Podcast appearances and mentions of Johann Strauss II

Una setmana dedicada a Johann Strauss II ara resumida en poc m

The Blue Danube has been performed for some pretty lofty audiences – kings and queens, emperors and empresses, presidents and prime ministers. But a performance earlier this year topped them all: it was aimed at the stars. The waltz was composed by Johann Strauss II, who was born 200 years ago today. His birthday was one of the motivations for the performance. The other was the 50th anniversary of ESA – the European Space Agency. So the broadcast was mostly symbolic – not a real attempt to contact other civilizations. The waltz was performed by the Vienna Symphony Orchestra in late May. It was transmitted to space by one of ESA’s tracking stations. The waltz was beamed toward Voyager 1. It’s the most-distant working spacecraft in history – more than 15 billion miles from Earth – so far that it took 23 hours for the waltz to reach it. Voyager carries a golden phonograph record inscribed with several musical works – but not the Strauss waltz. Voyager is passing through Ophiuchus, near the constellation’s brightest star, Rasalhague. It’s about half way up in the west-southwest at nightfall, and it’s easy to see. It’s a bit more than 48 light-years away. So if anyone there happens to point a radio telescope toward Earth in late 2073, perhaps they’ll hear the strains of The Blue Danube waltzing through the galaxy. Script by Damond Benningfield

Er war ein Popstar des 19. Jahrhunderts: Johann Strauss II. Am 25. Oktober jährt sich der Geburtstag des Walzer- und Polka-Königs zum 200. Mal. Wien ist dieses Jahr mit 65 Neu-Produktionen an 250 Tagen im Ausnahmezustand, der Kulturetat der Landeshauptstadt wurde eigens um zwei Millionen aufgestockt. Doch hat der Walzerkönig auch Wirkung außerhalb der leichten Muse?

Acabem la setmana dedicada a Johann Strauss II fixant-nos en com el vals ha resultat una font d'inspiraci

Brahms, Wagner o Richard Strauss van admirar les obres "populars" de Johann Strauss II, i en aquest cap

Johann Strauss II va ser un gran compositor, per

Malgrat les dificultats que li va posar el seu pare, Johann Strauss II va esdevenir el rei del vals, i va crear una empresa familiar d'enorme

Aquesta setmana els Homes Cl

Tänane saade on Johann Strauss II (25.10.1825 - 03.06.1899) sünniaastapäeva äramärkimiseks. Stuudios on muusikateadlane Tiia Järg. "Järjehoidja" on eetris pühapäeval kell 14:05.

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.

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.

El envejecimiento es un proceso continuo y gradual que se inicia a nivel celular y molecular a partir de los 20 ó 30 años. Un estudio de del Instituto de Investigación Biomédica y del Centro de Regulación Genómica ha identificado modificaciones en el código genético relacionadas con el envejecimiento sanguíneo, un hallazgo que allana el camino para detectar enfermedades producidas por la vejez y el desarrollo de nuevas terapias para retrasar el envejecimiento en humanos. Hemos entrevistado a Alejo Rodríguez-Fraticelli, investigador ICREA en el IRB y co-autor del estudio.El pasado sábado, 31 de mayo, la Agencia Espacial Europea conmemoró el bicentenario del nacimiento de Johann Strauss II con un gran concierto en directo que fue transmitido a las estrellas mediante la antena de 35 m de espacio profundo de la ESA en Cebreros (Ávila). La celebración tuvo justo un día después del 50 aniversario de la firma de la Convención que dio lugar al nacimiento de la agencia espacial. Alda Olafsson nos ha informado del hallazgo de grandes concentraciones de microplásticos y micropartículas de caucho en poblaciones coralinas de Cladocora caespitosa en las Islas Columbretes, una reserva marina a 60 km de Castellón. Con testimonios de Diego Kersting, líder del trabajo en el Instituto de Acuicultura Torre de la Sal del CSIC. José Luis Trejo nos ha informado de un estudio en el que ha participado sobre los mecanismos neuronales que nos inducen al sedentarismo y las mejores estrategias para fomentar el ejercicio. Jesús Pérez Gil nos ha hablado de otro estudio, del que es coautor, sobre los poros de Kohn, espacios entre los alvéolos que permiten la comunicación y la redistribución del aire, y su papel en distribución del surfactante pulmonar, una sustancia compleja que evitado el colapso pulmonar y facilita el intercambio gaseoso. Adeline Marcos nos ha informado del proyecto europeo TEXTaiL. Empleará por primera vez tecnologías emergentes clave como la Inteligencia Artificial, la digitalización 3D, o los gemelos digitales, entre otros, para capturar y visualizar las características visibles y no visibles de los objetos arqueológicos textiles. Con testimonios de Aggelos Gkiokas, director de la empresa TechnAI y uno de los socios del proyecto.Escuchar audio

El envejecimiento es un proceso continuo y gradual que se inicia a nivel celular y molecular a partir de los 20 ó 30 años. Un estudio de del Instituto de Investigación Biomédica y del Centro de Regulación Genómica ha identificado modificaciones en el código genético relacionadas con el envejecimiento sanguíneo, un hallazgo que allana el camino para detectar enfermedades producidas por la vejez y el desarrollo de nuevas terapias para retrasar el envejecimiento en humanos. Hemos entrevistado a Alejo Rodríguez-Fraticelli, investigador ICREA en el IRB y co-autor del estudio.El pasado sábado, 31 de mayo, la Agencia Espacial Europea conmemoró el bicentenario del nacimiento de Johann Strauss II con un gran concierto en directo que fue transmitido a las estrellas mediante la antena de 35 m de espacio profundo de la ESA en Cebreros (Ávila). La celebración tuvo justo un día después del 50 aniversario de la firma de la Convención que dio lugar al nacimiento de la agencia espacial. Alda Olafsson nos ha informado del hallazgo de grandes concentraciones de microplásticos y micropartículas de caucho en poblaciones coralinas de Cladocora caespitosa en las Islas Columbretes, una reserva marina a 60 km de Castellón. Con testimonios de Diego Kersting, líder del trabajo en el Instituto de Acuicultura Torre de la Sal del CSIC. José Luis Trejo nos ha informado de un estudio en el que ha participado sobre los mecanismos neuronales que nos inducen al sedentarismo y las mejores estrategias para fomentar el ejercicio. Jesús Pérez Gil nos ha hablado de otro estudio, del que es coautor, sobre los poros de Kohn, espacios entre los alvéolos que permiten la comunicación y la redistribución del aire, y su papel en distribución del surfactante pulmonar, una sustancia compleja que evitado el colapso pulmonar y facilita el intercambio gaseoso. Adeline Marcos nos ha informado del proyecto europeo TEXTaiL. Empleará por primera vez tecnologías emergentes clave como la Inteligencia Artificial, la digitalización 3D, o los gemelos digitales, entre otros, para capturar y visualizar las características visibles y no visibles de los objetos arqueológicos textiles. Con testimonios de Aggelos Gkiokas, director de la empresa TechnAI y uno de los socios del proyecto.Escuchar audio

El 31 de mayo de 2025, la Agencia Espacial Europea transmitirá el famoso vals El Danubio azul hacia la nave Voyager 1   Por Félix Riaño @LocutorCo  A 24 mil millones de kilómetros de la Tierra viaja Voyager 1, la sonda espacial más lejana de la humanidad. Aunque no puede responder, será el destinatario simbólico de un concierto único: El Danubio azul, compuesto hace dos siglos por Johann Strauss II y famoso por acompañar una escena de ballet espacial en la película 2001: Odisea del espacio, será transmitido desde España como homenaje. ¿Puede una pieza musical corregir un “error cósmico”?  Cuando la NASA lanzó las sondas Voyager en 1977, incluyó un disco dorado con saludos en múltiples idiomas, sonidos de la Tierra y una selección musical global. Aunque contenía a Bach, Mozart, Beethoven y Chuck Berry, el vals de Strauss no fue incluido. Muchos lo vieron como una omisión extraña, especialmente por su fama intergaláctica gracias a 2001: Odisea del espacio, donde suena mientras una nave espacial se acopla lentamente a una estación orbital, como si flotara en un escenario celestial.  La omisión del vals en el disco dorado fue justificada por criterios de diversidad cultural y purismo ideológico. Los encargados del comité liderado por Carl Sagan optaron por incluir ejemplos folclóricos y modernos poco conocidos, dejando fuera una de las piezas más populares del repertorio clásico europeo. El vals se volvió tan emblemático en el cine que muchos lo consideran el himno no oficial del espacio, pero se quedó en la Tierra… hasta ahora.  El sábado 31 de mayo de 2025, a las 20:30 CET, la Orquesta Sinfónica de Viena tocará El Danubio azul desde el Museo de Artes Aplicadas. ESA usará su antena DSA 2, de 35 metros, en Cebreros, España, para enviar la señal a Voyager 1. La transmisión viajará a 1.079 millones de kilómetros por hora, pasando por la Luna en 1,5 segundos, Marte en 4,5 minutos, Júpiter en 37 minutos y Neptuno en 4 horas. Llegará hasta la posición de Voyager 1 en 23 horas.  Probablemente no. Aunque el haz de radio será dirigido con precisión, la antena de Voyager 1, construida en los años 70, no está diseñada para recibir audio con el formato actual. Tampoco tiene la capacidad para interpretar señales tan rápidas ni filtrar el ruido interestelar. Es decir, la transmisión será más simbólica que funcional. Pero eso no le quita su valor: el mensaje viajará hacia las estrellas, apuntando al sistema estelar AC+79 3888, a 17 años luz de distancia.  La Orquesta Sinfónica de Viena ensayó con rigor para evitar fallos técnicos. Aunque habrá un concierto en vivo, la señal transmitida será de una grabación de ensayo hecha la noche anterior. Este evento celebra múltiples aniversarios: los 200 años del nacimiento de Johann Strauss II, los 50 de la ESA, los 20 de la antena DSA 2 y los 125 de la orquesta vienesa. La iniciativa busca hacer justicia poética, llevando el vals más famoso del mundo hasta un oyente que no podrá escucharlo, pero que representa la esperanza de encontrar vida o, al menos, memoria en las estrellas.  No es la primera vez que la música viaja al cosmos. En 2008, la NASA envió la canción Across the Universe de The Beatles. En 2012, el tema Reach for the Stars de will.i.am fue transmitido desde un rover en Marte hacia la Tierra. Y en 2024, The Rain de Missy Elliott fue enviada rumbo a Venus. Además, los astronautas de misiones tripuladas han recibido música desde la Tierra desde los años 60. Lo que diferencia este evento es su conexión artística con la historia del cine y con una nave que literalmente salió del sistema solar.  Strauss no viajó en el disco dorado, pero ahora su vals flota en dirección al espacio interestelar. ¿Crees que hay alguien o algo allá afuera que podría escucharlo? Comparte tu opinión y escucha más historias así en el pódcast Flash Diario:Flash Diario en Spotify   

Johann Strauss II aasta Viinis.

"Ich liebe Operetten" - dat ass e Saz, deen de Stanislav Rosenberg aus ganzem Häerz soe kann. Hien ass net nëmme Pianist a Komponist, mee och nach Dirigent. Egal ob hien um Piano Sänger:inne begleet oder eng grouss Oper dirigéiert, d'Opermusek bleift fir hien einfach "die ultimative Leidenschaft". Den 28. Februar 2025 dirigéiert hien eng Operettegala am neie Centre culturel Machera zu Gréiwemaacher, eng Operettegala mam Fokus op d'Wiener Musek vum Johann Strauss II - ganz passend, well 2025 säin 200. Gebuertsdag gefeiert gëtt. Dem Marie Schockmel huet de Museker méi verroden, ënner anerem iwwer déi alleréischt Oper, déi hie gesinn huet an doriwwer, datt dem Strauss seng Musek eng ganz aktuell ass.

I can think of no more appropriate way to end this difficult year than with another episode lauding my late friend, the sublime American lyric tenor Jerry Hadley. I am of the firm belief that Jerry was one of the finest singers this country has ever produced. Everyone has their favorite among his performances, which display an eclecticism rare among opera singers, but I believe that his artistry found its fullest and truest expression in his performances of Viennese operetta. His bright, sunny vocal timbre, his capacity for vocal shading and dynamics, his sense of both humor and pathos, his ringing high notes, as well as of precision and acuity of his German diction make him an ideal interpreter of this music. The majority of the music heard on this episode comes from two albums of operetta arias that Jerry recorded in 1995 under the baton of Richard Bonynge. This is supplemented by two duets with Australian soprano Deborah Riedel from a series of English-language versions of Lehár operettas also conducted by Bonynge, as well as various live performances of Jerry in the music of Johann Strauss II and Erich Korngold. While Lehár is the most prominently featured composer, we also heard excerpts from work by Emmerich Kálmán, Carl Millöcker, Ralph Benatzky, Leo Fall, and that king of operetta tenors himself, Richard Tauber, who was also quite a capable composer. The episode concludes with reminiscences of my close friendship with Jerry, crowned by a magisterial live performance of “Dein ist mein ganzes Herz.” 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.  

The world of Vienna at the end of the 19th century was a world of change.  New design, new fashion and new philosophy  -- and new music.  But amidst sweeping change, the Viennese drank champagne and were swept along by the works of the great Johann Strauss II, known appropriately as the "Waltz King". One of his greatest works is the operetta megahit Die Fledermaus which, beneath its frivolity and popping champagne corks, lies a darker vision and foreshadowing of a very different world to come. In this episode, Carl is joined by returning musicologist and professional musician Dr. Christopher Brellochs for a look at Strauss and his most famous work -- how he created it and what he was trying to communicate to audiences.   In addition, Carl and Chris take a look at another blockbuster operetta, The Merry Widow by Franz Lehar and discuss how the musical form has evolved into a modern era.  Lastly, this episode ends with a look at just how works like Die Fledermaus and The Merry Widow have influenced our modern Broadway musical theatre today. Visit the Gilded Gentleman website for more episodes.

Johann Strauss II - Die Fledermaus: OvertureSlovak Radio Symphony Orchestra Johannes Wildner, conductorMore info about today's track: Naxos 8.553171Courtesy 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: First Televised TrialOn October 25, 1988, New York marked a significant moment in legal and media history by televising its first-ever courtroom trial—the highly publicized murder case of Joel Steinberg. Steinberg, a disbarred attorney, was accused of the brutal abuse and subsequent death of six-year-old Lisa Steinberg, his illegally adopted daughter. Public outrage and media interest were intense, and the televised trial offered viewers unprecedented access to courtroom dynamics, evidence presentation, and witness testimony. This coverage came as part of an experimental initiative in New York, designed to gauge whether the public's right to access the legal process through television could coexist with the fairness and decorum of courtroom proceedings. The trial captivated audiences and sparked debates over the benefits and pitfalls of televised trials. Advocates argued that broadcasting trials promoted transparency and public understanding of the judicial system. Opponents, however, voiced concerns that television could disrupt proceedings, influence witness behavior, and introduce bias by swaying public opinion. Steinberg's trial ultimately led to his conviction for manslaughter, though the broader implications of the experiment reached far beyond this single case. The success of this experiment paved the way for the launch of Court TV in July 1991, which would go on to cover high-profile cases like those of O.J. Simpson and the Menendez brothers, changing public engagement with the legal system. This development marked a shift toward greater media access in courtrooms across the United States, though the debate over its impacts continues today. The Steinberg case remains a key moment in the intersection of law and media, shaping how future generations would come to witness and understand legal proceedings through their screens.Hollywood studios frequently use California's anti-SLAPP law to counter idea theft lawsuits, claiming free speech protections to halt proceedings and requiring plaintiffs to demonstrate their case has merit early on. The anti-SLAPP statute was originally designed to protect individuals from strategic lawsuits stifling public participation, but it now often benefits large corporations in creative disputes. Once defendants claim free speech protections, plaintiffs face restrictions on discovery, potential delays from appeals, and the risk of paying hefty legal fees for defendants if the motion is successful. Recent court decisions, like Musero v. Creative Artists Agency and Norman v. Ross, have strengthened the effectiveness of anti-SLAPP motions in these cases, making it challenging for creators to bring successful suits. While the Ninth Circuit previously allowed some idea theft claims to proceed in federal court (e.g., Jordan-Benel v. Universal), California state courts have since diverged, making such claims nearly impossible to win in state court. This split between federal and state interpretations creates additional uncertainty for plaintiffs. Attorneys now approach idea theft claims cautiously, noting the costs, time, and complexities due to anti-SLAPP law. Even with valid claims, plaintiffs may struggle against the heavy evidentiary burden, and fewer lawyers are willing to take on such cases in California's current legal landscape.Hollywood Studios Use Free Speech Law to Beat Idea Theft SuitsA bipartisan bill that would provide tax relief for U.S. citizens held hostage abroad is stalled in Congress. The Senate bill, introduced by Senator Chris Coons, seeks to delay tax filing deadlines and waive penalties for detained individuals and their spouses. Supporters argue that wrongful detainees should not face IRS penalties for missed deadlines due to captivity, and inaction would leave affected Americans liable for accumulating penalties. This issue has gained urgency following recent hostage situations, including Americans held in Gaza and other countries.The Senate bill's path forward is complicated by a disagreement over legislative procedure. The Senate agreed to pass the bill without a separate vote if the House sent over an identical version. However, the House Ways and Means Committee chose to advance a different bill, introduced by Rep. Claudia Tenney, which merges tax penalty relief with changes to the process for revoking tax-exempt status for groups linked to terrorism. House Republicans believe the merged bill improves the original, but this approach risks delaying or blocking the legislation entirely, as the Senate is less likely to approve the modified version. If the House does not pass the original Senate bill, the legislation will likely be delayed until the next Congressional term.Relief for Hostages Facing IRS Penalties Bogs Down in CongressLos Angeles County District Attorney George Gascon announced he would recommend parole for Erik and Lyle Menendez, who have served nearly 35 years in prison for the 1989 murder of their parents. Gascon cited new evidence supporting claims that the brothers endured years of sexual abuse by their father, Jose Menendez, which could have influenced the jury's decision had it been available during their trials. Convicted in a high-profile second trial in the 1990s, the brothers argued self-defense, but prosecutors claimed they killed their parents for financial gain.Gascon now believes the brothers, ages 21 and 18 at the time of the murders, have “paid their debt to society,” though he emphasized the severity of their crime and noted opposition within his office. He also acknowledged a recent letter from Erik Menendez describing abuse months before the murders, as well as allegations against Jose Menendez from a former member of the pop band Menudo, raising questions about abuse patterns.The decision to expedite the case follows renewed public interest, driven by a Netflix dramatization and an upcoming court hearing scheduled for November 26. Gascon, facing re-election, denied that political motivations influenced his decision, highlighting his broader efforts to address “over-incarceration” in similar cases. Some Menendez family members support the brothers' release, while Gascon reiterated his office's evolving stance on complex issues of sexual abuse and violence.Menendez Brothers to Get DA Recommendation for Resentencing (1)Prosecutor recommends parole for Menendez brothers in 1989 murder of parents | ReutersThe owners of the cargo ship Dali have agreed to pay the U.S. government $102 million after the vessel collided with Baltimore's Francis Scott Key Bridge in March 2024, causing its collapse and resulting in six fatalities. The Justice Department had filed a $103 million lawsuit against Grace Ocean Private Limited and Synergy Marine Private Limited, both based in Singapore, to recover federal costs for cleanup and debris removal needed to reopen the Port of Baltimore. This operation required over 1,500 responders and substantial resources, with reopening delayed until June.The Dali had reportedly experienced electrical failures leading up to the crash, prompting both a National Transportation Safety Board inquiry and an FBI investigation. Additionally, Maryland state officials are seeking separate compensation from the companies, estimating $1.7 billion to $1.9 billion to rebuild the bridge by 2028. Funds recovered for bridge reconstruction are expected to reduce costs borne by taxpayers.Cargo-ship owner to pay US $102 million over Baltimore bridge collapse, DOJ says | ReutersThis week's closing theme is by Johann Strauss II.This week's closing theme features the lively elegance of Johann Strauss II with the first movement of his Wiener Klänge im Walzertakt mit Johann Strauss, a piece that captures the unmistakable joy and sophistication of the Viennese waltz. Known as the “Waltz King,” Johann Strauss II was a composer and conductor who, more than anyone, popularized and refined the waltz into an art form beloved worldwide. Born into a musical family in 1825, he inherited his father's musical gifts and keen understanding of public taste, quickly building on his father's legacy to establish himself as a central figure in Austrian music.Strauss's music became synonymous with the grandeur and charm of 19th-century Vienna. His waltzes, like the famous Blue Danube and Tales from the Vienna Woods, offered audiences sweeping, melodic expressions of life's joyful moments and turned the city into a cultural hotspot. Wiener Klänge, or "Viennese Sounds," presents a selection of these celebrated waltzes, celebrating not only the beauty of the dance but also the rhythmic elegance that Strauss brought to the genre. The piece combines energetic and graceful passages that bring the sparkle of a Viennese ballroom to life.Strauss was known for infusing his compositions with light-hearted elegance and rhythmic sophistication, evoking the sway and energy of couples gliding across a ballroom floor. His work on Wiener Klänge draws listeners into this vibrant world, where each waltz embodies both the simplicity and complexity that made his music timeless. To this day, his works continue to charm audiences worldwide, cementing his legacy as one of Austria's most beloved composers. Ending with Wiener Klänge is a nod to his infectious rhythm and intricate harmonies that encapsulate Vienna's musical heritage—an uplifting conclusion to our week.Without further ado, Wiener Klänge im Walzertakt mit Johann Strauss 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

In this week's episode, meet Johann Strauss II, a brilliant composer from the Romantic period, famous for his lively and joyful waltzes.Strauss playlist: https://open.spotify.com/playlist/195Ic94w6sCRNi19f0G1UP?si=54adb35532604621 Hosted on Acast. See acast.com/privacy for more information.

We are celebrating Vancouver Opera's 65th anniversary with a truly fabulous season. The season opens with Johann Strauss II's beloved operetta Die Fledermaus. This charming comedy relies almost entirely on a series of pranks, trickery and disguise as plot devices to illuminate the themes of revenge, love, friendship, and forgiveness and reconciliation. Die Fledermaus runs from October 26th to November 3rd, with a masquerade party performance on Halloween. Full article. Credits: Ashley Daniel Foot - Host Mack McGillivray - Audio Producer Jane Potter - Writer and Narrator Bryan Tran - Miscellaneous Voices

Vamos explorar a incrível obra de um dos maiores mestres da orquestração: Maurice Ravel. O compositor francês, nascido em 1875, foi capaz de dar vida a cores e texturas únicas na orquestra, sempre sabendo exatamente qual instrumento deveria carregar cada melodia. Ravel concebeu a ideia para La valse pela primeira vez em 1906. Inicialmente, a peça seria chamada de Wien (o nome alemão para Viena) em homenagem às valsas vienenses de Johann Strauss II, que Ravel admirava sinceramente. Anos mais tarde, seu aluno Manuel Rosenthal lembrou que Ravel acreditava “que todos os compositores realmente tinham o desejo de ter sucesso em escrever uma valsa muito boa”, dizendo que “Infelizmente é muito difícil. Portanto, tentei escrever uma valsa sinfônica como um tributo ao gênio de Johann Strauss.” Apresentado por Aroldo Glomb Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata.

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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 

Rubrique:histoire Auteur: rene-bizet Lecture: Daniel LuttringerDurée: 10min Fichier: 7 Mo Résumé du livre audio: Le scénario du film de Conrad Wiene sur Johann Strauss II, sorti en 1928, raconté par René Bizet dans la revue de cinéma Pour vous du 8 août 1929. Cet enregistrement est mis à disposition sous un contrat Creative Commons.

fWotD Episode 2628: Jacques Offenbach Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Monday, 15 July 2024 is Jacques Offenbach.Jacques Offenbach (; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario. He is remembered for his nearly 100 operettas of the 1850s to the 1870s, and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Franz von Suppé, Johann Strauss II and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffmann remains part of the standard opera repertory.Born in Cologne, Kingdom of Prussia, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire; He found academic study unfulfilling and left after a year, but remained in Paris. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There, during the next three years, he presented a series of more than two dozen of his own small-scale pieces, many of which became popular.In 1858 Offenbach produced his first full-length operetta, Orphée aux enfers ("Orpheus in the Underworld"), with its celebrated can-can; the work was exceptionally well received and has remained his most played. During the 1860s, he produced at least eighteen full-length operettas, as well as more one-act pieces. His works from this period include La belle Hélène (1864), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867) and La Périchole (1868). The risqué humour (often about sexual intrigue) and mostly gentle satiric barbs in these pieces, together with Offenbach's facility for melody, made them internationally known, and translated versions were successful in Vienna, London, elsewhere in Europe and in the US.Offenbach became associated with the Second French Empire of Napoleon III: the emperor and his court were genially satirised in many of Offenbach's operettas, and Napoleon personally granted him French citizenship and the Légion d'honneur. With the outbreak of the Franco-Prussian War in 1870, and the fall of the empire, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna, London and New York. He re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular US tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, which has entered the standard repertory in versions completed or edited by other musicians.This recording reflects the Wikipedia text as of 00:35 UTC on Monday, 15 July 2024.For the full current version of the article, see Jacques Offenbach on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

Jazz in the Garden, Episode Three: “Return to the Garden” An overwhelmingly popular series of jazz concerts in MoMA's Sculpture Garden in 1985 proved…a little too popular, and it would be nearly a decade before live jazz was once again a regular occurrence at the Museum. In our third and final episode, hear about a new generation of musicians who revived the legacy of jazz at the Museum in the 1990s, and brought it into the 21st century. Writer/producers: Naeem Douglas, Alex Halberstadt, Jason Persse Host: Naeem Douglas Additional readings: Karen Chilton Engineer, mixer, original music: Zubin Hensler Special thanks: Prudence Peiffer, Arlette Hernandez, Ellen Levitt, Kelsey Head, Dore Murphy, Allison Knoll, Tina James, Michelle Harvey, Marc-Auguste Desert II, Omer Leibovitz, Peter Oleksik Music: “Namesake.” Written and performed by Milt Jackson. Courtesy of Universal Music Group. By arrangement with Reecie Music; “Soloscope, Part 1.” Written and performed by Sonny Rollins. Courtesy of Concord Records. By arrangement with Kobalt obo Son Rol Music Company; “Strauss Waltz Medley.” Written by Johann Strauss II. Performed by the United States Air Force Band. Public domain recording; “The Thrill Is Gone.” Written by Ray Henderson and Lew Brown. Performed by Claudia Acuña. Used by permission. By arrangement with Warner Chappell Music; “Mambo Jazz.” Written (as “Titorama”) by Chris Washburne. Performed by Chris Washburne and the Syotos Band. Used by permission. Courtesy Wash and Burne Music; “Moon Bird.” Written by Myra Melford. Performed by Myra Melford's The Tent. Used by permission. Courtesy Myra Melford; “Malinke's Dance.” Written by Marty Ehrlich. Performed by the Marty Ehrlich Sextet. Used by permission. Courtesy Marty Ehrlich

Coaching recargolat com una trompa. Crítica teatral de l'obra «El tigre», de Ramon Madaula. Intèrprets: Mercè Martínez i David Olivares. Disseny il·luminació i so: Dani Tort. Vestuari i caracterització: Nídia Tusal. Fotografia i vídeo: David Batlle. Disseny gràfic: Arkham Studio. Maquinària escènica: Agustí Rovira. Producció executiva: David Grau. Producció: Guerrilla Produccions. Direcció: Ramon Madaula. Espai Texas, Barcelona, 9 juny 2024. Veu: Andreu Sotorra. Música: El vals de l'emperador. Interpretació: Johann Strauss Orchestra. Composició: Johann Strauss II. Àlbum: Valsos de Viena, 2010.

DescriptionHow The Blue Danube Cast Its Spell in 60 seconds. Take a minute to get the scoop!Fun Fact"The Blue Danube," composed by Johann Strauss II in 1866, was first performed in February 1867 in Vienna, Austria. Originally a choral work, it gained greater popularity as an orchestral piece and is now one of the most famous waltzes in classical music. Its debut took place at a concert of the Vienna Men's Choral Association.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Welcome to Season 03 Episode 13 - the "Ostara" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Mr. Donald Marrazzo, voice faculty member at the SUNY Fredonia School of Music; Ms. Laylah Ali, visual artist and professor of art at William College; and Mr. Rick Davis, Executive Director, 1891 Fredonia Opera House. Notes from the Aisle Seat is available from most of your favorite podcast sites, including Apple Podcast, Google Podcast, Stitcher, Spotify, and Amazon Prime Music, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps Don Marrazzo/Live at the Met  02:06 Laylah Ali/Is Anything The Matter?  22:18 Arts Calendar 42:58 Rick Davis/Bach and Beyond  47:40 Media "Swingtime in Springtime," composed and performed by Django Reinhardt, 1947, from a collection entitled Django Reinhardt: Best of the Radio Sessions, Cleopatra Records, 2009. "Ah! Je veux vivre", from the opera Roméo et Juliette; Charles Gounod, composer; Jules Barbier and Michal Carré, libretto, 1867; performed by Nadine Sierra, soprano, from the 2024 Metropolitan produuction "Some Other Spring," Arthur Herzog Jr. and Irene Kitchings, composers, performed by Ben Webster, saxophone; from a 1971 recording produced by Tim der Bals. Four Seasons: Spring: Antonio Vivaldi, composer (1718-20); performed by Voices of Music, Feb. 8, 2020 "Voices of Spring" Opus 410, Johann Strauss II, composer, 1882. Artist Links Donald Marrazzo Metropolitan Opera House Laylah Ali Rick Davis BECOME AN OPERA HOUSE MEMBER!      

It's played every year on New Year's Day, but what is Johann Strauss II's "By the Beautiful Blue Danube" about?

Dive into this insightful episode of Space Cafe as Markus Mooslechner engages with Aarti Holla-Maini, the dynamic new director of the United Nations Office for Outer Space Affairs (UNOOSA). With a rich background in the satellite communications industry and a passion for space sustainability, Holla-Maini offers a fresh perspective on global space policy and its impact on society. From her personal journey to her bold vision for the future of space exploration, this episode is a must-listen for anyone interested in the evolving landscape of space diplomacy and technology.3 Memorable Quotes by Aarti Holla-Maini:"We're all one. It's important to connect with people as individuals and rally around what unites us, not what divides us.""My vision is a world where policymakers leverage all space applications, services, technologies, and data to the max for global challenges and policy objectives.""We need to invest in what is sustainable and right, focusing on space technologies that bring improvement to society as a whole."List of All Links or Names Shared:Aarti Holla-MainiUnited Nations Office for Outer Space Affairs (UNOOSA)World Radio Conference (WRC)International Telecommunications UnionChoice of Music for the Spotify Playlist for the Aspiring Space Traveler:Aarti Holla-Maini's choice: "The Blue Danube" by Johann Strauss II, reflecting her appreciation for classical music and its timeless connection to space and humanity.

SpaceWatch.Global is pleased to present: The Space Café Podcast #96:  Navigating Space and Diplomacy: Aarti Holla-Maini at the Helm of UNOOSAEpisode 096 features special guests: Aarti Holla-MainiDive into this insightful episode of Space Cafe as Markus Mooslechner engages with Aarti Holla-Maini, the dynamic new director of the United Nations Office for Outer Space Affairs (UNOOSA). With a rich background in the satellite communications industry and a passion for space sustainability, Holla-Maini offers a fresh perspective on global space policy and its impact on society. From her personal journey to her bold vision for the future of space exploration, this episode is a must-listen for anyone interested in the evolving landscape of space diplomacy and technology.3 Memorable Quotes by Aarti Holla-Maini:"We're all one. It's important to connect with people as individuals and rally around what unites us, not what divides us.""My vision is a world where policymakers leverage all space applications, services, technologies, and data to the max for global challenges and policy objectives.""We need to invest in what is sustainable and right, focusing on space technologies that bring improvement to society as a whole."List of All Links or Names Shared:Aarti Holla-MainiUnited Nations Office for Outer Space Affairs (UNOOSA)World Radio Conference (WRC)International Telecommunications UnionChoice of Music for the Spotify Playlist for the Aspiring Space Traveler:Aarti Holla-Maini's choice: "The Blue Danube" by Johann Strauss II, reflecting her appreciation for classical music and its timeless connection to space and humanity.

Aunque siempre se puede aprender por cuenta propia, creemos que suele ser más recomendable que haya alguien al lado con conocimientos, capacidad para explicarlos y altas dosis de empatía, paciencia y pasión por la materia objeto de enseñanza. Todo esto lo explicamos en este episodio en el que suenan piezas maestras y que seguro conoces, de autores inmortales como Vivaldi, Mozart, Beethoven, Chopin y Johann Strauss II. Para acompañar a Carlos Iribarren y el “profe” Mario Mora en esta clase tan especial, hoy nos visita David Garbajosa, profesor de música en un colegio y en una universidad, por lo que podremos contrastar algunas diferencias entre alumnos de edades bastante dispares. Esperamos que disfrutes con nosotros de la nueva y pedagógica entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Johann Strauss II: Die FledermausGabriel von Eisestein, Hermann PreyRosalinde, Julia VaradyAdele, Lucia PoppAlfred, René KolloPrinz Orlofsky, Ivan RebroffDr. Falke, Bernd WeiklFrank, Benno KuscheIda, Evi ListBayerischer StaatsopernchorBayerisches StaatsorchesterCarlos Kleiber, direttore

For our New Year Celebration, we return to Viena and the music of Johann Strauss II.

Today's episode is a celebration of the Texas-born, German-assimilated soprano Helen Donath. Very few singers can boast of a career lasting more than 50 years which yielded such consistently superb vocalism and artistry. Donath began as a soubrette with lyric-coloratura capabilities which blossomed into a jugendlich dramatisch voice capable of successfully assuming roles in Wagner, Strauss, and Weber. Today's episode has two “gimmicks,” the first of which is that all of the selections are sung in German, even if they were originally set in French or Italian. The second gimmick is that strewn in amongst the other selections, there is a smattering of holiday-related material including works by Bach, Handel, Mozart, Humperdinck, and Pfitzner. Other composers heard include Otto Nicolai, Friedrich von Flotow, Paul Hindemith, as well as numerous examples of Donath's peerless Mozart singing and a generous helping of operettas by Lehár, Millöcker, and Johann Strauss II. Vocal guest stars are legion, and include Julia Varady, Siegfried Jerusalem, Anna Moffo, Peter Schreier, Edda Moser, Theo Adam, Werner Hollweg, and Günther Leib in performances conducted by Leonard Bernstein, Herbert von Karajan, Kurt Eichhorn, Rafael Kubelik, Herbert Blomstedt, Wolfgang Sawallisch, Bernhard Klee, Otmar Suitner, Hans Schmidt-Isserstedt, Gerd Albrecht, and Willi Boskovsky, as well as Klaus Donath, Helen's husband since 1965. 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 support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Hollis Stacy, winner of four LPGA majors, was a junior phenom, winning three straight U.S. Girl's Junior championships. Her lifelong swing thought for tempo came from her mother Tillie. It was the Blue Danube Waltz by Johann Strauss II and when Hollis got a little cocky, Tillie was good at keeping her grounded, "FORE the Good of the Game."

Glittering and gloriously tuneful, Die Fledermaus (“The Bat”) is the most enduring operetta of Vienna's famous “Waltz King,” Johann Strauss II.  Its plot features revenge, infidelity, disguised identities, and a glamorous ball at its center, given by a wealthy host who requires his guests to keep the party lively.  Toasting “King Champagne,” the characters of this “spirited” operetta recognize the royalty of sparkling wine: the beverage that motivates, infuriates, and ultimately exonerates them.    Hosted by Pat and Rosie (www.rosiebrooks.com)  

Nigel Simeone with his pick of recordings of Johann Strauss II's Die Fledermaus. Strauss's sparkling operetta premiered in 1874 and has been delighting audiences and listeners ever since. It has been fortunate on record, and Nigel discusses with Andrew a huge range of performances and styles.

‘Las reinas en la literatura'. Hoy en Letras en el tiempo, Patricia del Río se sumerge en el fascinante mundo de historias y personajes de las reinas más emblemáticas de los últimos siglos, y cómo los escritores y escritoras de todas las épocas las recrearon en sus novelas y cuentos. El historiador, Mauricio Novoa, nos explica sobre el protagonismo de las reinas y de aquellas que revolucionaron el mundo. En el libro de la semana, la historiadora Claudia Núñez nos habla de ‘La Mariscala' (Ediciones B, PRH 2022), la historia no contada de Francisca Zubiaga y Bernales, la primera presidenta del Perú. El periodista Diego Pajares recomienda tres películas imprescindibles sobre esta temática: The Crown, serie en Netflix; ‘Elizabeth', con Kate Blanchet; y ‘La reina', con Hellen Mirren. Por su parte, el crítico literario y gerente de la librería Escena libre, comenta tres libros nuevos: ‘El tiempo es un río sin orillas', de Laura Rosales (poesía); ‘Vida lancha', de Aldo Pancorbo Valdivia (novela); y ‘Artilugios', de Mariángela Ugarelli Risi (narrativa). La música utilizada en este especial sobre reinas, nos traslada también a las cortes europeas. Con solo cerrar los ojos escucharemos: ‘Song without words', de Felix Mendelson; ‘Kaiser-Waltzer', de Johann Strauss II; ‘Sinfonia in G Major: I. Allegro', de Frederick the Great; ‘Zadok the priest', de George Friderick Handel; ‘Les amants magnifiques: entrée d'Apollon', de Jean-Baptiste Lully. Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Andrés Rodríguez ||| Episodio 35 – Tercera temporada.

‘Las reinas en la literatura'. Hoy en Letras en el tiempo, Patricia del Río se sumerge en el fascinante mundo de historias y personajes de las reinas más emblemáticas de los últimos siglos, y cómo los escritores y escritoras de todas las épocas las recrearon en sus novelas y cuentos. El historiador, Mauricio Novoa, nos explica sobre el protagonismo de las reinas y de aquellas que revolucionaron el mundo. En el libro de la semana, la historiadora Claudia Núñez nos habla de ‘La Mariscala' (Ediciones B, PRH 2022), la historia no contada de Francisca Zubiaga y Bernales, la primera presidenta del Perú. El periodista Diego Pajares recomienda tres películas imprescindibles sobre esta temática: The Crown, serie en Netflix; ‘Elizabeth', con Kate Blanchet; y ‘La reina', con Hellen Mirren. Por su parte, el crítico literario y gerente de la librería Escena libre, comenta tres libros nuevos: ‘El tiempo es un río sin orillas', de Laura Rosales (poesía); ‘Vida lancha', de Aldo Pancorbo Valdivia (novela); y ‘Artilugios', de Mariángela Ugarelli Risi (narrativa). La música utilizada en este especial sobre reinas, nos traslada también a las cortes europeas. Con solo cerrar los ojos escucharemos: ‘Song without words', de Felix Mendelson; ‘Kaiser-Waltzer', de Johann Strauss II; ‘Sinfonia in G Major: I. Allegro', de Frederick the Great; ‘Zadok the priest', de George Friderick Handel; ‘Les amants magnifiques: entrée d'Apollon', de Jean-Baptiste Lully. Conducción: Patricia del Río ||| Producción: Amelia Villanueva ||| Edición de audio: Andrés Rodríguez ||| Episodio 35 – Tercera temporada.

Two years ago last month, the great French (bass-)baritone Gabriel Bacquier died just four days short of his 96th birthday. At that time I offered a brief memorial tribute which opened my eyes to aspects of his artistry and voice with which I had been previously unfamiliar. Like his near-contemporary, the Italian baritone Tito Gobbi, Bacquier was one of the supreme actors of the operatic stage, whose voice coarsened somewhat over the course of his long career, even as his mastery as an actor and interpreter increased. By the time he retired, his repertoire consisted almost entirely of buffo parts. But in the earliest years of his career (and also like Gobbi), he possessed a baritone of velvety beauty that might surprise those who know only his later comic roles. This episode, which commemorates the second anniversary of Bacquier's death as well as his (posthumous) 98th birthday, focuses on the three different musical genres in which, in those early years, from 1953 through 1968, he excelled in equal measure: opera, of course, but also mélodie and operetta. The operatic portrayals represented include the title roles in Don Giovanni and Orphée et Eurydice; Zurga in Les Pêcheurs de perles; the Count in Le nozze di Figaro; Iago in Otello; Golaud; and his incomparable Scarpia, which he sang opposite every great Tosca of the 1960s with the exception of Callas. Complementing these live and studio recordings are recordings of melodies by Duparc, Fauré, Debussy, Ravel, and Poulenc; and operetta arias by Sigmund Romberg, Franz Lehár, Johann Strauss II, and Reynaldo Hahn, all deliciously sung in French. Vocal guest stars include Mirella Freni; Alain Vanzo; Bernard Demigny; Janine Ervil; Yvonne Gall, with whom Bacquier studied at the Conservatoire de Paris; and the late Renate Holm, the renowned German soubrette who died in April at the age of 90. In all this repertoire, Bacquier, who insisted on the appellation “acting singer” rather than “singing actor,” displays his commitment to clear yet full projection of text, which serves as a mirror into the music and not the other way around. 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 support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Hola familia mágica, Muchos hermanos compartieron el amor por la música. Vamos a conocer a algunas familias  que no solo fueron hermanos sino compositores.  Fanny y Félix Mendelssohn Los hermanos Bach  Los hermanos Strauss Las hermanas Boulanger   Linka video de caja musical: https://youtu.be/nlPHd1ezgL4 La música de este episodio 00:34  The Hebrides, Op. 26 por Félix Mendelssohn. Interpretado por Hamburg Symphony Orchestra & Alois Springer 02:07  Concerto in E Minor for Violin and Orchestra, Op. 64: I. Allegro molto appassionato (attacca) por Félix Mendelssohn. Interpretado por Jaime Laredo & Scottish Chamber Orchestra.  02:48  A Midsummer Night's Dream, Op. 61: III. Wedding March por Félix Mendelssohn. Interpretado por Rochester Philharmonic Orchestra & Theodore Bloomfield.  03:21  Songs Without Words, Op. 62: Spring Song in A Major (Allegro grazioso) por Félix Mendelssohn. Interpretado por Anton Nanut & RTV Slovenia Symphony Orchestra.  04:10  The Hebrides, Op. 26 por Félix Mendelssohn. Interpretado por Hamburg Symphony Orchestra & Alois Springer 05:30  Presto für eine Spieluhr Nr. 30 por C.P.E. Bach. Interpretado por Bernhard Schneider an der Klais-Orgel von St. Aegidien, Braunschweig. 07:25  Concerto for Pianoforte Op. 13 No. 6 in E flat por Johann Christian Bach. Interpretado por Anders Muskens & Das Neue Mannheimer Orchester. 08:44  On the Beautiful Blue Danube, Op. 314 por Johann Strauss II. Interpretado por David Parry & London Philharmonic Orchestra.  11:33  3 Pieces for cello and piano por Nadia Boulanger. Interpretado por Dora Kuzmin & Petra Gilming.   Si te gusta el episodio, califícalo en tu app favorita  o puedes dejar tu review. :)  No te pierdas ningún episodio. Suscríbete a la newsletter en allegromagico.com/suscribirme y aprendan conmigo sobre música clásica. Síguenos en: Facebook, Twitter, Instagram y Pinterest.  Web: allegromagico.com    ¿Quieres aprender lo básico de música clásica de forma fácil? Checa nuestra guía para jóvenes y adultos.  ¿Ya han escuchado tus niños uno de los cuentos musicales más llamativos que existen? Las Cuatro Estaciones de Vivaldi es una obra ideal para niños. 

This weeks on Pep Talks, I am taking a quick dive into Roland Barthe's concept of the "Punctum" from his book "Camera Lucida," to explain why some artworks and films stick in your mind and others don't. Find out why Stanley Kubrick's choice of music for scoring "2001: A Space Odyssey" & Ingrid Bergman's turn as a boxing nun made both of these films punctum-y and stick in my brain. Also, come hear about Barthe's personal quest to find a photo of his mother that contained her true essence, and how we as artists can try and infuse our own work with punctum-like staying properties. Works mentioned: "Camera Lucida" (1980) book by Roland Barthes "The Bells of St. Mary's" (1945) film directed by Leo McCarey and starring Ingrid Bergman "2001: A Space Odyssey" (1968) film by Stanley Kubrick Songs mentioned: "The Blue Danube" by Johann Strauss II used in "2001: A Space Odyssey" "Also Sprach Zarathustra" by Richard Strauss used in "2001: A Space Odyssey" "Gesänge der Frühe" or "Songs of the Morning" (1853) by Robert Schumann, mentioned by Roland Barthes Special thanks to P Elaine Sharpe for their contributions to this episode! Please stop by the Pep Talks Instagram and give a follow to see behind-the-scenes shots and image carousels that go with each episode (@peptalksforartists). Thanks for listening, rating and following! -------- "Also Sprach Zarathustra - Sonnenaufgang" by Richard Strauss (2010 version by Kevin MacLeod), used by permission of Creative Commons license All other music public domain or licensed Soundstripe.com tracks --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Doppelgangers are described in the Monster Manual as “devious shapeshifters that take on the appearance of other humanoids, throwing off pursuit or luring victims to their doom with misdirection and disguise. Few creatures spread fear, suspicion, and deceit better than doppelgangers. Found in every land and culture, they can take on the guise of any individual of any race.”We are joined by Noir.Noir is a voice actor, streamer, musician, and improviser. He has studied at Chicago's iO, Westside Theater, and Second City. He is the Nerdy host of Critical Misses' Morning Ritual, creator and Game Master for Kobold Presses Into the Southlands, Magpies CPP ProgramCheck Out Our Sponsors!Start Playing: find a gaming table today at StartPlaying.GamesWarrstories:Smoke, Steel and Sharpened Fangs campaign https://startplaying.games/adventure/62decda76e943140b20d64adGet a $10 Credit on StartPlaying.Games! https://startplaying.games/referral/ckaipkuw001akbopk4jimaqd2MUSIC"Creeping" by Borrtex"Memories Of Thailand" (Beat Doctor's 'stuck in Britain' remix) by Risey"Darkness" by Three Chain Links"The Blue Danube Waltz" by Johann Strauss II"Autumn Mvt 3 Allegro" by John Harrison with the Wichita State University Chamber PlayersBartok - Roumanian Folk Dances - Waistband Dance Roumanian Polka Maruntel" by the Advent Chamber Orchestra"Brandenburg Concerto No. 5 - Bach" by "Dee Yan-Key""Epic Cinematic" by Scott Holmes"Of Elias Dream" by BensoundKill Every Monster is a 5th Edition Dungeons and Dragons podcast. In each episode we are joined by a guest to discuss the lore, mechanics, and story potential of classic D&D creatures. We debate tactics for maximizing these creatures in your game, and we ask the ever-important question: are they really a monster?Send us your questions for our Season 1 Mailbag episode!COMMUNITYDiscordTwitterTikTokRedditInstagramFacebookSupport this podcast at — https://redcircle.com/kill-every-monster/exclusive-content

Episode Credits Royalty Free Disco Music https://www.youtube.com/watch?v=nwd50y3VItE Buzzing Bees Sounds  https://freesound.org/people/cognito%20perceptu/sounds/370871/ Ambient sounds of Stephansplatz: https://freesound.org/people/magedu/sounds/287196/ Birdsong from the Vienna Woods https://freesound.org/people/hessma63/sounds/315978/ Liguorianer Seufzer - Scherz-Polka, op. 57 - Johann Strauss II  https://www.youtube.com/watch?v=pHLVqpRtdOA Tchaikovsky - Swanlake. - Swan Theme https://www.youtube.com/watch?v=9cNQFB0TDfY Flight of the bumblebee - Rimsky-Korsakov https://www.youtube.com/watch?v=9ZsGEhTGL6g All other Sounds and Music are property of Phonetic Planet, Susan Shea, and Joshua David Yardy