realizó con su orquesta giras por Europa; un camino que seguiría su vástago Johann Strauss II (1825-1899), quien incluso visitó Estados Unidos con éxito clamoroso. Las danzas fueron parte esencial de su música: Johann Strauss hijo llegó a ser conocido como el Rey del Vals y a él se deben páginas de este género tan populares como 'El Danubio Azul', 'Cuentos de los bosques de Viena', 'Rosas del sur' o 'Sangre vienesa'. Otros bailes como polcas, cuadrillas o mazurcas forman parte del amplio repertorio de los Strauss, al igual que numerosas marchas. Un campo que amplió finalmente Johann Strauss II cuando se adentró en el género de la opereta, donde realizó obras tan destacadas como 'El Murciélago' o 'El barón gitano'.Este documental, con guion de Ana Vega Toscano y diseño sonoro de Mayca Aguilera, se acerca a la saga con un especial interés en su relación con nuestro país. El programa examina las partituras que compusieron para la Casa Real, tanto la popular 'Marcha Española, op. 433' de Johann Strauss hijo, como las 'Dos Marchas de la Noble Guardia Real Española, op. 240' de Johann Strauss padre. También pone el foco sobre la inspiración española de muchas de sus piezas, así como en la visión que de su música tuvo el compositor Tomás Bretón, autor de 'La verbena de la Paloma'. Intervienen los musicólogos Víctor Sánchez, catedrático de la Universidad Complutense de Madrid, y Enrique Mejías, documentalista del Centro de Documentación y Archivo de la SGAE; el bibliotecario y divulgador Alessandro Pierozzi, director del programa 'Danza en armonía' de Radio Clásica; el coronel Enrique Blasco Cebolla, miembro de la Academia de las Ciencias y las Artes Militares y exdirector de la unidad de música de la Guardia Real; y el periodista y crítico musical Gonzalo Alonso, quien además evoca en primera persona el ambiente único del Concierto de Año Nuevo en Viena.Escuchar audio

Dans l'atelier du Père Noël, les préparatifs battent leur plein. Mais ? Que se passe-t-il ?  Le Père Noël a-t-il perdu la tête ? Voilà qu'il mélange tous les jouets ! Inquiet, les lutins mènent l'enquête. Un tendre conte de Noël imaginé par Elodie Fondacci et raconté sur les musiques scintillantes de Johann Strauss.Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Am 17. Juni 1872 beginnt in Boston ein Musikfestival der Superlative: Das World Peace Jubilee findet nicht nur in einer riesigen Konzerthalle für 100.000 Menschen statt, auch auf der Bühne tummeln sich fast Tausend Orchestermitglieder. Dirigent ist der Stargast der Veranstaltung, der mit einem echten Schlager im Gepäck angereist kam: Die Rede ist von Johann Strauss und dem Donauwalzer. Wir sprechen in der Folge über die Entstehung des Walzers und wie er in kurzer Zeit von einem verpönten und teils verbotenen Tanz, zum Inbegriff des eleganten Gesellschaftstanzes werden konnte. // Erwähnte Folgen - GAG510: Ludwig van Beethoven oder Wie eine Symphonie entsteht – https://gadg.fm/510 - GAG484: Emil Berliner und die Erfindung der Musikindustrie – https://gadg.fm/484 - GAG361: Gustave Trouvé - der vergessene Erfinder – https://gadg.fm/361 - GAG314: Eine kurze Geschichte der Cholera – https://gadg.fm/314 - GAG351: Die Erfindung des Saxophons - Aufstieg und Fall des Adolphe Sax – https://gadg.fm/351 // Literatur - Philipp Ther, Der Klang der Monarchie. Eine musikalische Geschichte des Habsburgerreichs, 2025. - Bernhard Ecker / Peter Hosek, Johann Strauss' Amerikanische Reise, 2024. - Michael Lemster: Strauss. Eine Wiener Familie revolutioniert die Musikwelt, 2024. // Musik - An der schönen blauen Donau (Donauwalzer) von Johann Strauss (Sohn) - Radetzky-Marsch (Armeemarsch II, 145) von Johann Strauss (Vater) - When Johnny Comes Marching Home von Patrick Gilmore //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 // Außerdem gibt es das Brettspiel auch auf Amazon: https://www.amazon.de/gp/product/B0G3X2FNNW // 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 //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 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

Vienna based Cork-born violinist, Karen Murray has had the privilege of recording an album on the Amati violin on which Johann Strauss himself performed. Evelyn Grant chatted with Karen, just as she returned from speaking and performing at a conference in Shanghai, which celebrated the life and work of the composer

durée : 00:04:59 - Émile Waldteufel : l'autre roi de la valse ! - par : Max Dozolme - Max Dozolme nous parle du roi de la valse, non pas Johann Strauss mais Emile Waldteufel. Un compositeur français, né le 9 décembre 1837, à qui l'on doit de nombreuses valses charmantes dont certaines ont connu d'ailleurs des métamorphoses étonnantes ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

(00:26) «Die Fledermaus» von Johann Strauss ist die Operette schlechthin. Am Zürcher Opernhaus gibt es nun eine Inszenierung, die das Attribut «neu» definitiv verdient. Weitere Themen: (04:30) Stararchitekt Frank O. Gehry im Alter von 96 Jahren gestorben. (09:01) Aktueller Roman von John Banville «Im Schatten der Gondeln» auf Deutsch erschienen. (13:02) «Des preuves d'amour – Liebesbeweise»: Der französische Spielfilm von Alice Douard erzählt von der Odyssee zweier Frauen, die ein Kind bekommen. (17:11) Von Tieren und Pflanzen: Leipziger Autor Matthias Jügler hat mit «Wir dachten, wir könnten fliegen» eines der schönsten Bücher des Jahres veröffentlicht. (21:36) Britischer Fotograf Martin Parr stirbt im Alter von 73 Jahren.

Heute Nachmittag hat das Zürcher Kantonsparlament mit der Beratung des Budgets 2026 begonnen. Am Ende der mehrtägigen Debatte diskutiert der Kantonsrat auch über eine Steuersenkung - mehrere Vorschläge stehen im Raum. Weitere Themen: · Kantonsrat spricht 25'000 Frankien pro Person für Betroffene von fürsorgerischen Zwangsmassnahmen · Ehemaliger FCZ-Präsident Sven Hotz ist gestorben · Baugerüst im Zürcher Kreis 11 birgt kein Risiko mehr, Gebiet bleibt aber gesperrt · 19 Jahre Gefängnis für Mord in Winterthur · Premiere von Johann Strauss' «Fledermaus» im Zürcher Opernhaus

Carlos Iribarren | El 25 de octubre de 1825 nació en Viena uno de los músicos más importantes del siglo XIX, Johann Strauss hijo. Algunos expertos han minimizado su figura y le han tachado de “compositor menor”, pero no estamos nada de acuerdo y queremos rendir homenaje a un hombre que alcanzó como pocos el nivel máximo a la hora de crear melodías inolvidables. Sus valses, polkas, galopes, etc, siguen sonando de manera frecuente y no sólo en la gala de la Orquesta Filarmónica de Viena cada 1 de enero. Para conocer mejor la vida y la obra del segundo Johann Strauss, nos acompaña Antonio Daganzo, musicógrafo, periodista y escritor, quien es otro firme defensor del arte excelso de este violinista y compositor, que acaba de cumplir unos brillantes 200 años y que da categoría a la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

An der Volksoper erwacht Johann Strauss' unvollendetes Werk "Aschenbrödel" zu neuem Leben. Komponistin Martina Eisenreich und Regisseur Axel Ranisch entführen das Publikum in ein fantastisches Musiktheater, das Traum und Realität meisterhaft verwebt.

„Nur das C-Level kann die Richtung vorgeben – und ohne AI-Strategie bleibt selbst die beste Technologie ein Strohfeuer.“ „Ich hab mich gefühlt, als wären Außerirdische gelandet“ – mit dieser Mischung aus Faszination und Überforderung beschreibt Dr. Georg Kraus seinen ersten Kontakt mit ChatGPT. Gemeinsam mit Johann Strauss, CTO des AI Solutions Teams bei Dell Technologies, wird in dieser Episode nicht nur über Buzzwords geredet, sondern Klartext gesprochen: Wo stehen Unternehmen wirklich, wenn es um Künstliche Intelligenz geht? Johann bringt Einblicke direkt von der Front – aus unzähligen Gesprächen mit CIOs, CEOs und CTOs: „Die größte Gefahr ist Halbwissen – und davon gibt es momentan zu viel.“ Doch was tun? Wie sieht eine echte AI-Strategie aus? Und was ist die Rolle des C-Levels in diesem Transformationsprozess? Diese Folge liefert Antworten: - Warum das C-Level „die Firma neu denken“ muss, statt an Einzelprojekten herumzudoktern. - Wieso 90 % der AI Use Cases gekauft werden, obwohl man „theoretisch alles selbst machen“ könnte. - Was das „AI Strategy House“ ist – und warum man dafür mindestens zwei Workshop-Tage einplanen sollte. - Wieso es nichts bringt, auf den nächsten Tech-Hype zu warten: „Technologisch haben wir heute alles – außer Überlichtgeschwindigkeit und Teleportation.“ Die KI-Revolution ist da – aber was macht dein Unternehmen damit?

Albrecht Selge hält sich zurzeit für einige Wochen in Wien auf. Und da ist an Johann Strauss nicht vorbeizukommen – dem großen Sohn der Stadt, der an allen Ecken und Enden Wiens anzutreffen ist, mal vergoldet, mal fast leibhaftig, und in diesem Strauss-Jubel-Jahr, dem 200. Geburtstag erst recht nicht. Doch ist alles Gold, was glänzt? Albrecht Selge hat sich in Wien ein bisschen umgesehen und umgehört.

Nous sommes le 10 octobre 1844, à Vienne. Dans le Wiener Zeitung, un quotidien créé 140 ans plus tôt, on peut lire : « Invitation à une soirée dansante qui aura lieu le mardi 15 octobre, même en temps d'intempérie, au Casino Dommayer, à Hietzing. Johann Strauss, le jeune, aura l'honneur de diriger, pour la première fois, son orchestre et exécutera plusieurs œuvres d'ouverture et airs d'opéra et quelques-unes de ses propres compositions. Johann Strauss fils s'en remet à la clémence et à la faveur du très honorable public. » Le casino Dommayer, en ce milieu du XIXe siècle, est une salle de tout premier plan, très fréquentée par la bonne société viennoise. Strauss y présentera sa valse opus 1, Sinngedichte (Épigramme), en clôture de programme. C'est un hommage flamboyant à ses maîtres et inspirateurs, notamment son père. Le concert est un triomphe pour le jeune homme qui, dix jours plus tard, fêtera ses vingt ans. Il symbolise aussi l'irréparable séparation artistique du père et du fils. Revenons, aujourd'hui, sur une destinée peu commune : celle d'une dynastie musicale : les Strauss… Avec nous : Hélène de Lauzun, spécialiste de l'histoire de l'Autriche. « Johann Strauss, l'empereur de la valse » Editions Tallandier. Sujets traités: :Johann Strauss , dynastie, musicale, Vienne, Valse Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Johann Strauss, Jr. - A Night in VeniceSlovak State Philharmonic OrchestraAlfred Waller, conductorMore info about today's track: Naxos 8.553936Courtesy 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

Die alte Kaiserstadtmetropole an der Donau ist ein lebendiges Freilichtmuseum: Biedermeier-Gassen, barocke Paläste, Kaffeehäuser und Opernball, Fiaker und die morbide Melancholie der Wiener Seele. Wenn von Wien die Rede ist, herrscht kein Mangel an Klischees. Doch diesmal geht es nicht um Hofreitschule und Kaiserschmarren, sondern um den Zentralfriedhof, das berühmte Hotel Imperial und den Walzerkönig Johann Strauss Sohn. "An der schönen blauen Donau" – der Walzer von Johann Strauss Sohn gilt sogar als die heimliche Hymne Wiens. 2025 jährt sich der Geburtstag von Johann Strauss zum 200. Mal. Aus diesem Anlass steht in der österreichischen Hauptstadt alles im Zeichen des Komponisten.

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight. With Susan Jones Emeritus Professor of English Literature at the University of Oxford Derek B. Scott Professor Emeritus of Music at the University of Leeds And Theresa Buckland Emeritus Professor of Dance History and Ethnography at the University of Roehampton Producer: Simon Tillotson Reading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020) Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018) Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011) Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018) Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill Buckland Zelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001) Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022) Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013) Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009) Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006) Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012) Eduard Reeser, The History of the Walz (Continental Book Co., 1949) Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew Lamb Derek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz' Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973) Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009) Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013) Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016) David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023) Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002) Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013)

(00:31) Am Wochenende wäre Johann Strauss Sohn 200 Jahre alt geworden. Der Schöpfer des «Donauwalzers» war im 19. Jahrhundert ein internationaler Superstar. Ein Buch von Bernhard Ecker und Peter Hosek erzählt von einer verrückten Amerikareise des Walzerkönigs. Weitere Themen: (05:43) Geschichte eines Schweizer Schuhherstellers: Buch «Bally» von Philipp Abegg und Martin Matter beleuchtet Werdegang des Unternehmens. (10:31) Schweizer Kunstexperte Karim Crippa wird Direktor der Art Basel Paris. (11:33) Welches sind die spektakulärsten Kunstraube in der Geschichte? Eine Auswahl. (14:58) Spielfilm «All That's Left Of You» zeichnet generationenübergreifendes Familienporträt aus Palästina. (19:19) Nominierte für Schweizer Buchpreis: Grosses Interesse an «Grossmütter» der Luzerner Autorin Melara Mvogdobo.

Christian Scheib im Gespräch mit der Historikerin, Autorin und Strauss-Expertin Marie-Theres Arnbom über die frivolen Anfänge der Operette im Paris Mitte des 19. Jahrhunderts, über deren Transfer durch Johann Nestroy nach Wien ans Carltheater in der Leopoldstadt, über die Zensur in Paris und in Wien, über das spätere, auch für die Operette desaströse Wirken der Nationalsozialisten, und den Einstieg des Walzerkönigs Johann Strauss ins Operettengeschäft mit Werken wie der „Fledermaus“ oder der „Nacht in Venedig“.

Johann Strauss, Jr. - Die Fledermaus: OvertureSlovak State Philharmonic OrchestraAlfred Waller, conductorMore info about today's track: Naxos 8.552115-16Courtesy 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

This Day in Legal History: Nixon Vetoes War Powers ResolutionOn October 24, 1973, President Richard Nixon vetoed the War Powers Resolution (H.J. Res. 542), a landmark piece of legislation passed by Congress to reassert its constitutional authority over decisions to deploy U.S. armed forces abroad. The resolution came in the wake of growing public and congressional frustration over the Vietnam War and secret military actions in Southeast Asia. The law required the President to notify Congress within 48 hours of deploying troops and prohibited armed forces from remaining in conflict for more than 60 days without congressional authorization. Nixon, in a written veto message, declared the measure “unconstitutional and dangerous,” arguing that it infringed on the President's Article II powers as Commander-in-Chief.Despite Nixon's objections, Congress overrode the veto on November 7, 1973, with bipartisan support, thereby enacting the War Powers Resolution into law. This override marked a rare and forceful assertion of legislative authority over foreign military engagements. The resolution aimed to correct what many in Congress saw as decades of executive overreach in matters of war and peace. However, its constitutional legitimacy has remained contested. Presidents from both parties have often complied only in part—or ignored it altogether—asserting that the resolution unlawfully limits executive authority.While the War Powers Resolution was intended to prevent unilateral military action, it has had limited practical effect in restraining presidents from engaging in hostilities without express congressional approval. Legal scholars continue to debate its enforceability and the constitutional balance it attempts to strike. The 1973 veto and subsequent override encapsulate enduring tensions between the executive and legislative branches over control of U.S. military power.Two federal judges—Julien Neals of New Jersey and Henry Wingate of Mississippi—recently admitted that erroneous rulings issued from their chambers were the result of law clerks or interns improperly using AI tools. The judges revealed in letters to the Administrative Office of the U.S. Courts that the flawed opinions contained fictitious citations or parties due to unvetted generative AI research. Judge Neals said a law school intern used ChatGPT, which led to nonexistent case quotes in a June 30 order, violating his chambers' unwritten policy against AI use. He has since formalized that policy. Judge Wingate reported that a law clerk used Perplexity AI to help draft a July 20 restraining order, which contained completely inaccurate case details. He acknowledged the draft “should have never been docketed” and is now requiring dual reviews of all drafts and hard-copy verification of cited cases.Legal scholars were critical of the situation, arguing that the use of AI does not relieve judges of their duty to verify citations and legal reasoning. Professors Stephen Gillers and Bruce Green both questioned how such oversights could occur and whether this reflects a broader trend of judges signing off on unverified drafts. Senator Chuck Grassley, who initiated an inquiry into the incidents, urged the judiciary to develop robust AI policies to prevent similar breakdowns in judicial accuracy. Interim guidance from the Administrative Office of the U.S. Courts now cautions against using AI for core judicial tasks and emphasizes user accountability.Judges Admit to Using AI After Made-Up Rulings Called Out (1)Rep.-elect Adelita Grijalva (D-Ariz.) has filed a lawsuit seeking to compel the House of Representatives to officially swear her in, and the case has been assigned to Judge Trevor N. McFadden, a Trump-appointed federal judge in Washington, D.C. Grijalva, who won a special election on September 23 to succeed her late father, Raúl Grijalva, has not yet been seated, and Speaker Mike Johnson (R-La.) has delayed scheduling her swearing-in. Her formal entry into Congress would reduce the Republican majority and enable Democrats to trigger a vote on releasing Jeffrey Epstein-related documents.Judge McFadden is known for conservative rulings, though his record includes some independent decisions, such as restoring the Associated Press' White House access. Grijalva's legal team is examining the implications of his assignment to the case.Grijalva argues that the delay is not just procedural but prevents her from doing the basic work of a representative. Without a formal swearing-in, she lacks an office budget, staff, constituent services, and a working phone line. The number for her late father's office still routes to outdated voicemails. In contrast, Speaker Johnson downplayed the significance of the delay, suggesting Grijalva can still serve constituents informally. The case, Ariz. v. House of Representatives, now centers not only on procedural norms but also on the balance of political power in a narrowly divided House.Grijalva's Lawsuit to Force House Swearing-In Draws Trump JudgeNew York Attorney General Letitia James is expected to plead not guilty today in federal court to charges of bank fraud and making a false statement to a financial institution. The indictment accuses her of misrepresenting a 2020 Norfolk, Virginia property as a second home to secure a lower mortgage interest rate—saving nearly $19,000—when she allegedly used the home as a rental investment. James denies wrongdoing and plans to challenge the charges, calling them baseless.The case marks a dramatic turn for James, a Democrat who last year won a $450 million civil fraud judgment against Donald Trump. Although the monetary penalty was overturned on appeal, the court upheld the underlying fraud finding. James is one of several public figures who have clashed with Trump and are now facing criminal charges under his administration, alongside former FBI Director James Comey and former National Security Adviser John Bolton.Critics, including a third of Republicans according to a Reuters/Ipsos poll, believe Trump is weaponizing federal law enforcement to target perceived enemies. The lead prosecutor in the James case, U.S. Attorney Lindsey Halligan, was appointed by Trump after he replaced a prior prosecutor who raised concerns about the strength of the case. James' team argues Halligan is unlawfully serving in the role and has already moved to dismiss the charges. The case will be heard by U.S. District Judge Jamar Walker, a Biden appointee.NY Attorney General Letitia James, a Trump adversary, to plead not guilty to mortgage charge | ReutersThis week's closing theme is by Johann Strauss, Jr.This week's closing theme features Johann Strauss Jr. and a spirited dive into the Wiener Klänge im Walzertakt mit Johann Strauss – I (”Viennese Sounds in Waltz Time with Johann Strauss – I”). Known as the “Waltz King,” Strauss Jr. was born on October 25, 1825, in Vienna and became the most celebrated composer of light dance music in the 19th century. While his father, Johann Strauss Sr., founded the family's musical dynasty, it was Strauss Jr. who elevated the Viennese waltz to international acclaim, transforming what had been a lively but modest ballroom dance into a glittering art form.Strauss Jr. composed over 500 works, including waltzes, polkas, and operettas, many of which captured the charm and social energy of Habsburg Vienna. His most famous pieces—like The Blue Danube, Tales from the Vienna Woods, and Vienna Blood—remain fixtures in concert halls and New Year's galas to this day. The selection in Wiener Klänge im Walzertakt offers a snapshot of this legacy, blending elegance, momentum, and melodic wit with unmistakable Viennese flair.Beyond their musical appeal, these waltzes represent a cultural moment: a fading empire still wrapped in gilded pageantry, danced into memory by the music of Strauss. They also underscore Strauss Jr.'s gift for orchestration—light but never shallow, sentimental yet never saccharine. His music invites listeners not just to hear, but to move, swirl, and feel the rhythm of a society twirling on the edge of modernity.As we close this week, let the shimmering 3/4 time of Johann Strauss Jr. remind us of both the power of beauty and the politics of public joy. In the same way his music bridged popular entertainment and sophisticated art, so too does this moment ask us to consider how culture can move between courts, crowds, and chambers alike.Without further ado, Viennese Sounds in Waltz Time with Johann Strauss, the first movement – 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

Johann Strauß Sohn, der Walzerkönig, feierte triumphale Erfolge und übertraf seinen Vater im Ruhm. Doch der Weg dorthin war gepflastert von familiären Konflikten und Liebeswirren. Erfahren Sie mehr über sein faszinierendes Leben.

Johann Strauss, Jr. - New Melodies QuadrilleSlovak State Philharmonic OrchestraAlfred Waller, conductorMore info about today's track: Naxos 8.578287Courtesy 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

Johann Strauß Sohn, der Walzerkönig, feierte triumphale Erfolge und übertraf seinen Vater im Ruhm. Doch der Weg dorthin war gepflastert von familiären Konflikten und Liebeswirren. Erfahren Sie mehr über sein faszinierendes Leben.

Johann Strauss, Jr. - Light of Heart Quick PolkaPolish State Philharmonic Orchestra, KatowiceOliver von Dohnanyi, conductorMore info about today's track: Naxos 8.554521Courtesy 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

®La famiglia dei compositori Strauss – Johann Strauss padre, Johann Strauss figlio, Josef e Eduard – ha dominato l'Ottocento viennese ed è riuscita poi a conquistare il mondo, grazie anche al Concerto di Capodanno, che dal Musikverein di Vienna ogni primo gennaio raggiunge milioni di appassionati.Soprattutto Johann Strauss figlio ci ha lasciato centinaia di opere di successo, prime fra tutte il valzer Sul bel Danubio blu e l'operetta Il Pipistrello. Ma chi era quel figlio d'arte, nato nel 1825 e morto nel 1899? E com'era la Vienna del suo tempo? Come fu che il valzer diventò uno dei balli più amati? E quali sono gli ingredienti alla base della sua fama, che già ai suoi tempi era internazionale?Nell'anno del bicentenario della nascita di Johann Strauss figlio, che a Vienna vede un gran numero di eventi a lui dedicati, Flavia Foradini si è messa sulle sue tracce. Con l'aiuto del musicologo Thomas Aigner, della storica Lisa Noggler-Gürtler e della divulgatrice Clara Kaufmann delinea lo sfondo storico della capitale asburgica nel diciannovesimo secolo, da cui emerse il fenomeno Strauss, e disegna un ritratto di un artista che seppe essere un'icona della musica viennese e una vera e propria popstar ante litteram.Prima emissione: 22 maggio 2025undefined

Johann Strauß Sohn, der Walzerkönig, feierte triumphale Erfolge und übertraf seinen Vater im Ruhm. Doch der Weg dorthin war gepflastert von familiären Konflikten und Liebeswirren. Erfahren Sie mehr über sein faszinierendes Leben.

Johann Strauss, Jr. - Liebeslieder WaltzSlovak State Philharmonic OrchestraAlfred Waller, conductorMore info about today's track: Naxos 8.550340Courtesy 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

Er war schon Popstar, bevor der Begriff erfunden wurde. Er gab seinem Land einen Schlager, tourte mit ihm durch die Welt und wurde damit steinreich. Sein Walzer „An der schönen blauen Donau“ ist heute die heimliche Nationalhymne Österreichs und ihr Komponist der musikalische Superstar. Über 500 Walzer und Polkas hat der schöne Schani geschrieben, die „Firma Strauss“, wie sein Imperium genannt wurde, bediente im Minutentakt den Markt der musikalischen Begehrlichkeiten. Für die Donau-Monarchie im Niedergang wurde der Walzerkönig zum Glücksfall: „Tanzt weiter!“ hieß es, frei nach dem Motto der „Fledermaus“, der berühmtesten Operette von Johann Strauss: „Glücklich ist, wer vergisst, was doch nicht zu ändern ist.“ Gregor Papsch diskutiert mit Dr. Franz Fillafer – Historiker, Institut für Kulturwissenschaften der Österreichischen Akademie der Wissenschaften, Wien; Prof. Dr. Philipp Ther – Kultursoziologe und Historiker, Universität Wien; Prof. Dr. Melanie Unseld – Musikwissenschaftlerin, Universität für Musik und darstellende Kunst Wien sowie bei Österreichischen Gesellschaft für Musikwissenschaft

®La famiglia dei compositori Strauss – Johann Strauss padre, Johann Strauss figlio, Josef e Eduard – ha dominato l'Ottocento viennese ed è riuscita poi a conquistare il mondo, grazie anche al Concerto di Capodanno, che dal Musikverein di Vienna ogni primo gennaio raggiunge milioni di appassionati.Soprattutto Johann Strauss figlio ci ha lasciato centinaia di opere di successo, prime fra tutte il valzer Sul bel Danubio blu e l'operetta Il Pipistrello. Ma chi era quel figlio d'arte, nato nel 1825 e morto nel 1899? E com'era la Vienna del suo tempo? Come fu che il valzer diventò uno dei balli più amati? E quali sono gli ingredienti alla base della sua fama, che già ai suoi tempi era internazionale?Nell'anno del bicentenario della nascita di Johann Strauss figlio, che a Vienna vede un gran numero di eventi a lui dedicati, Flavia Foradini si è messa sulle sue tracce. Con l'aiuto del musicologo Thomas Aigner, della storica Lisa Noggler-Gürtler e della divulgatrice Clara Kaufmann delinea lo sfondo storico della capitale asburgica nel diciannovesimo secolo, da cui emerse il fenomeno Strauss, e disegna un ritratto di un artista che seppe essere un'icona della musica viennese e una vera e propria popstar ante litteram.Prima emissione: 21 maggio 2025undefined

Johann Strauß Sohn, der Walzerkönig, feierte triumphale Erfolge und übertraf seinen Vater im Ruhm. Doch der Weg dorthin war gepflastert von familiären Konflikten und Liebeswirren. Erfahren Sie mehr über sein faszinierendes Leben.

Johann Strauss, Jr. - Champagne PolkaSlovak State Philharmonic OrchestraAlfred Waller, conductorMore info about today's track: Naxos 8.554519Courtesy 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

Johann Strauß Sohn, der Walzerkönig, feierte triumphale Erfolge und übertraf seinen Vater im Ruhm. Doch der Weg dorthin war gepflastert von familiären Konflikten und Liebeswirren. Erfahren Sie mehr über sein faszinierendes Leben.

Melvyn Bragg and guests discuss the dance which, from when it reached Britain in the early nineteenth century, revolutionised the relationship between music, literature and people here for the next hundred years. While it may seem formal now, it was the informality and daring that drove its popularity, with couples holding each other as they spun round a room to new lighter music popularised by Johann Strauss, father and son, such as The Blue Danube. Soon the Waltz expanded the creative world in poetry, ballet, novellas and music, from the Ballets Russes of Diaghilev to Moon River and Are You Lonesome Tonight. With Susan Jones Emeritus Professor of English Literature at the University of Oxford Derek B. Scott Professor Emeritus of Music at the University of Leeds And Theresa Buckland Emeritus Professor of Dance History and Ethnography at the University of Roehampton Producer: Simon Tillotson Reading list: Egil Bakka, Theresa Jill Buckland, Helena Saarikoski, and Anne von Bibra Wharton (eds.), Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, (Open Book Publishers, 2020) Theresa Jill Buckland, ‘How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part One: Waltzing Under Attack' (Dance Research, 36/1, 2018); ‘Part Two: The Waltz Regained' (Dance Research, 36/2, 2018) Theresa Jill Buckland, Society Dancing: Fashionable Bodies in England, 1870-1920 (Palgrave Macmillan, 2011) Erica Buurman, The Viennese Ballroom in the Age of Beethoven (Cambridge University Press, 2022) Paul Cooper, ‘The Waltz in England, c. 1790-1820' (Paper presented at Early Dance Circle conference, 2018) Sherril Dodds and Susan Cook (eds.), Bodies of Sound: Studies Across Popular Dance and Music (Ashgate, 2013), especially ‘Dancing Out of Time: The Forgotten Boston of Edwardian England' by Theresa Jill Buckland Zelda Fitzgerald, Save Me the Waltz (first published 1932; Vintage Classics, 2001) Hilary French, Ballroom: A People's History of Dancing (Reaktion Books, 2022) Susan Jones, Literature, Modernism, and Dance (Oxford University Press, 2013) Mark Knowles, The Wicked Waltz and Other Scandalous Dances: Outrage at Couple Dancing in the 19th and Early 20th Centuries (McFarland, 2009) Rosamond Lehmann, Invitation to the Waltz (first published 1932; Virago, 2006) Eric McKee, Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time (Indiana University Press, 2012) Eduard Reeser, The History of the Walz (Continental Book Co., 1949) Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians, Vol. 27 (Macmillan, 2nd ed., 2000), especially ‘Waltz' by Andrew Lamb Derek B. Scott, Sounds of the Metropolis: The 19th-Century Popular Music Revolution in London, New York, Paris and Vienna (Oxford University Press, 2008), especially the chapter ‘A Revolution on the Dance Floor, a Revolution in Musical Style: The Viennese Waltz' Joseph Wechsberg, The Waltz Emperors: The Life and Times and Music of the Strauss Family (Putnam, 1973) Cheryl A. Wilson, Literature and Dance in Nineteenth-century Britain (Cambridge University Press, 2009) Virginia Woolf, The Voyage Out (first published 1915; William Collins, 2013) Virginia Woolf, The Years (first published 1937; Vintage Classics, 2016) David Wyn Jones, The Strauss Dynasty and Habsburg Vienna (Cambridge University Press, 2023) Sevin H. Yaraman, Revolving Embrace: The Waltz as Sex, Steps, and Sound (Pendragon Press, 2002) Rishona Zimring, Social Dance and the Modernist Imagination in Interwar Britain (Ashgate Press, 2013) Spanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the characters, events and discoveries that have shaped our world.

در این قسمت با شاهکار هلباین رو به روی جسد مسیح می ایستیم و با حقیقت مرگ و جزئیات جسمانی وحشتناکش رو به رو میشیم.لینک عکس با کیفیت تابلو:https://upload.wikimedia.org/wikipedia/commons/2/25/Holbein_%E2%80%94_Dead_Christ.jpgلینک صفحه‌ی حامی باش:https://hamibash.com/Gessopodcastسایر تابلوهایی که در این اپیزود ازشون اسم بردیم:در سوگ مسیح - مانتنیاhttps://upload.wikimedia.org/wikipedia/commons/f/f4/The_dead_Christ_and_three_mourners%2C_by_Andrea_Mantegna.jpgتدفین مسیح - کاراوجیوhttps://upload.wikimedia.org/wikipedia/commons/thumb/3/34/The_Entombment_of_Christ-Caravaggio_%28c.1602-3%29.jpg/1379px-The_Entombment_of_Christ-Caravaggio_%28c.1602-3%29.jpgتدفین در اورنان - گوستاو کوربهhttps://upload.wikimedia.org/wikipedia/commons/a/a0/Gustave_Courbet_-_A_Burial_at_Ornans_-_Google_Art_Project_2.jpgقطعات موسیقی:Johann Strauss ll - Persischer MarschArvo Pärt – Spiegel im SpiegelJS Bach – Erbarme dich Hosted on Acast. See acast.com/privacy for more information.

Johann Strauss und "Eine Nacht in Venedig" - ein faszinierendes Zusammenspiel aus Kunst, Kultur und Geschichte. Erleben Sie die geheimnisvolle Atmosphäre der venezianischen Nacht, wo Musik und Magie verschmelzen.

durée : 00:17:10 - Disques de légende du mardi 09 septembre 2025 - Gravée à Vienne en 1950, cette "Chauve-Souris" de Johann Strauss II dirigée par Clemens Krauss réunit le Philharmonique de Vienne et un plateau légendaire : Hilde Güden, Julius Patzak, Anton Dermota, Wilma Lipp… Une version souveraine et irrésistible. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Es ist nicht leicht, ein Star zu sein, beziehungstechnisch zumindest. Diese bittere Erfahrung musste auch einer der Großen der Musik des 19. Jahrhunderts machen, wie das folgende ZOOM berichtet.

O episódio aborda a relação entre a filosofia platônica e a medicina, ressaltando que a saúde, para Platão, é um estado de equilíbrio entre corpo e alma, sustentado por moderação, exercícios, alimentação saudável e valores éticos.  Bernardo Norah, médico e professor voluntário da Nova Acrópole, apresenta ensinamentos de obras como A República, O Político e Timeu, que defendem a harmonia como princípio fundamental e a medicina como prática humanizada e integral. A conversa reforça a responsabilidade pessoal no cuidado físico, emocional e mental, alinhando sabedoria antiga a necessidades atuais. O ser humano e o cosmos são unidades funcionais da Natureza, e a perda dessa consciência é causa de desequilíbrios individuais e sociais. Reconhecer e viver essa unidade torna o ser humano mais generoso, favorecendo uma sociedade mais justa, fraterna e feliz. Participantes: Bernardo Norah e Danilo Gomes Trilha Sonora: Wiener Blut, Op. 354 – Johann Strauss

Wissen Sie, was ein Stehgeiger ist? Nein? Dann sind Sie nicht alleine, denn wir wussten es auch nicht - bis wir Russell McGregor gesprochen haben. Der Australier lebt seit dreißig Jahren in Wien und begeistert mit seinem Ensemble und Geigenspiel Liebhaber des Wiener Walzers. Und jetzt, zum 200. Geburtstag von Johann Strauss, kommt er mit einem ganz besonderen Programm nach Australien.

Johann Strauss, Jr. - Thunder and Lightning Schnell-PolkaSlovak Radio Symphony OrchestraOndrej Lenard, conductorMore info about today's track: Naxos 8.552115-16Courtesy 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

On this week's Spectator Out Loud: Ian Thomson on what the destruction of the Hotel Oloffson means for Haiti (00:54); Patrick Kidd analyses Donald Trump and the art of golf diplomacy (06:43); Mike Cormack reviews Irvine Welsh's Men In Love (16:49); Ursula Buchan provides her notes on the Palm House at Kew (20:38); and, Richard Bratby argues that Johann Strauss deserves better than to be the victim of snobbery – plus listen to the end for an extract from Strauss's Emperor Waltz (24:24). Produced and presented by Patrick Gibbons.

On this week's Spectator Out Loud: Ian Thomson on what the destruction of the Hotel Oloffson means for Haiti (00:54); Patrick Kidd analyses Donald Trump and the art of golf diplomacy (06:43); Mike Cormack reviews Irvine Welsh's Men In Love (16:49); Ursula Buchan provides her notes on the Palm House at Kew (20:38); and, Richard Bratby argues that Johann Strauss deserves better than to be the victim of snobbery – plus listen to the end for an extract from Strauss's Emperor Waltz (24:24). Produced and presented by Patrick Gibbons.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts. Contact us: podcast@spectator.co.uk

In part 2 of my four-part series on 2001, I am going through the TMA-1 (Tycho Magnetic Anomaly One) sequence in which Dr. Haywood Floyd of "The Council" visits the International Space Station, diverts some Russian scientist attentions, presents a specious, US Governmental coverup of the Clavius discovery to a group of cowed committee members, and then embarks to Clavius base on the Moon to visit the Monolith. This sequence famously uses Johann Strauss' 'The Blue Danube' as well as additional modern pieces by Ligeti. Here's the hilarious video making fun of the exposition scenes in the latest Mission Impossible movie. Tom, we kid because we love! Check out my totally free newsletter. It's full of recommendations and podcast-adjacent ephemera. Also it's a place to hear from you!

King Charles delivers throne speech, starting new session of Canadian Parliament.  Yukon, B.C. agree to work together on electrical grid connection.  The controversial Gaza Humanitarian Foundation releases photos to prove it has begun distributing food to Palestinians.  Russia's defence ministry says its troops have taken control of more territory in eastern Ukraine.  Sexual assault trial for five former World Junior players continues, after judge rules key piece of evidence inadmissible.  Venture capital money for Canadian startups could dry up with U.S. tariffs.  Blue Danube by Austrian composer Johann Strauss to be beamed into outer space. 

Johann Strauss, Jr. - Roses from the SouthStrauss Festival OrchestraOndrej Lenard, conductorMore info about today's track: Naxos 8.550152Courtesy 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