Podcast appearances and mentions of Johannes Brahms

Sunday Worship for March 15, 2026, from Queen Anne Lutheran Church in Seattle, our 10:30 service— Pastor Dan Peterson; Cantor Kyle Haugen. Prelude —Intermezzo (Op. 118, No. 2), Johannes Brahms  • Introit—Isaiah 66:10–11, Ps. 122:1 • Gathering Hymn—O God of Mercy, God of Light, (ELW 714) • First Reading— 1 Samuel 16:1-13 • Psalm 23 • Second Reading— Ephesians 5:8-14 • Gospel—John 9:1-41 • Sermon—Rev. Dan Peterson • Hymn of the Day—There Is a Balm in Gilead (ELW 614) • Distribution Hymn—Thee We Adore, O Savior (ELW 476) • Sending Hymn —Amazing Grace, How Sweet the Sound (ELW 779) • Postlude—Selected variations on “Amazing Grace”, David P. Dahl ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link here to view the bulletin⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Enjoying our worship recordings? Consider giving. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit this link⁠⁠⁠⁠⁠⁠.

Laura Jackson, Reno Phil music director and conductor, speaks with Chris Morrison about the fifth concerts of the Reno Phil's 2025-26 Classix season, "Mendelssohn Violin Concerto," on March 21 and 22, 2026. The concerts feature Robin's Eye View by Autumn Maria Reed, the Violin Concerto in E minor, Op. 64 by Felix Mendelssohn, with violin soloist Nathan Amaral, and the Symphony No. 1 in C minor, Op. 68 by Johannes Brahms.

durée : 01:28:37 - En pistes ! du lundi 09 mars 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Amis et complices, les musiciens Tabea Zimmermann, Jean-Guihen Queyras et Javier Perianes se retrouvent autour du célèbre trio pour clarinette de Johannes Brahms, dans une version pour alto. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:37 - En pistes ! du lundi 09 mars 2026 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Amis et complices, les musiciens Tabea Zimmermann, Jean-Guihen Queyras et Javier Perianes se retrouvent autour du célèbre trio pour clarinette de Johannes Brahms, dans une version pour alto. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Ist das überhaupt ein Klavierkonzert? Ein Kritiker spottet: eher eine „Sinfonie mit obligatem Klavier“. Brahms' 2. Klavierkonzert sprengt alle Erwartungen – monumentale 50 Minuten, sinfonische Wucht und ein Klavier, das manchmal lieber schweigt ... Von Michael Lohse.

Johannes Brahms (1833–1897) – Sechs Quartette per quattro voci e pianoforte Op. 112 1.      Sehnsucht (testo di Franz Kugler)2.      Nächtens (testo di Franz Kugler)3.      Himmel strahlt so helle (Zigeunerlied - testo ungherese, adatt. Hugo Conrat)4.      Rote Rosenknospen (Zigeunerlied - testo ungherese, adatt. Hugo Conrat)5.      Brennessel steht am Wegesrand (Zigeunerlied - testo ungherese, adatt. Hugo Conrat)6.      Liebe Schwalbe, kleine Schwalbe (Zigeunerlied - testo ungherese, adatt. Hugo Conrat) Edith Mathis, sopranoBrigitte Fassbaender, mezzo sopranoPeter Schreier, tenore Dietrich Fischer-Dieskau, baritono Karl Engel, pianoforte

Txékhov amb rebolcada self-service. Crítica teatral de l'obra «Vània», Versió de Simon Stephens, a partir de «L'oncle Vània» d'Anton Txékhov. Traducció de Joan Sellent. Intèrpret: Joel Joan. Escenografia i vestuari: Albert Pascual. Disseny de so: Nacho López. Disseny de llums: David Bofarull. Direcció de producció: Núria Costas. Regidoria: Maddi Zamalloa. Cap tècnic del teatre: Sergi Lobaco. Màrqueting i comunicació: Teatre Romea. Reportatge fotogràfic: David Ruano. Amb el suport de l'Ajuntament de Barcelona, ICEC Institut Català de les Empreses Culturals, Generalitat de Catalunya, INAEM, Unió Europea (Fons Europeu Next Generation), Plan de Recuperación, Transformación y Resiliencia i Next Generation Catalunya. Producció: Arriska Teatre i Teatre Romea. Ajudantia de direcció: Sergi Manel Alonso. Direcció: Nelson Valente. Teatre Romea, Barcelona, 28 febrer 2026. Veu: Andreu Sotorra. Música: Piano Sonata núm. 1 in C Major, Op. 1: Allegro - Excerpt. Intèrpret: Garrick Ohlsson. Composició: JOhannes Brahms. Àlbum: A Collection of Solo Piano Works, 2026.

Chaque jeudi dans #LeDriveRTL2, Margaux Lassalle poursuit le Rock Trip RTL2 et s'arrête cette semaine en Allemagne. Pays le plus peuplé de l'Union européenne, entre châteaux comme Neuschwanstein et capitale vibrante, Berlin, l'Allemagne rayonne aussi par sa culture, de l'Oktoberfest à ses grandes figures intellectuelles et musicales. L'animatrice évoque notamment Richard Wagner, mais aussi Jean-Sébastien Bach, Robert Schumann ou Johannes Brahms, avant de faire un point sur le titre numéro 1 du moment : "Lush Life" de Zara Larsson, relancé ces derniers temps sur TikTok. Margaux Lassalle met ensuite en lumière les groupes allemands mondialement connus comme Scorpions, Rammstein ou Tokio Hotel. Elle revient également sur la vague krautrock des années 60-70 avec Can, Kraftwerk et Neu!. Plus tard, dans les années 80, le pays voit naître les groupes de punk rock Die Toten Hosen mais aussi Die Ärzte, ce dernier se distinguant par des textes engagés et drôles, devenu une véritable institution en Allemagne. L'animatrice évoque également le rock rétro puissant de Kadavar. Le voyage se conclut avec Beatsteaks et leur titre : "Hand in Hand". Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Johannes Brahms - Symphony No. 1: FinaleBelgian Radio and Television Philharmonic OrchestraAlexander Rahbari, conductorMore info about today's track: Naxos 8.550278Courtesy 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

Ein Werk in sieben verschiedenen Aufnahmen. An diesem Abend auf dem Programm: Johannes Brahms' Klaviertrio Nr. 1 H-Dur, op. 8. Christian Detig präsentiert seinen Gästen verschiedene Interpretationen, ohne zu verraten, wen sie hören. Musik ohne jedes Etikett. Frage ist also: Was hörst Du wirklich? Christine Lemke-Matwey, Kai Luehrs-Kaiser und Andreas Göbel diskutieren und rätseln, loben und verwerfen. Die Antworten sind eindringlich, provozierend, immer ehrlich. Am Ende ist man dem Werk manchmal näher gekommen, als einem lieb ist. Blindverkostung eben.

¡Hola, pequeño amiguito Lunar! Soy un superfan de la música clásica que ha escuchado la Tercera Sinfonía de Brahms como mil veces (bueno, quizás un poquito menos, pero muchas). Imagínate que soy un abuelo loco por la música que te va a contar un cuento musical súper divertido. ¡Hoy aquí en Crónicas Lunares vamos a hablar de la Sinfonía Número 3 de Johannes Brahms como si estuviéramos comiendo helado juntos!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 

Herzliebster Jesu, was hast du verbrochen, zo luidt de titel van een van de bekendste passieliederen uit de baroktijd. Johannes Brahms koos ervoor het gewijde lied nog meer tot de kern terug te brengen. Zijn versie is instrumentaal, voor orgel. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

Johannes Brahms (1833-1897) - 5 Lieder, Op. 1051.      Wie Melodien zieht es mir leise durch den Sinn2.      Immer leiser wird mein Schlummer 2:063.      Klage 5:214.      Auf dem Kirchhofe 7:205.      Verrat 10:16 Christoph Prégardien, tenoreUlrich Eisenlohr, pianoforte

durée : 00:20:24 - Disques de légende du vendredi 13 février 2026 - Parmi les trois intégrales des Symphonies de Johannes Brahms gravées par Herbert von Karajan avec le Philharmonique de Berlin, celle de 1978 demeure la plus équilibrée. Un enregistrement légendaire qui témoigne d'une compréhension totale de cette musique par le chef et son orchestre. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:20:24 - Disques de légende du vendredi 13 février 2026 - Parmi les trois intégrales des Symphonies de Johannes Brahms gravées par Herbert von Karajan avec le Philharmonique de Berlin, celle de 1978 demeure la plus équilibrée. Un enregistrement légendaire qui témoigne d'une compréhension totale de cette musique par le chef et son orchestre. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The term "classical music" includes a wide variety of music and artists. This hour we take a look at what that category really means. We celebrate the form and help you figure out how to start listening to the genre. Plus, how video game music is bringing new listeners to classical music and live orchestras. GUESTS: Matthew Aucoin: American composer, conductor, writer, pianist, and a 2018 MacArthur Fellow. He is author of “The Impossible Art: Adventures in Opera” and is co-founder of the American Modern Opera Company. His opera “Euridyce” was produced by the Metropolitan Opera in 2021, making him the youngest composer in nearly a century to have an opera produced by The Met Arianna Warsaw-Fan Rauch: Author of “Declassified: A Low-Key Guide to the High-Strung World of Classical Music”. She is also a violinist who has performed in venues around the world Carolyn Kuan: Music Director of the Hartford Symphony Orchestra. In 2025, she led the acclaimed world premiere of Huang Ruo’s "The Monkey King" at San Francisco Opera. Her recording of Huang Ruo’s "An American Soldier" with the American Composers Orchestra received a 2026 Grammy nomination J. Aaron Hardwick: An internationally active professional conductor, professor of music at Wake Forest University, and Director of the Wake Forest University Symphony Orchestra, recognized for his work in classical and contemporary repertoire and innovative orchestral programming, including video game music MUSIC FEATURED (in order): Symphony No. 5 I. Trauermarsch – Gustav Mahler, Claudio Abbado, Berlin Philharmonic 21 Hungarian Dances No. 5 – Johannes Brahms, Claudio Abbado, Berlin Philharmonic Revolucion Diamantina Act IV: Speaking the unspeakable – Gabriela Ortiz, Gustavo Dudamel, LA Phil Don’t Look Down I. Hammerspace – Christopher Cerrone, Sandbox Percussion Symphony No. 41 “Jupiter” IV. Molto Allegro – W.A. Mozart, Seiji Ozawa, Mito Chamber Orchestra String Quartet No. 8 II. Allegro molto – Dmitri Shostakovich, Dover Quartet 6 Bagatelles for Wind Quintet III. Allegro grazioso – Gyorgy Ligeti, Claudio Abbado, Chamber Orchestra of Europe Overture to A Midsummer Night’s Dream – Felix Mendelssohn, Seiji Ozawa, Boston Symphony Orchestra An American Soldier Act II Scene 1: Hey Danny – Huang Ruo, Carolyn Kuan, American Composers' Orchestra Hi – Caroline Shaw CUT FOR TIME The Monkey King Act II Scene 3 – Huang Ruo, Carolyn Kuan, San Francisco Opera Tears of the Kingdom Main Theme – Manaka Kataoka Temple of Time Theme Montage – The Legend of Zelda NES (1986) Style – Loeder Music Ocarina of Time (1998) – Koji Kondo Breath of the Wild (2017) – Yasuaki Iwata Planetrise – Inon Zur (Starfield) Lumiere – Lorien Testard (Clair Obscur: Expedition 33) CUT FOR TIME Atsu’s Theme – Toma Otowa (Ghost of Yōtei) CUT FOR TIME The Perfect Wave – Austin Wintory Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Ils les considéraient comme « les berceuses de ses douleurs ». Les dernières pièces pour piano de Brahms, qui constituent les opus 116 à 119, comptent parmi les pages les plus touchantes voire bouleversantes du compositeur. Piotr Anderszewski nous en livre aujourd'hui une lecture saisissante d'émotion, soulignant avec tant de subtilité la tendresse, la souffrance comme les mystères qui en émanent.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Esta madrugada que dedicamos 'El Faro' a la palabra “poco”, hemos descubierto que, en la historia de los faros de España, ha habido muy pocas mujeres fareras: solo 26. El documental ‘Aunque seamos islas', dirigido por Cristina Rodríguez Paz, nos presenta a seis de ellas. Además, hemos hablado con la humorista Laura del Val, que se ha hecho viral en redes sociales por mostrar cómo los castellanos saben hacer una virtud el ser una persona de pocas palabras. Y Alejandro Pelayo, como cada martes, se ha sentado al piano del estudio central de la SER; esta vez, para tocar algunas de las canciones que más bien le gustan poco. Pero también para hablarnos de la historia de amor de un compositor que sí le gusta mucho: Johannes Brahms.

The English contralto Alfreda Hodgson (07 June 1940 – 16 April 1992) has been featured numerous times on Countermelody and when I recently acquired a copy of her 1980 solo recital recording originally released on Pearl Records, I decided that the time was right to do a full episode on this rich-voiced, profoundly musical singer. Though she was equally superb in Bach, Mahler, Handel, and Elgar, I have chosen to focus on her performances of the music of Johannes Brahms, including superb recordings of the Alto Rhapsody, the Songs for Alto and Viola, the Vier ernste Gesänge, and a posthumously-assembled collection of his Lieder published under the title Mädchenlieder. Artists accompanying Hodgson include Bernard Haitink, Edward Downes, violist Ludmila Navrath, and her long-standing pianist, the late Keith Swallow. I begin the episode with brief examples of Hodgson singing (in English) the music of her countrymen Lennox Berkeley, Edward Elgar, and John Ireland in the company of Peter Pears, Gennady Rozhdestvensky, Steuart Bedford, and Alan Rowlands. 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.

durée : 01:28:59 - Une heure et plus, un compositeur : Johannes Brahms - par : Aurélie Moreau - Né à Hambourg en 1833 dans un milieu modeste, Johannes Brahms grandit entre les ports, les tavernes et la musique populaire. La rencontre avec Robert et Clara Schumann, en 1853, marque un tournant décisif : Brahms devient alors l'espoir d'une nouvelle génération de compositeurs allemands. - réalisé par : Lionel Quantin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Diese ungemein detail- und farbenreiche Aufnahme führt uns die Kammermusik von Johannes Brahms eindringlich vor Ohren.

Johannes Brahms: Warum ist das Licht GegebenMatthew Morley, organSt. Bride's Church Choir, Fleet Street Robert Jones, conductorMore info about today's track: Naxos 8.553877Courtesy 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

Hoover Institution research fellow Dr. Alice Miller talks about how, as a CIA analyst, she could figure out political changes in China were afoot based on state media articles.About Peking HotelThe Peking Hotel podcast and newsletter are digital publications in which Liu He interviews China specialists about their first-hand experiences and observations from decades past. The project grew out of Liu's research at Hoover Institution collecting oral history of China experts living in the U.S. Their stories are a reminder of what China used to be and what it is capable of becoming.Podcast music Hungarian Dance no. 5 Re-imagined, Guy Mintus, Johannes Brahms, Artlist Classics, Artlist Original Music Get full access to Peking Hotel at pekinghotel.substack.com/subscribe

Thomas Steiger, Tübingen, Katholische Kirche: O Tod, wie bitter bist du, Wenn an dich gedenket ein Mensch, Der gute Tage und genug hat Und ohne Sorge lebet; Und dem es wohl geht in allen Dingen Und...

Vandaag een aflevering in de serie "In Stukken". Ein deutsches Requiem van Johannes Brahms wordt in stukken geknipt. Aan de hand van de fragmenten in de mooiste opnames wordt het stuk onder de loep genomen. Panelleden: muziekjournalist Peter van der Lint en mezzosopraan Xenia Meijer. 

On October 24, we observe the 104th birthday of the nonpareil Croatian soprano Sena Jurinac. Like Hildegard Behrens, whose prowess as a purveyor of art song we explored a few weeks ago, Jurinac was best known as an opera singer, specializing (in her case) in Mozart and Strauss heroines, though she was also beautifully suited to the Lieder repertoire. Jurinac was a singer of enormous warmth, poise, and humanity gifted with a voice that combined warmth and ease. It was her directness and spontaneity which, alongside her peerless musicianship and rock-solid vocal technique, has made her a favorite of many generations of lovers of great singing. Central to this episode is a rare 1976 album of Lieder by Johannes Brahms, which displays, even more than thirty years after her operatic debut, all her most treasurable qualities. The Brahms is supplemented by her 1953 studio recording of Ottorino Respighi's extended vocal chamber work Il tramonto, a setting in Italian of Percy Bysshe Shelley's poem “The Sunset”; as well as a rare live 1961 recording of Richard Strauss's “Im Abendrot” from his Vier letzte Lieder, like the Respighi a meditation on two souls at the setting of the sun. 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 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.

durée : 00:14:55 - Le Disque classique du jour du jeudi 02 octobre 2025 - Le premier album de l'altiste Paul Zientara, sur lequel le rejoint son ami et pianiste Arthur Hinnewinkel, s'immerge dans les deux sonates op.120 de Johannes Brahms écrites en 1894. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:14:55 - Le Disque classique du jour du jeudi 02 octobre 2025 - Le premier album de l'altiste Paul Zientara, sur lequel le rejoint son ami et pianiste Arthur Hinnewinkel, s'immerge dans les deux sonates op.120 de Johannes Brahms écrites en 1894. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This Day in Legal History: SCOTUS Rejects Challenge to BrownOn September 12, 1958, the U.S. Supreme Court issued a unanimous decision in Cooper v. Aaron, firmly rejecting a challenge by the State of Arkansas to the enforcement of Brown v. Board of Education. In the wake of Brown, which declared racial segregation in public schools unconstitutional, Arkansas officials sought to delay desegregation efforts in Little Rock, citing violent resistance and the need to preserve public order. The state's governor and legislature argued they were not bound by the Court's ruling.The Supreme Court rejected that claim unequivocally. In a rare decision signed by all nine justices, the Court reaffirmed the supremacy of the Constitution and the binding nature of its interpretations. It stated that the Constitution is the "supreme law of the land," and that the Court's rulings are final and must be followed by all states, regardless of political disagreement or local unrest.The ruling was a direct rebuke to Governor Orval Faubus, who had used the Arkansas National Guard to block the entry of nine Black students into Little Rock Central High School in 1957. President Eisenhower had responded by sending federal troops to enforce the desegregation order. Cooper v. Aaron underscored the federal judiciary's power to enforce constitutional rights, even in the face of open defiance by state authorities.The Court's opinion in Cooper was a pivotal moment in the civil rights movement, signaling that federal law could not be nullified by state action. It also clarified that resistance to judicial decisions, especially on constitutional matters, was itself unconstitutional. By reasserting its own authority and that of the federal government, the Court helped ensure that desegregation would proceed, however slowly, across the South.Senate Republicans pushed through a rule change aimed at speeding up the confirmation of President Donald Trump's executive-branch nominees. In a 53-45 vote, the GOP majority limited the ability of Senate Democrats to slow the process, allowing groups of nominees to be confirmed together rather than individually. The change does not apply to Cabinet heads or federal judges.Senate Majority Leader John Thune defended the move, saying the chamber was being bogged down by procedural delays. In contrast, Democratic Senator Adam Schiff warned the rule change weakens institutional checks on presidential power, calling it a further erosion of Senate independence. Senate Democratic Leader Chuck Schumer criticized it as enabling a “conveyor belt of unqualified nominees.”This is the third significant alteration in 12 years to Senate rules that weaken the minority party's influence, a trend that began with Democrats in 2013 and continued under Republicans in 2017. Critics argue the Senate is drifting away from its traditional role as a stabilizing body in the legislative process. The first group of Trump nominees could see expedited confirmation as early as next week. Stephen Miran's Federal Reserve nomination will proceed under the prior rules.US Senate loosens rule to speed confirmation of some Trump nominees | ReutersA federal judge in Seattle issued a nationwide injunction blocking the Trump administration from enforcing a policy that would have barred undocumented children from enrolling in Head Start, a federal preschool program for low-income families. Judge Ricardo Martinez ruled that the U.S. Department of Health and Human Services (HHS) lacked the authority to impose immigration-based restrictions on access to Head Start, criticizing the agency for failing to follow proper rulemaking procedures.The decision followed a similar ruling one day earlier from a federal judge in Rhode Island, which halted the policy in 21 Democratic-led states and the District of Columbia. The Seattle lawsuit was brought by Head Start associations from Illinois, Pennsylvania, Washington, and Wisconsin, along with two parent advocacy groups. They challenged a July directive that expanded the interpretation of the 1996 Personal Responsibility and Work Opportunity Reconciliation Act (PRWORA) to include Head Start among programs limited to legal residents.Since 1998, HHS had interpreted the law as not applying to non-postsecondary education programs like Head Start. Judge Martinez stated that Congress had effectively endorsed that interpretation by not altering the law and had even broadened access to Head Start over time. Despite recent limits by the U.S. Supreme Court on nationwide injunctions, Martinez justified his decision as necessary to provide uniform relief.Trump policy barring migrants from Head Start blocked nationwide | ReutersThe U.S. Department of Justice filed a lawsuit against Uber Technologies, accusing the company of violating the Americans with Disabilities Act (ADA) by discriminating against riders with disabilities. Filed in federal court in San Francisco, the complaint alleges that Uber drivers have routinely denied rides to passengers who use service animals or wheelchairs, and sometimes insulted or mistreated them.The DOJ claims that Uber also imposed illegal fees on disabled riders, including cleaning charges for service animals and cancellation fees for rides that drivers refused to complete. The lawsuit details incidents involving 17 individuals, such as a 7-year-old amputee denied a ride due to his wheelchair, a veteran with a service dog who missed a flight after being refused service, and a blind man in New Jersey whose ride requests were repeatedly canceled.The government is seeking an injunction to stop further violations, mandatory improvements to Uber's policies and training, monetary damages for those affected, and a civil penalty. In response, Uber denied the allegations, stating it has a zero-tolerance policy for discrimination and is committed to accessibility and inclusion for riders with disabilities.US sues Uber, alleges discrimination against disabled riders | ReutersWe'll see you back here on Monday and, until then, note. We like to close out the week of shows with a featured musical piece. That will make these Friday episodes seem especially long. We hope you'll stick it out and enjoy the featured piece but, if music – specifically classical music – isn't your bag, we get it. Our mouth sounds unrelated to the week's closing music ends here.This week's closing theme is by Clara Schumann.This week's closing music features a brilliant piece by Clara Schumann, a composer, pianist, and musical force whose work was often overshadowed by the men around her—most notably her husband Robert Schumann and close friend Johannes Brahms. Yet Clara was a prodigy in her own right, performing across Europe and composing with a clarity and emotional depth that demanded attention in a male-dominated 19th-century musical world.Her Scherzo No. 2 in C Minor, Op. 14, written in 1845, is a striking example of her compositional voice—bold, technically challenging, and emotionally complex. The piece opens with stormy, rapid-fire passages that give way to more lyrical interludes, showcasing Clara's mastery of contrast and dramatic pacing. It's music that demands virtuosity but also rewards listeners with its structural elegance and passionate energy.As you listen, consider how Clara's work stood alongside—and at times surpassed—that of her more famous peers. Her Scherzo No. 2 is not just a curiosity from a historical figure, but a work of enduring artistic merit that more than earns its place in the canon.Without further ado, Clara Schumann's Scherzo No. 2 in C Minor, Op. 14, 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

Johannes Brahms: Fest und Gedenkspruche: Wo ist ein so Herrlich VolkSt. Bride's Church Choir, Fleet Street Robert Jones, conductorMore info about today's track: Naxos 8.553877Courtesy 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

It's entirely possible that we would not know the name of Johannes Brahms very well if Brahms hadn't met Joseph Joachim as a very young man. Joachim, who was one of the greatest violinists of all time, had already established himself as touring soloist and recitalist, and he happened to know the musical power couple of Robert and Clara Schumann quite well. Joachim encouraged Brahms to go to Dusseldorf to meet the Schumann's, and the rest is history. I've talked about the Brahms-Schumann relationship dozens of times on the show before, but to keep it very brief, Robert Schumann's rhapsodic article Neue Bahnen(new paths) launched Brahms' career, and until Schumann's deterioration from mental illness he acted as a valued friend and mentor for Brahms. Clara Schumann, as a performer, was a powerful advocate for Brahms' music as well as a devoted and loving friend throughout the rest of their lives. Almost constantly present in this relationship was the sound of Joseph Joachim's violin. Brahms did not have a huge circle of friends, but for the often difficult to get along with composer, Joachim was a musical and spiritual companion. Brahms' legendary violin concerto was written for him, and the two collaborated closely for the entire course of their musical lives, except for one significant break. Brahms and Joachim were estranged for 7 years, until Brahms reached out with a remarkable conciliatory gesture: a concerto for Violin and Cello and that would be dedicated to Joachim. Brahms and Joachim(as well as Brahms and Clara Schumann) had often resolved disputes through music, and this was no exception. Clara Schumann gleefully wrote in her diary after Joachim had read through the piece with cellist Robert Hausmann: "This concerto is a work of reconciliation - Joachim and Brahms have spoken to each other again for the first time in years.” One would expect that a work like this would be beloved, but the Double Concerto has had a checkered history, which we'll also get into later. Clara herself wrote that it lacked "the warmth and freshness which are so often found to be in his works,” It would turn out to be Brahms' last work for orchestra, and one of the few in his later style, which makes It fascinating to look at from a compositional perspective. Partly because of the cool reception it got in its first few performances, and the practical challenges of finding two spectacular soloists who can meet its challenges, the piece is not performed all that often, though I have always adored this piece and am very grateful to Avi who sponsored this week's show from my fundraiser last year before the US election. So let's dive into this gorgeous concerto, discussing the reasons for Joachim and Brahms' break, their reconciliation, the reception this piece got, and then of course, the music itself! Join us!