Podcasts about Leonard Bernstein

Robert F. Kennedy Jr.'s skepticism of vaccines and mainstream medicine is making waves in the agency he oversees. Host Colby Itkowitz talks with The Post's national health reporter Lena Sun and health and science accountability reporter Lauren Weber about how Kennedy's recent vaccine announcement and his “Make America Healthy Again” movement are shaping health policy for all Americans. Today's show was produced by Laura Benshoff with help from Elana Gordon. It was edited by Lucy Perkins and mixed by Sam Bair. Thanks also to Leonard Bernstein. Subscribe to The Washington Post here.

Welcome back to our Podcast. and in this episode, we are going to explore the mysterious junction between human potential and the human predicament. Today, we're diving into an idea that may sting a little at first, but, if we look closely, it might also open a hidden door to hope. It involves the unfortunate observation that while human technology, what we do, has evolved at an astonishing pace, human consciousness, who we actually are, has lagged significantly behind. Our ability to split atoms, utilize instant global communications, and code digital realities has raced ahead at lightning speed, fueling our Modern Times. But our capacity for empathy, humility, compassion and having the capacity to be able to live a peaceful, and meaningful life looks much more like we're still stuck the Middle Ages. Which brings us to the content of this episode called “Spears and Switchblades: One Stubborn Species.” To help bring the basic idea into focus, we're going to compare two of the most iconic love tragedies ever put on the stage: William Shakespeare's Romeo and Juliet and its mid-20th century musical reincarnation, West Side Story. Though separated by more than 350 years, these two narratives—one set in Renaissance Verona and the other in 1950s New York City—are mirrors reflecting the same fundamental human flaws. Jealousy. Tribalism. Miscommunication , Stubborness and Pride, among many others. All of which are run by an emotional impulsivity that can turn love into war, and beauty into ashes. So, the first question that we want to explore is: have we grown at all in the past 400 years? Or have we simply become more sophisticated in the weaponry that we have developed in order to kill each other more efficiently? Let's start with the core human dynamics that drive both plays, because even though they are separated by centuries, their basic human flaws remain exactly the same. In Romeo and Juliet, two teenagers fall in love across the boundary of a family feud. The Montagues and Capulets have nursed a blood vendetta for so long that no one even remembers how it started. And it doesn't matter anymore. They just plain hate each other. And its consequences are clear: violence in the streets, death, heartbreak, and ultimately, a double suicide. What are the dominant negative human traits here? Hatred passed down like an heirloom Honor culture run amok Impetuous emotion overpowering reason A lack of inner stillness or reflection, overcome by rage Fast forward 400 years to West Side Story, and we meet Tony and Maria, two lovers from opposing street gangs: the Jets, composed mostly of white working-class youths, and the Sharks, made up of Puerto Rican immigrants. Once again, love blossoms in hostile soil, and once again, the terrible price of primal tribal hatred is death. Different clothes, different slang, different soundtrack. Same madness. And this is the bottom line of the issue. Totally different external world, everything has changed, as well it should. After all, four hundred years have gone by and the situation facing the teenagers living in the streets of New York City would be absolutely unimaginable to the kids running around in the late 1500's.  Completely different on the outside – yet the inner madness remains exactly the same. And the ramifications of this imbalance are immense. Let's compare the outer worlds of these two stories: Romeo and Juliet takes place in late 16th-century Verona. It's a world without electricity, medicine as we know it, or organized police. Family ruled everything. Honor was a matter of life and death. Raw emotions emerged dramatically and physically. And the sword was both symbol and solution. West Side Story unfolds in 1950s Manhattan, post-WWII. Televisions had entered the living room. Jet engines had conquered the sky. The UN had been formed, civil rights movements were stirring. Science had given us vaccines, electricity, and refrigeration. And yet... disputes were still settled with violence. In this case, the weapon of choice was the switch blade. Anger and tribal pride still led to bloodshed. And the beauty of love still ended in the tragedy funerals. So, what changed? The world around us got faster, smarter and ever-more connected. But the world inside us? Pretty much the same old garbage pail. And one of the primary central drivers in both stories is basic tribalism—the instinct to form in-groups and out-groups. The name of the game is us-versus-them. In Romeo and Juliet, the tribes are defined by blood. In West Side Story, by race and ethnicity. In both, the borders are irrational and absolute. This human trait is ancient, seemingly almost hardwired into our survival code. We evolved in small tribes where loyalty equaled life, and strangers equaled threat. But now we live in megacities, online echo chambers where we're still addicted to tribalism. We divide ourselves by politics, religion, race, nationality, gender identity, and more—often with a sense of inner hostility that's far more emotional than rational. In both plays, the pride of belonging to an in-crowd becomes a major fuse. Tybalt's stone cold sense of us and them, along with an ego based identification with personal honor won't let him ignore Romeo's presence at the Capulet ball. Four hundred years later, Bernardo's defense-based sense of belonging to the Sharks won't let him see Tony as anything but another American self-entitled Jet. In both cases, primal tribal dignity demands a serious and significant attack against the perceived enemy. So, the basic recipe for tragedy that spans the centuries remains the same: paranoid pride, mixed with anger and fear, driven by impulse and untampered by any wisdom or understanding turns into a violent weapon of darkness and death. In a certain sense, what happened to us over the years isn't evolution at all. It's just plain repetition Unfortunately, of course this didn't end in the late 1950's. Far from it. While we've vastly upgraded our weaponry, we've also developed more subtle, yet powerful ways to threaten and hurt each other, like social media shaming for example,  where it becomes pretty easy to ruin someone's life just by pressing a few buttons. In the time between William Shakespeare and Leonard Bernstein, humans invented calculus, steam engines, telegraphs, airplanes, televisions, and atomic bombs. We mapped the human genome. We put men on the moon. But we still haven't figured out what we're really all about. Oh, we all know how to chase things, but are these things that we've been programmed to chase real, or they just illusions? Maybe we're just addicted to chasing, itself. In that regard, we've all heard about the tendency of dogs to chase cars. But there are two key aspects to that particular pursuit. One – the dog can never really catch the car. It is much too fast for it. And secondly – what happens if the dog actually does catch the car and we all know the answer to that – nothing. The dog can't do anything if and when it catches the car. It's the same way for us. We're just running after things on the outside, oblivious to who we really are and what we are really made of, not to mention what can actually make us truly happy and satisfied. And all of this goes on while we continue to improve our technology by leaps and bounds. Yet, we still don't know how to disagree without resorting to violence. We still haven't universally adopted the idea that every human being, regardless of their identity, has intrinsic value. We still raise children who feel unloved, unheard, or unsafe. We're still driven by fear disguised as pride. We still confuse dominance with dignity. And we still kill the thing we love because we don't know how to hold it. And the bottom line of it all is basically defending the inherent illusion of our ego selves, which is still at the basic foundation of our inner C-Suite. As such, we still confuse noise with strength. And we still take most the good things in our life for granted, which is truly tragic. Like Joni Mitchell sang in a seemingly earlier age, “Don't it always seem to go that you don't know what you've got till it's gone.” As it all continues to spiral further, in so many ways, the message to us is crystal clear – It's time to wake up and grow up. Romeo and Juliet loved across a line they weren't supposed to cross. Tony and Maria did it too. Their love was a shining light in the midst of all this darkness. Even though everything seemed to be against them, they knew what they had. And we knew it too. And despite what we knew it was that they were facing, we all rooted for them, because something about the higher thing in life, the Better Angels of Our Nature, speaks to the deepest part of our intelligence, both in our hearts and in our minds. We have more tools than ever to connect across cultures, to educate, to innovate, to heal. And yet, we still face the same old demons. But here's the good news: we are capable of change. Unlike the characters in those plays, our story isn't written yet. We are not locked in a script. We can choose awareness. We can choose evolution. The keynote to both of these tragedies is that it is time to individually bring our inner light to our own inner darkness. The Wisdom of the Ages as well as modern brain science tell us that we do have the power to protect this light from the winds of hate, fear and pride, and that we can, and essentially must, cultivate the inner skills of patience, compassion, empathy, and yes - courage. NeuroHarmonics: Inner Technology for a New Humanity That's what the NeuroHarmonic Method is all about: cultivating the inner circuitry to match the brilliance of our outer inventions. It's not just about brainwaves or affirmations or even spirituality. It's about training the nervous system to return to equilibrium, to respond rather than react, to perceive the human being behind the mask, and ultimately to shift from emotional immaturity to presence. From the rage of vengeance to an intuitive sense grace. But this is a path toward real evolution that can only be travelled one person at a time. Because the world won't evolve until we do it individually. Not really. So here we are, somewhere between Shakespeare's Verona and the 21st century, still caught in the drama. But I hate to tell you that the Bard didn't invent this particular tale. The truth is, it stands atop a mountain of ancient stories echoing the same theme—love thwarted by fate, culture, or conflict. And this motif is not unique to the Renaissance or even to Western civilization. The same basic story can be found in the cultures of ancient Greece and Rome, Babylon, ancient Egypt, Persia, and India. Indeed, it's one of the most enduring themes in human storytelling. And the deeper you dig, the further back you go, the more you realize: the tragedy of love versus society and the battle of light versus darkness is as old as storytelling itself. But maybe, just maybe, we're ready to write a different ending. One where love doesn't die. One where pride yields to peace. One where technology finally partners with wisdom. Let's imagine a future version of West Side Story, maybe 400 years from now. What would it take for that version not to be a tragedy? Maybe the gangs might still exist, but their interchange would consist of words instead of weapons. Maybe love would not be hidden in the shadows, but declared in daylight. Maybe reconciliation would be taught in schools, right alongside science and math. Maybe forgiveness would be considered a mark of strength, not weakness. Consciousness evolution would be about not just developing new tools, but new tendencies, moving us from: From reaction to reflection From judgment to curiosity From pride to presence From tribalism to universalism It means valuing not just intelligence, but wisdom. This all represents something to look forward to and welcome into our lives in the here and now, as much as we are able. And if we're not able to yet, at least we can make our intentions known to ourselves. Well, this will be the end of this episode. As always, keep your eyes, mind and heart open, and let's get together in the next one.

I've been so lucky this week to cross paths with several beloved friends and colleagues, in some cases for the first time in ages. One of those friends of many years' standing is the legendary countertenor Drew Minter, with whom I made my very first appearances on the New York concert stage… well, a few years back now! Seeing Drew made me think not only to his influence on me in my early years of singing, but also of the influence of the earliest (and still to my mind the greatest) of all American countertenors, Russell Oberlin. A few years ago, I dedicated a pair of episodes to him, and today I present to you the second of those episodes, originally fashioned exclusively for my Patreon subscribers, yet another “refurbished” Countermelody episode that now sees the light of day. I explore Oberlin's performances of medieval and renaissance music, both with the New York Pro Musica (The Play of Daniel, Dufay, and Dowland) and with the Experiences Anonymes record label (Byrd and 13th Century French Polyphony). I also offer examples of Oberlin's expertise in performance of baroque music, offering two Bach arias (one performed with Leonard Bernstein, the other with Glenn Gould), and several Handel selections, including a complete cantata from one of his rarer LP releases. In addition, we hear a live excerpt of his Oberon in Midsummer Night's Dream opposite the late British soprano Joan Carlyle, as well as a surprising outing as one of the commedia dell'arte players in Strauss's Ariadne auf Naxos, opposite the Zerbinetta of the great African American coloratura soprano Mattiwilda Dobbs. There are additional surprises along the way. The episode opens with a heartfelt tribute to Drew, my reunion with whom prompted this episode in the first place. 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 Beach Boys' SMiLE was abandoned by Brian Wilson in 1967 and eventually performed at an emotional gathering of the faithful in London 37 years later. For writer and lecturer David Leaf it became an obsession. He made a documentary about it in 2004 and has just published ‘SMiLE: The Rise, Fall and Resurrection of Brian Wilson' drawn from detailed conversations with the people involved. He talks to us here about his discoveries, which include … ... the Rolling Stone story that kick-started his obsession. … “a bicycle ride from Plymouth Rock to Hawaii” and other early plans for the album. … how Leonard Bernstein, the Beatles and Derek Taylor racked up the pressure in the studio. … why the other Beach Boys – and Capitol and Murry Wilson - felt the new music was a threat to their livelihood. … how Brian composed the “teenage symphony for God” that became an albatross around his neck. ... “Ray Davies needed a deadline”: the perils of endless recording time. … the magnetism of Van Dyke Parks, a man who “talks in paragraphs”. ... the imagined impact on the world and the band's career if SMiLE had come out in 1967. … the birth of “art rock” versus the strictures of the music business. … the value of the SMiLE myth in the eventual rebirth of the Beach Boys. … the reaction to its long-awaited performance at the Festival Hall in 2004. ... why Brian thought shelving the album would save the group yet “they went from a No 1 single to an act nobody cared about in under a year”. ... and the greatest Beach Boys record of all time. Order SMiLE: the Rise, Fall & Resurrection of Brian Wilson here: https://omnibuspress.com/products/smile-the-rise-fall-and-resurrection-of-brian-wilson-published-10th-october-2024?_pos=1&_psq=smile&_ss=e&_v=1.0Help us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

It starts simply. Two blocked jazz chords with I-V in the bass. And then the vocalist comes in:“Twenty-four hours can go so fast. You look around, the day has passed…”This is Leonard Bernstein's song “Some Other Time” with lyrics by Betty Comden and Adolph Green, written for the 1944 musical, On the Town. It's about three sailors on 24-hour leave in New York City who meet three women before leaving for war. Four characters perform this song (in the stage version), hoping to catch up some other time, but knowing they may never see each other again.I first heard this song a few weeks ago on Bill McGlaughlin's weeknight radio show, Exploring Music. We've been listening to this show for over 16 years—we have it on while we cook and eat dinner.A few weeks ago, he did a series called “Dona Nobis Pacem (Grant Us Peace).” Nestled in the middle of the Wednesday night program, he paired Bernstein's “Some Other Time” with jazz pianist Bill Evans' improvised solo piano recording, “Peace Piece.”I was captivated.I got up from the dinner table and went to the piano to find the two chords by ear, playing along gently with the recording.Today, I'm taking you behind the scenes of these two pieces of music—exploring how they're made, what they have in common, and how hearing them played back to back inspired a listening and improvisation project in my intermediate-level studio class last month.For show notes + a full transcript, click here.Resources Mentioned“Some Other Time” (Bernstein)Exploring Music with Bill McGlaughlin“Peace Piece” (Bill Evans)The Profound Impact of Peace Piece – Bill Evans Time Remembered Documentary Film“Flamenco Sketches” (Miles Davis)“It's Been a Long, Long Time” (Harry James)“Put on Your Sunday Clothes” (Wall-E)“It Only Takes a Moment” (Wall-E)Ep. 042 - What Does It Mean to Be a Teacher-Facilitator?Get a free 15-minute consult with meIf you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyewWhenever you're ready, here are three ways we can work together:1️⃣ Need fresh teaching ideas? Schedule a quick 25-min. call and we'll brainstorm on a topic of your choice. Build an idea bank that you can pull from in the months to come.2️⃣ Have questions about teaching or managing your music career? Book a 60-min call and get personalized advice, creative ideas & step-by-step strategies on up to 3-4 teaching/business topics.3️⃣ Develop the skills and strategies you need to plan the year, refine your teaching methods, and manage your time more effectively with a suite of online courses and professional development trainings

"Non si vende la musica. La si condivide".(Leonard Bernstein)

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

This episode of The Other Side of the Bell, featuring trumpet legend and women's trumpet trailblazer Marie Speziale, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Marie Speziale trumpet interview" *Note to listeners and viewers: we're rebalancing our podcast release schedule, to alternate The Other Side of the Bell with our other two podcasts: Trombone Corner and The Horn Signal. Hence the back-to-back episode of TOSOTB this week!  If you haven't already, check out our other two shows for more fantastic interviews with horn-playing legends!   Trombone Corner The Horn Signal     About Marie Speziale:   Acknowledged as the first woman trumpeter in a major symphony orchestra, Marie Speziale retired from the Cincinnati Symphony Orchestra in 1996 after having served as Associate Principal Trumpet for thirty-two years (1964-1996).   A graduate of the College-Conservatory of Music in Cincinnati (CCM), Ms. Speziale studied with Robert Price, Eugene Blee and Arnold Jacobs. Her tenure with the Cincinnati Symphony Orchestra (CSO) included playing with the Cincinnati Opera, Cincinnati May Festival, Cincinnati Ballet and Cincinnati Pops Orchestras. She performed under the batons of Igor Stravinsky, George Szell, Leonard Bernstein, Aaron Copland, Eugene Ormandy, Eric Leinsdorf, Max Rudolf and so many more.   In addition to solo appearances with the Cincinnati Symphony, Cincinnati Pops and Cincinnati Chamber Orchestras, she was featured on NBC's Today Show at age 15, in an impromptu jam session with Duke Ellington shortly after joining the orchestra, and with Dave Brubeck on the Johnny Carson Tonight Show, the CSO European tour, and at the Interlochen Arts Academy. While a student at CCM, she recorded sound tracks for James Brown, whose career was launched by the historic King Records in Cincinnati.   Marie served on the CCM faculty, 1964 -1973, on the faculty at Miami University of Ohio, 1973 - 1979, and returned to CCM as Adjunct Associate Professor, 1979 - 2002. She was appointed Professor of Music at Indiana University 1999, serving there until a year after her 2001 appointment as Professor of Trumpet and Brass Department Chair at the prestigious Shepherd School of Music at Rice University.   In 1999, Marie was one of six Americans (and the only American woman) to be invited by the Tokyo International Music Festival to perform in its first Super World Orchestra. In addition to the National Trumpet Competitions, she has served as adjudicator for the ITG, IWBC and the prestigious Fischoff National Chamber Music competitions.   In 1996, Ms. Speziale performed with the Monarch Brass on its inaugural tour. She conducted the Monarch Brass at the 1997 and 2014 conferences, and played, toured and recorded with Monarch Brass Quintet and Monarch Brass Ensemble until retiring from playing.   President of IWBC, 1997 - 2001, Marie hosted the 2000 conference at CCM and served on the Board of Directors.   Ms. Speziale has won many awards and honors, including Leading Women in the Arts Award from the Greater Cincinnati Coalition of Women's Organizations, the Outstanding Woman of the Year in Music Award from the Tampa Tribune, the SAI Chapter, Province and National Leadership Awards, the Pioneer Award from the International Women's Brass Conference, the Golden Rose Award from the Women Band Directors International, the Woman of Excellence Award from the Italian Club of Tampa, the Distinguished Alumna Award from CCM and the Outstanding Alumni Award from the University of Cincinnati.   In 2018, Marie was inducted into the Cincinnati Jazz Hall of Fame as part of their recognition of the Symphony Jazz Quintet, of which she was a founding member. She was presented with the prestigious Honorary Award from the International Trumpet Guild at their 2018 conference. In 2019, Ms. Speziale was one of 100 women recognized by Cincinnati Arts Wave in their Celebration of Women in the Arts: Power of Her.   Marie Speziale retired as Professor Emerita from Rice University in 2013. She currently serves on the Board of Trustees of the American Classical Music Hall of Fame and the Emeritus Board of the IWBC.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - courtesy of Marie Speziale Audio Engineer - Ted Cragg  

We now pull out the third record from this seven disk box set. A record that features a relatively unknown work AND probably one of the most famous works in music history. Talk about a dichotomy.   This is music from the immortal Ludwig Van Beethoven. His symphonies live on in performances to this very day.   Plus I decided to play three movements from each symphony. I thought this joint needed some classing up.   So, settle in and get ready to hear the man who is said to have set music free in Volume 227: Beethoven's 4th & 5th.   For more information about this album, see the Discogs webpage for it.    Here is the promised Leonard Bernstein video.    Credits and copyrights   Beethoven, René Leibowitz, The Royal Philharmonic Orchestra, The Beecham Choral Society – The Nine Symphonies Of Beethoven Ludwig van Beethoven Label: Reader's Digest – RD 4-6 Format: 7 x Vinyl, LP Box Set Released: 1966 Genre: Classical Style: Romantic, Choral   This is record 3 of a 6 record set. We will hear two movements from the 4th Symphony and three from the 5th.   Symphony No. 4 In B-Flat Major, Op. 60 First Movement - Adagio; Allegro Vivace Second Movement - Adagio Fourth Movement - Allegro Ma Non Troppo   Symphony No. 5 In C Minor, Op. 67 First Movement - Allegro Con Brio Third Movement - Allegro Fourth Movement - Allegro   I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.   #beethoven #beethovensfifth  #musicalmemories #musichistory #vinylcollecting #vinylrecords #fyp

Johannes Wirix-Speentjes realiseerde zich dat de kunstgeschiedenis vol queer iconen zit - van Leonard Bernstein tot Freddie Mercury. Deze ontdekkingen inspireerden hem eerst tot een serie podcasts... Uitgegeven door SAGA Egmont Spreker: Johannes Wirix-Speetjens

In this episode of Half Hour with Jeff & Richie, we dive into the 2025 City Center Encores! production of Wonderful Town in New York City. We break down what worked-and what didn't-in this revival of Leonard Bernstein's musical about two sisters chasing their dreams in 1930s Greenwich Village. From the standout Encores! Orchestra and impressive choreography to the modernized costumes and a book that left us wanting more, we share our honest takes on the show's direction, design, and overall impact. We also talk about mixed audience reactions, the challenges of updating a classic, and why live theater in NYC is always worth the trip. Follow and connect with all things @HalfHourPodcast on ⁠⁠⁠Instagram⁠⁠⁠, and ⁠⁠⁠YouTube⁠⁠⁠. Share your thoughts with us on ⁠⁠⁠⁠⁠Wonderful Town⁠⁠ on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:25:40 - Disques de légende du vendredi 02 mai 2025 - En 1957 Glenn Gould et le Columbia Symphony Orchestra enregistrent le Concerto en ré mineur dirigé par Leonard Bernstein : une version historique.

durée : 00:25:40 - Disques de légende du vendredi 02 mai 2025 - En 1957 Glenn Gould et le Columbia Symphony Orchestra enregistrent le Concerto en ré mineur dirigé par Leonard Bernstein : une version historique.

New York Times bestselling author, veteran film critic, and New Yorker staff writer David Denby chats with Zibby about EMINENT JEWS, which profiles Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer. The conversation spans from Denby's early years under the mentorship of Pauline Kael to his decades-long career at The New Yorker, before diving into the cultural impact and complex legacies of the book's four iconic Jewish figures. Along the way, they discuss the evolution of Jewish identity in American media, the legacy of Bernstein as portrayed in Bradley Cooper's Maestro, Mel Brooks' fearless comedy, and what it means to reclaim the word "Jew."Purchase on Bookshop: https://bit.ly/42QJ84lShare, rate, & review the podcast, and follow Zibby on Instagram @zibbyowens! Now there's more! Subscribe to Moms Don't Have Time to Read Books on Acast+ and get ad-free episodes. https://plus.acast.com/s/moms-dont-have-time-to-read-books. Hosted on Acast. See acast.com/privacy for more information.

Diane and Sean discuss the Steven Spielberg adaptation of Jerome Robbins', West Side Story. Episode music is, "I Feel Pretty", by Stephen Sondheim and Leonard Bernstein, performed by Rachel Zegler from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

Le génie de la direction d'orchestre et de la composition, un charisme sans égal, une culture universelle, un charme ravageur : c'est peu dire que Leonard Bernstein aura cumulé tous les dons. Retour sur la personnalité flamboyante de celui que tout le monde appelait « Lenny ».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.

David Denby, long time New York Magazine film critic and acclaimed New Yorker writer, joins me to discuss his captivating new book "Eminent Jews." He examines how Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer—all born within eight years of each other—wielded their Jewish heritage as a creative weapon in post-WWII America. In our conversation, Denby reveals how these boundary-breaking figures transformed American culture with their bold, unapologetic genius while embodying a new Jewish confidence.

It's Miriam Shor, y'all! You Might Know Her From Younger, Hedwig and the Angry Inch, Magic Hour, GCB, Shortbus, Swingtown, Maestro, American Fiction, and Guardians of the Galaxy Vol 3. Miriam gave us all the scoop on grounding the zaniness of Diana Trout on Darren Star's Younger, leading the indie comedy Magic Hour, and appearing in "brilliant but canceled" series like GCB and Swingtown. All that, plus Miriam talked to us about being one of John Cameron Mitchell's "players," appearing in Shortbus and, of course, originating the role of Yitzhak in the Hedwig universe; popping up in prestige Oscar films; her musical theatre roots; New York City history; and dying by way of a paintbrush in The Americans. We just LOVED Miriam. Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Genesis' “Land of Confusion” + Garbage Pail Kids + Whoopi Goldberg latex mask Realistic latex masks on TikTok Eddie Fisher was married to Debbie Reynolds but cheated on Debbie with Elizabeth Taylor when her husband (their friend), Mike Todd died  Christina Milian and The Dream; Little Wayne and Nivea swapped Damian loves a sexy network drama and also HBO's Real Sex, Taxicab Confessions People raising hyper realistic fake babies Lars and the Real Girl ; Companion MIriam's first leading film role is in Magic Hour Dons a bald cap in Guardians of the Galaxy III American Fiction had a $5M budget Cord Jefferson's Oscar speech Played Diana Trout on Darren Star's Younger for 6 seasons Darren Star also made Beverly Hills, 90210, Melrose Place, Sex and the City, Emily in Paris, Good Christian Bitches Robert Harling wrote Steel Magnolias Cricket Caruth Reilly Met her husband doing karaoke - also with Bridget Everett Marie's Crisis got a resurgence thanks to Younger St Marks Is Dead by Ada Calhoun Il Posto Accanto (thanks to Debi Mazar); Supper; Gnocco Swingtown was championed by Nina Tassler but killed by Les Moonves Hedwig and the Angry Inch was Miriam's first audition and show in New York Met Lou Reed, Joey Ramone, Elliot Smith, Pete Townsend because of Hedwig Anne saw Debbie Does Dallas in the Jane Street Theatre but didn't get to see Hedwig Shortbus with John Cameron Mitchell Did Fiddler on the Roof tour in 1994 with Theodore Bikel (Captain Von Trapp in Original Broadway cast of The Sound of Music). “Edelweiss” was written for him by Rodgers & Hammerstein  Appeared at Public Theatre's production Lynn Nottage's Sweat (it later won the Pulitzer Prize)  Wants to do Shakespeare in the Park Was Mary in Kennedy Center Production of Merrily We Roll Along (A GREAT DRUNK in a FAT SUIT, her big scene at 15:40) Was a waitress in Todd Haynes' Mildred Pierce miniseries  Was directed by Bradley Cooper as Leonard Bernstein in Maestro Appeared as lesbian in The Wild Party with Sutton at Encores, played gay in And Just Like That Season 2; and was Yitzak in Hedwig Anne's obsessed with this portrait Morgan Freeman is supposed to have painted of a nude Diane Keaton in Five Flights Up (see right)  Friends with Cynthia Nixon and her wife Christine Played an artist in The Americans (“I'm pulling the drawing OUT of the paper”) Adam Scott and Carol Burnett are great drunks; we love a pilled out Samatha Mathis in American Psycho “Room Tone” is when Sound Dept records sound of the room to lay under the scene if necessary “Corpsing” is when you break character (Peter Hermann is worst) Miriam is Directing a documentary about NDAs Quincy Jones said that Richard Pryor had sex with Marlon Brando We hope Amanda Bynes gets a comeback. Faye Dunaway, Tatyana Ali, Leanna Creel and her triplets. Not Millie Bobby Brown Matlock cast on Jennifer Hudson runway  

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Robert Watt, former Assistant Principal Horn of the Los Angeles Philharmonic.   Robert Lee Watt was born in Neptune, New Jersey the 4th child of seven. His father, Edward Watt Jr. played trumpet professionally in a Jazz ensemble, “The New Jersey Squires of Rhythm.” When Robert was eight years old he got curious about his father's trumpet, kept high on a shelf. Too short to reach it, Robert conscripted his little brother Tony to help. But with Tony on his shoulders he lost his balance, causing both of them to fall to the floor, trumpet in hand.  Robert then attempted to fix the dents in the instrument by using a hammer. The badly damaged trumpet was the way Robert's father discovered his interest in horns. After a serious reproach, Robert's father tried to teach him trumpet. However, it wasn't until years later that Robert discovered the instrument he really wanted to play.    While helping his father clean out a room in the basement Robert discovered some old 78 recordings. The curious Robert gave the old recordings a spin. It was the “William Tell Overture” on hearing the French horns on that recording he asked his father what instrument came in after the trumpet. His father informed him that it was a “French horn” “A middle instrument that never gets to play the melody like the trumpet…why, do you like that horn?” His father asked. Robert replied, “It gives me chills when I hear it, I love it. That's what I want to play.” His father informed the young Robert that it really wasn't the instrument for him. Explaining that it was an instrument for thin-lipped white boys. “Your lips are too thick to play that small, thin, mouthpiece. You'd be better suited for the trumpet like you father.”  Upon reaching high school Robert seriously pursued the French horn. Approaching the band director of his high school in Asbury Park, Robert was again told that his lips were too thick to play the French horn. After being persistent, the band director gave Robert an old French horn that barely worked.  Nevertheless, Robert advanced quickly and was soon winning auditions for honor bands and orchestras throughout the state of New Jersey, bringing great honor to his high school. After high school Robert was accepted to the New England Conservatory of Music in Boston where he majored in music and studied French horn with Harry Shapiro of the Boston Symphony. Mr. Shapiro took great interest in Robert pushing him hard. At the end of his first year Mr. Watt was asked to perform the Strauss Horn Concerto No. 1, with the Boston Pops Orchestra under Arthur Fiedler. The following summer he received a fellowship to the Berkshire Music Festival at Tanglewood. Returning to the Conservatory for his third year Mr. Watt was informed by the president's office that the Conservatory had financial problems and that all scholarships would be canceled for the coming year. At the end of his junior year at the Conservatory Mr. Watt was informed by his French horn teacher that it was time for him to audition for a position in a major symphony orchestra. On the advice of his teacher, Mr. Watt chose Los Angeles and Chicago. When Mr. Watt returned from his audition journey, he had made the finals at both auditions. Two months later The Los Angeles Philharmonic offered him the position of Assistant First Horn. Making him the first African American French horn player hired by a major symphony orchestra in the United States. Mr. Watt joined the ranks of only a handful of African Americans playing in symphony orchestras in these United States. According to the American Symphony Orchestra League, that represented less than 2% of the total, out of twenty-six top orchestras. Mr. Watt held his position until 2007, a career spanning 37 years.  Mr. Watt performed several times as soloist with the Los Angeles Philharmonic under Zubin Mehta and several orchestras in the Los Angeles area as well as the Oakland Symphony performing the Richard Strauss Second Horn Concerto While a member of the Los Angeles Philharmonic Mr. Watt has performed with principal and guest conductors that included: Leonard Bernstein, Eugene Ormandy, Eric Leinsdrof, Carla Maria Giulini, Pierre Boulez, Zubin Mehta, Henry Lewis, James De Priest, Michael Tilson Thomas, Herbert Blumstedt, Andre Previn, Marin Alsop, Esa-Pekka Salonen and Christoph Von Dohnányi. Included among the many world renown artists he has performed with were:     Yo-Yo Ma, Luciano Pavarotti, Placido Domingo, Jose Carreras, Wynton Marsalias, Henry Mancini, Gladys Night, Isaac Hayes, Quincy Jones, Stevie Wonder, Ray Charles, Barry White, Rihanna, Paula Abdul, Herbie Hancock, Lalo Schifrin, The Carpenters, Benny Carter, Quincy Jones, Bon Jovi, Elton John and film composer, John Williams. He has played on film scores of: Spiderman II, Rush Hour, Mission Impossible, Spike Lee's “Miracle at St. Anna, Golf and many others.  Mr. Watt has played the music for the Twentieth Century Fox cartoons, The Simpsons, American Dad, Family Guy and King of the Hill for the past three years. He played on the five hour TV special “The Jacksons, an American Family” under Harold Wheeler, and played for several years for the TV program “Startrek Voyager.” In the late 80's Mr. Watt helped organize an African American Brass Quintet, “The New Brass Ensemble” which performed throughout the United States and abroad.  Mr. Watt has done public speaking lecturing on music and African history in the Los Angeles area. He was hired as guest professor at Los Angele City College teaching the course, “Music of Black Americans”. Recently Mr. Watt executive produced a short film in memory of his friend Miles Davis. The film is based on the musical composition “Missing Miles” by Todd Cochran, commissioned by Mr. Watt, for French horn and piano. The short film was chosen by the Pan African Film Festival and the Garden State Film Festival.  Mr. Watt is a licensed airplane pilot with an instrument rating. He is a saber fencer and he speaks German and Italian.

In deze aflevering zoeken we de verdieping van Pasen, maar wel met beide benen in deze woelige wereld. En dat geldt helemaal voor onze gast: Bart Groothuis, Europarlementariër voor de VVD. De laatste tijd is hij veel in de media te zien — bij Nieuwsuur, Eva Jinek, Buitenhof — omdat de thema's waar hij zich al jaren mee bezighoudt nu volop in de schijnwerpers staan. Denk aan de opkomst van autocraten en de weerbaarheid van Europa. Groothuis zit sinds 2020 in het Europees Parlement en werkte daarvoor ruim tien jaar bij Defensie, waar hij hoofd Cybersecurity was. Kortom: een man die midden in deze turbulente tijd staat. Maar ook... een man van Pasen (hij is katholiek), én een liefhebber van muziek. Zo sluiten we deze aflevering af met wat Groothuis ‘de seculiere Matthäus Passion' noemt. Wat wil een mens nog meer in deze tijd? David Boogerd spreekt Bart Groothuis uiteraard samen met vaste gast theoloog Stefan Paas, hoogleraar aan de VU in Amsterdam en de Theologische Universiteit Utrecht. We gaan weer live met De Ongelooflijke! Donderdagavond woensdagavond 26 juni zijn we live in de Nieuwe Buitensociëteit in Zwolle. Kaarten zijn te boeken via eo.nl/ongelooflijke (https://meer.eo.nl/de-ongelooflijke-podcast).

Order The Memory Palace book now, dear listener. On Bookshop.org, on Amazon.com, on Barnes & Noble, or directly from Random House. Or order the audiobook at places like Libro.fm.During mid-April, 2025, I'm doing a southern book tour, with stops in San Antonio, Houston, Gainesville, Montgomery, New Orleans, and Oxford. Find out more at www.thememorypalace.us/events.The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show, you can make a donation at Radiotopia.fm/donate. I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. Music Hallway Rug and a bit of Watering Plants by Omni Gardens Dripping Icicles from Lalo Schiffrin's great score to The Fox. Girl Talk by the Howard Roberts Quartet Jules et Therese from the score to Jules et Jim Franz Waxman's main title theme to Woman of the Year Your Love from the legend, Frankie Knuckles Then we go back and forth between Joe Morello's Timeless and Lara Downes playing Leonard Bernstein's Big Stuff. Learn about your ad choices: dovetail.prx.org/ad-choices

In mei viert Amsterdam een uniek muziekfestival. Wat past beter bij 750 Jaar Amsterdam dan de uitvoering van heel het werk van Gustav Mahler door de beroemdste orkesten, dirigenten en solisten uit heel de wereld? Mahler, de Weense componist van het 'Fin de Siècle' die Amsterdam als de tweede stad van zijn muziek beschouwde. Jaap Jansen en PG Kroeger praten met Thomas de Jonker, musicoloog van het Concertgebouw, over dit festival, Mahlers muziek, zijn leven in turbulente politieke tijden, in een periode van culturele bloei en over zijn unieke band met Nederland en het Concertgebouw.***Deze aflevering is mede mogelijk gemaakt door het Concertgebouw en met donaties van luisteraars die we hiervoor hartelijk danken. Word ook vriend van de show! Als vriend word je uitgenodigd om op zaterdag 17 mei met Jaap en PG in het Mahler Paviljoen op het Museumplein in Amsterdam te genieten van Mahlers Negende symfonie!Heb je belangstelling om in onze podcast te adverteren of ons te sponsoren? Zend een mailtje naar adverteren@dagennacht.nl en wij zoeken contact.Op sommige podcast-apps kun je niet alles lezen. De complete tekst plus linkjes en een overzicht van al onze eerdere afleveringen vind je hier***Gustav Mahler (1860-1911) was de beroemdste musicus van zijn tijd. Nog voor hij 40 werd, had de stokoude keizer Frans Jozef hem benoemd tot chef van de Hofopera in Wenen. Dát was al zeer politiek, want in Oostenrijk-Hongarije hadden joden maar net volledige burgerrechten, dus deze benoeming op de top van de kunsten was een sensatie. Door die artistieke roem en komeetachtige carrière was Mahler doelwit van heel wat vuige kritieken. De jaren tussen 1890 en 1914 leken wel onbezorgd, feestelijk in cultuur en vele contacten, maar de gouden jaren na het Weens Congres van 1815 waren voorbij. Het Habsburgse Rijk wankelde, oorlogen langs de randen braken uit en donderwolken aan de horizon trokken samen.Mahlers werk klinkt daarom soms bijna profetisch. Zijn Wenen bloeide, maar in de krotten en stegen leefden sloebers als Adolf Hitler en Josip Broz Tito en ondergedoken Russen als Vladimir Lenin, Leon Trotski en Jozef Stalin. De komende eeuw begon in de sloppen van deze stad.Gustav Mahler was inmiddels een wereldburger van de eerste golven van de globalisering. Hij werd chef van de Opera en de New York Philharmonic, dirigeerde van Ljubljana en Boston tot Rotterdam. Stoomschepen, treinen en zelfs de auto voerden hem over heel de wereld. Amsterdam werd zijn 'tweede stad'. In 1903, 1904, 1906 en 1909 kwam hij zijn eigen symfonieën dirigeren. Zo ontstond een unieke, organische relatie met de musici van het Concertgebouw en dirigent Willem Mengelberg. Samen schreven zij muziekgeschiedenis. Het belette de erg veeleisende 'divo' Mahler overigens niet gedurig te klagen over de regen, de kille wind en het lawaai van de havenstad. Na Mahlers dood in 1911 werd Amsterdam het cultureel centrum waar men hem bleef eren en spelen. In 1920 - meteen na de Vrede van Versailles - bracht de stad de kunstenaars van heel de wereld bijeen voor het eerste 'Mahler Feest'. Het vredesappel tijdens dat festival bewees nog eens hoezeer men politiek en menselijk snakte naar verzoening in een vreedzaam Europa. Dat ontstond pas na de jaren waarin Mahler door de Nazi's verboden was en hij in de vergetelheid leek te raken. Maar niet in Amsterdam en evenmin in New York. Dirigenten als Bernard Haitink en Leonard Bernstein zorgden voor een renaissance van Mahlers liederen en symfonieën. De nieuwe welvaart, de technologie van de elpee en de televisie én de filmkunst maakten Mahler een begrip voor velen. Hij werd de componist van een modern, verzoend Europa. In Amsterdam komt nu in 2025 in het festival de wereld bijeen. Hopelijk ook nu voor een moment en appèl tot vrede en verzoening. Toporkesten uit Chicago, Boedapest, Tokyo en Berlijn, jonge maestro's als Klaus Mäkelä en fameuze dirigenten als Kirill Petrenko komen Mahler dirigeren. ***Verder luisterenIn MAHLER! De symfonieën nemen Gijs Groenteman, Thomas Oliemans en Thomas de Jonker de negen voltooide symfonieën van Mahler minutieus onder de loep.387 - Niets is zó politiek als opera - 100 jaar Maria Callas373 - Nederland en België: de scheiding die niemand wilde Hoe een opera België van Nederland afscheurde346 - Alle Menschen werden Brüder!43 - Mozart op het Binnenhof198 - Slovenië met Mahlers Ljubljana305 - Andrea Wulf, Hoe rebelse genieën twee eeuwen later nog ons denken, cultuur en politiek beïnvloeden488 - Het Congres van Wenen (1814-1815) als briljant machtsspel71 - Caroline de Gruyter en Habsburg455 - De bufferstaat als historische - maar ongewenste - oplossing voor Oekraïne (met verwijzingen naar Habsburg)207 - Zomer 2021: Boekentips van PG! oa Händel in London, the making of a genius148 - Stefan Zweig als inspirator van Europa als culturele en politieke gemeenschap en schrijver van opera's38 - Oostenrijk als brug naar Rusland339 – De geopolitiek van de 19e eeuw is terug. De eeuw van Bismarck***Tijdlijn00:00:00 – Deel 100:28:51 – Deel 201:24:07 – Deel 301:57:58 – EindeZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Who are the most symbolic mid 20th century American Jews? In Eminent Jews, New Yorker staff writer David Denby tells the remarkable stories of Leonard Bernstein, Mel Brooks, Betty Friedan, and Norman Mailer. He explains how each embodied a new Jewish confidence after WWII, contrasting with earlier generations' restraint. Each figure pushed boundaries in their own way - Bernstein through his musical versatility, Brooks through his boundary-pushing humor about Jewish experiences, Friedan through her feminist theories, and Mailer through his provocative writing style. Five key takeaways * Post-WWII Jewish Americans displayed a newfound confidence and willingness to stand out publicly, unlike previous generations who were more cautious about drawing attention to their Jewishness.* The four figures in Denby's book (Bernstein, Brooks, Friedan, and Mailer) each embraced their Jewish identity differently, while becoming prominent in American culture in their respective fields.* Mel Brooks used humor, particularly about Jewish experiences and historical trauma, as both a defense mechanism and a way to assert Jewish presence and resilience.* Each figure pushed against the restraint of previous Jewish generations - Bernstein through his expressive conducting and openness about his complex sexuality, Friedan through her feminist activism, and Mailer through his aggressive literary style.* Rejecting the notion that a Jewish "golden age" has ended, Denby believes that despite current challenges including campus anti-Semitism, American Jews continue to thrive and excel disproportionately to their population size.David Denby is a staff writer at The New Yorker. He served as a film critic for the magazine from 1998 to 2014. His first article for The New Yorker, “Does Homer Have Legs?,” published in 1993, grew into a book, “Great Books: My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World,” about reading the literary canon at Columbia University. His other subjects for the magazine have included the Scottish Enlightenment, the writers Susan Sontag and James Agee, and the movie directors Clint Eastwood and the Coen brothers. In 1991, he received a National Magazine Award for three of his articles on high-end audio. Before joining The New Yorker, he was the film critic at New York magazine for twenty years; his writing has also appeared in The Atlantic, The New York Review of Books, and The New Republic. He is the editor of “Awake in the Dark: An Anthology of Film Criticism, 1915 to the Present” and the author of “American Sucker”; “Snark”; “Do the Movies Have a Future?,” a collection that includes his film criticism from the magazine; and “Lit Up,” a study of high-school English teaching. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Wat je in deze handelsoorlog en barrage van Trump-decreten niet zo gemakkelijk in cijfers kunt uitdrukken, zijn factoren als emotie, gevoel en angst. Amerikanen zien massaal af van een reis naar Europa. Europeanen kiezen andere bestemmingen dan de VS. Om nog maar niet te spreken van Canadezen, die spontaan een boycot zijn begonnen. Amerikanen vrezen niet meer welkom te zijn, omdat ze persoonlijk verantwoordelijk worden gehouden voor de strapatsen van Trump. En ze hebben gelijk, cijfers van CNN bevestigen dat beeld. In Zweden, Duitsland, Frankrijk en het VK staat nog maar een derde van de bevolking positief tegenover Amerikaanse toeristen. In Denemarken, waar ze altijd erg populair waren, ziet nog maar 20 procent ze graag komen – uiteraard door de kwestie-Groenland. Voor Europeanen is het vooral de angst om bij aankomst in de boeien te worden geslagen , voor dagen of weken de cel in te gaan en te worden vernederd. Dat is inmiddels een hoop reizigers overkomen, om administratieve wissewasjes , of om helemaal niets. Of omdat ze op de sociale media op je tablet of telefoon iets vinden dat ze staatsgevaarlijk vinden, zoals hevige kritiek op de Grote Leider. Transgenders moeten helemaal uitkijken. Aangezien Amerika sinds 20 januari als geslacht alleen man of vrouw erkent, moeten zij op hun inreisformulier invullen wat ze bij hun geboorte waren. Aankomen in Amerika was vroeger al intimiderend, maar nu zijn de reizigers vaak doodnerveus. Ik kan ervan meepraten, want ik reis er vandaag heen – als ingezetene, op weg naar huis. Je weet maar nooit. Echte clash En zo komen we bij de echte tragedie van de clash met Trump. Toeristen en ondernemers waren altijd weg van de VS, ook tijdens omstreden presidenten als Johnson, Nixon en Bush 2. De uitdagende steden, de adembenemende natuur, country & western, Bruce Springsteen, Leonard Bernstein, de kunst, de wetenschap – het waren magneten. En omgekeerd ook, steden als Kopenhagen, Londen, Rome, Parijs, Amsterdam – onze Amerikaanse vrienden stroomden erheen. Ze hadden ons in 1945 bevrijd, ze waren onze bondgenoten, onze beschermers. En dat is nu allemaal weg. Er heerst een gevoel van rouw. Bijna een vijfde van de expats in Amerika overweegt het land te verlaten. Tref ik vandaag een drukkere vertrekhal aan dan de aankomsthal? Het zou me niet verbazen.See omnystudio.com/listener for privacy information.

Singer, songwriter and film & TV composer Tawiah and bassoonist Linton Stephens join Jeffrey Boakye and Anna Phoebe as they add the last five tracks in the current series. Love and longing feature prominently, be it for a distant homeland, a parent to a child, or infatuation. But the curtain rises to a famous march representing the forces of darkness in the evil empire.Add to Playlist returns for a new series towards the end of May.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:The Imperial March (Darth Vader's Theme) by John Williams Maria from West Side Story by Leonard Bernstein & Stephen Sondheim Boricua en la Luna by Roy Brown Orange Moon by Erykah Badu Mother and Child Reunion by Paul SimonOther music in this episode:Nut Rocker by B. Bumble & The Stingers Mars by Gustav Holst Dance at the Gym from West Side Story by Leonard Bernstein Vietnam by Jimmy Cliff

DescriptionCarnegie Hall: A Stage for Legends in 60 Seconds. Take a minute to get the scoop!Fun FactIn 1962, The Beatles were rejected by Decca Records, who claimed "guitar groups are on the way out." Two years later, they rocked Carnegie Hall in a sold-out show, proving just how wrong Decca was! Their performance was so wild that police had to hold back screaming fans.__________________________________________________________________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.

Die Welt gibt den Takt an. Oder ist sie gerade aus dem Tritt geraten? Diese Woche wird es eher spannend als entspannend: Philipp widmet sich den krummen Taktarten. In Klammern findest Du hinter den Musikstücken die jeweilige Taktart. Los geht's: Eins, zwei, drei ... fünf, sieben Diese Musikstücke hast Du in der Folge gehört: Sting – "Seven Days" (5/4) // Leonard Bernstein – "Divertimento – Walzer" (4/4) // Stranglers – "Golden Brown" (3/4 – 4/4) // Peter Tschaikowsky – "Sinfonie 6 – Walzer" (5/4) // Can – "One More Night" (7/4) // Genesis – "Turn It On Again" (13/4) // Den Podcast "Ostwärts – Reisen zwischen Fernweh und Fettnäpfchen" findest du hier: https://www.ardaudiothek.de/sendung/ostwaerts-reisen-zwischen-fernweh-und-fettnaepfchen/13858675 Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

The Quadraphonnes, Portland’s all-women sax quartet, will perform the music of the eccentric artist Moondog at the Alberta Rose Theater on March 7. Moondog was a blind street musician in New York City who worked with some of the biggest names in music in the mid-20th century, including Philip Glass, Leonard Bernstein, Charlie Parker and Benny Goodman. We’ll hear more about the show and get an in-studio performance from the quartet: Mieke Bruggeman on baritone saxophone, Chelsea Luker on alto and soprano saxophone, Michelle Medler on tenor saxophone, and and Mary-Sue Tobin on alto and soprano saxophone.

This week, Emilio, Madeline, and Julian have the privilege of speaking to Jess LeProtto, an accomplished Broadway performer whose triple threat talents earned him the role of the thorny yet memorable Jet "A-Rab" in Steven Spielberg's 2021 remake of 'West Side Story'.  Jess talks about his unusual first exposure to the music of West Side Story, the development and audition process, receiving character backstory from the film's Pulitzer Prize winning writer Tony Kushner, and the new historical context specific to the remake.  He also talks about performing in the film's immersive sets, working with Rita Moreno, what it's like to take direction from Steven Spielberg, and the unexpected ways his skill set proved quite useful on set.  It's a deep dive into all things 'West Side Story' you won't want to miss!In addition to his work in the film, Jess LeProtto has performed on Broadway in Cats, Hello Dolly!, A Beautiful Noise, Carousel, On The Town, Newsies, Bye Bye Birdie, and more.  You can follow him on IG at the_jess_leprottoIf you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats   

Seit 20 Jahren gibt es die beliebten Sonntagskonzerte in Olching, organisiert vom Kulturverein Eleven-eleven. Wie der Verein sein Jubiläum feiert - und was das mit Leonard Bernstein zu tun hat.

The documentary, "The Only Girl in the Orchestra," is nominated for an Academy Award this year for Documentary Short Film. It tells the story of double bassist Orin O'Brien, the first female musician hired to play in the New York Philharmonic. O'Brien retired from the Philharmonic in 2021, after she was first hired by conductor Leonard Bernstein in 1966. Director Molly O'Brien (who is Orin's niece), discusses her aunt's story and the short film, streaming now on Netflix.

Rodgers and Hammerstein, George Gershwin, Stephen Sondheim, Leonard Bernstein: these are just a few names of composers and lyricists who changed the landscape and at times defined an entire era of Broadway. But what of the women who were writing shows at the same time? Why have some stories been included in the history books and others left out?In today's episode I'll be discussing these questions and more with Jennifer Ashley Tepper, a musical theater historian and producer and author of the book Women Writing Musicals: The Legacy that the History Books Left Out. Hosted on Acast. See acast.com/privacy for more information.

For our "Two Shot" episode of Best Supporting Acting Winners, Madeline, Julian and Emilio keep things local, and with the help of actor/teacher/fight director Ron Piretti, they dive into both film adaptations of the beloved musical 'West Side Story'.  Both the Jerome Robbins original and the Steven Spielberg remake have the distinction of earning the Best Supporting Actress Oscar in their respective years for their portrayals of the same character, Anita, by Rita Moreno in 1961 and Ariana DeBose in 2021.  In addition to exploring what makes Anita such an indelible and celebrated character, the group explores the ways in which the remake expands the world its characters inhabit, discuss which character portrayals they enjoyed the most, how the climactic "Rumble" is depicted on stage vs on film, the effect that differences in the order of musical numbers has on the greater narrative, and much more! Ron Piretti is a teaching artist for The Barrow Group in NYC, and you can find him and his work at ronpiretti.netIf you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats       

"The Only Girl In The Orchestra" is a short documentary film directed by Molly O'Brien that had its world premiere at DOC NYC in SHORTS: SHE STORIES section and was released globally on Netflix before the end of the year. The film follows Molly's aunt, Orin O'Brien, a trailblazing double bassist who became the New York Philharmonic's first female musician in 1966, hired by Leonard Bernstein. Now 87 and recently retired, she reflects on her remarkable career, valuing a quiet, supportive role for loved ones and students. O'Brien was kind enough to spend some time speaking with us about her work on the film, which you can listen to below. Please be sure to check out the film, which is now available to stream on Netflix and is up for your consideration for this year's Academy Awards for Best Documentary Short Film. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of One Symphony, Devin Patrick Hughes interviews Lucas Richman, a Grammy winning composer and conductor, exploring his career and insightful perspectives on music and its role in society.  Richman recounts his early exposure to music through composer biographies, sharing an anecdote about writing to Aaron Copland and receiving an encouraging postcard in return, which served as an early inspiration. The discussion moves to Richman's experiences with Leonard Bernstein, highlighting a masterclass on the Academic Festival Overture and the profound impact Bernstein had on his understanding of music and life. Richman emphasizes Bernstein's ability to infuse everything with love and teaching, noting his preference for discussing music with doctors rather than musicians due to their focus on the art rather than business.  Richman discusses his approach to composition, emphasizing his commitment to bringing social issues and awareness into the concert hall. He describes his symphony inspired by Bernstein's words, "This will be our reply to violence is to make music more intensely, more beautifully, more devotedly than ever before," with movements embodying intensity, beauty, and devotion. He also discusses "The Warming Sea," a piece addressing climate change, and Paths to Dignity, a violin concerto inspired by the issue of homelessness. In Paths to Dignity, Richman musically portrays the word "dignity" using specific notes, aiming to create a conversation and raise awareness. He collaborated with Mitchell Newman, a violinist and advocate for the unsheltered community, to bring attention to the human stories behind homelessness.  Richman reflects on his time as an assistant conductor, which instilled in him the importance of clarity and efficiency. He describes his experience conducting film scores for movies such as Seven and The Village, noting the collaborative nature of the work. Richman also shares his perspective on conducting his own music, expressing that others often bring fresh interpretations that he appreciates. Transitioning to the evolution of the conducting field, Richman acknowledges the influence of mentors like Daniel Lewis and Herbert Blomstedt, emphasizing the significance of respect, intent, and honesty. He expresses concern that some contemporary conductors prioritize showmanship over serving the music and fostering leadership skills. Turning to the role of a music director, Richman underscores the importance of community engagement, fundraising, and collaboration with the board and staff. He highlights initiatives such as streaming concerts, expanding educational programs, and forging relationships with local organizations. He also touches on his involvement in music education, including his piece Behold the Bold Umbrellaphant, which introduces children to classical music through imaginative characters. Thank you for joining us on One Symphony. Special thanks to Lucas Richman for sharing his music and story. Musical selections from today's episode: Brahms: Academic Festival Overture, Op. 80 (Live). Lucas Richman conducting. The Warming Sea composed by Lucas Richman. Performed by the Bangor Symphony Orchestra, Divisi Women's Choir, and the Bangor Area Youth Choir. Conducted by Jayce Ogren. Commissioned by the Maine Science Festival. Excerpts from Concerto for Violin: Paths to Dignity composed and conducted by Lucas Richman. Featuring Mitchell Newman on violin and the Bangor Symphony Orchestra. “The Gravel Road” from the film The Village. Composed by James Newton-Howard and conducted by Lucas Richman featuring Hillary Hahn on violin. “Tikkun Olam (Heal the World)” from Symphony: This Will Be Our Reply. Text and music by Lucas Richman. Performed by the Bangor Symphony Orchestra, conducted by Richman. Featuring the Oratorio Society and University of Maine Singers under the direction of Francis John Voight. For more information on Lucas, see www.lucasrichman.com. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

President Trump’s executive order seeks to cut federal funding for gender transition medical procedures. KCRW hears from a mom of a 17-year-old who’s been transitioning since age 4. After the 2018 Woolsey Fire destroyed Gary Scott’s Malibou Lake home, he rebuilt a smaller and more fireproof house on the same land.  In 1966, Leonard Bernstein gave Orin O’Brien a spot on the New York Philharmonic. She was the first woman to become a full-time, permanent member, and is the subject of a Netflix documentary nominated for an Oscar. Can LeBron James whip Luka Doncic into shape following the Lakers’ blockbuster trade for the young point guard from the Dallas Mavericks? 

American conductor Marin Alsop was the first woman to lead major orchestras in the UK, South America and in the United States, becoming principal conductor of the Baltimore Symphony Orchestra in 2007. Nominated for Grammy Awards five times, in 2013 she became the first ever woman to lead the Last Night Of The Proms, and is now regarded as one of the greatest conductors in the world. She talks to John Wilson about her professional musician parents who nurtured her love of music and supported her career choice from the age of 9 when she first revealed she wanted to be a conductor. Marin also talks about Leonard Bernstein, the great American composer and conductor, who inspired her ambitions and later became a mentor to her. She also chooses Carl Jung's work The Archetypes and the Collective Unconscious, and explains how his theories have helped her in leading orchestras around the world.Producer: Edwina PitmanMusic and archive used: Serenade in C major for String Orchestra, Op. 48; Valse, Pyotr Ilyich Tchaikovsky, New York City Ballet Orchestra, 1986 Irish Spring commercial: "Clean as a Whistle" 1980 Leonard Bernstein, Young People's Concerts: "What is Classical Music?", CBS Television, 24 January 1959 Omnibus: Leonard Bernstein's West Side Story, BBC2, 10 May 1985 Archive of Leonard Bernstein and Marin Alsop at the Schleswig-Holstein Musik Festival, 1987 Leonard Bernstein, Young People's Concerts: "What Does Music Mean?", CBS Television, 18 January 1958 Archive of OrchKids concert, Baltimore Symphony Orchestra Woman's Hour, BBC Radio 4, 26 July, 2005 Rhapsody in Blue, George Gershwin, Jean-Yves Thibaudet, Baltimore Symphony Orchestra, Marin Alsop Last Night of the Proms, BBC1, 7 September 2013 Symphony No. 2 in C Minor, "Resurrection", Gustav Mahler, Polish National Radio Symphony Orchestra, Marin Alsop

In this interview with Tom Morris, a veteran of orchestra management whose career included leadership roles with the Boston Symphony and the Cleveland Orchestra, conductor Devin Patrick Hughes provides a comprehensive look at the inner workings of orchestral institutions, the evolution of their management, and the crucial role of music in their success. Morris's journey from a percussionist to a top-level administrator offers a unique perspective, and his reflections provide valuable lessons for anyone interested in the performing arts. One of the most compelling aspects of the interview is Morris's discussion of how his musical background shaped his management philosophy. He emphasizes his deep understanding of musicians' lives, having experienced firsthand the challenges and demands of performing in an orchestra. This empathy enabled him to build trust with musicians and approach labor negotiations with a unique perspective. Morris's belief that "ultimately these institutions are about the music" underscores the importance of passion and artistic integrity in organizational leadership. The episode also explores the historical evolution of orchestra management, particularly the Boston Symphony Orchestra. Morris recounts how, before the 1970s, the orchestra relied on simple postcards for subscription renewals. He explains that over the seventies and eighties, the percentage of the budget earned from ticket sales gradually fell. This shift necessitated the development of marketing and fundraising departments, leading to a significant increase in administrative staff.  Morris shares fascinating insights about the Boston Pops, emphasizing that it was founded in 1885, before Arthur Fiedler became its 17th conductor in 1929. The Boston Symphony created the Pops to provide more employment for musicians and to perform lighter music for a broader audience. He discusses how the Boston Symphony transformed Symphony Hall into a "beer hall" to accommodate a more informal setting for the Pops concerts. He explains that in the early days the Pops sold blocks of tickets to community groups and did not have to focus on individual ticket sales. He also recounts how the popularity of Arthur Fiedler was enhanced even further by the "Evening at Pops" television series. Morris details the process of selecting John Williams as Fiedler's successor, explaining that Williams was chosen for his musical integrity and knowledge of the symphony orchestra. Furthermore, the interview addresses the crucial dynamic between management, the music director, and the board of directors, which Morris refers to as the "Bermuda Triangle.” Morris suggests that this structure can function perfectly if the right people are in those roles and are bound by a common vision. He also emphasizes that having a collaborative culture is essential, but that collaborative decision-making should be avoided. Morris stresses the importance of clear lines of authority and not settling for "good enough" when hiring. He also shares that when hiring he uses Jim Collins' three C's: competence, character, and chemistry. These points underscore the need for strong leadership and a shared vision in any successful organization. Morris also touches on the importance of thoughtful programming. He humorously mentions his collection of "dumb programs" and emphasizes the importance of carefully considering the combination of pieces in a concert. He contrasts examples of bad programming with one of his favorites, a concert he organized with Christoph von Dohnányi, which combined pieces by Ligeti, Wagner, and Bruckner. This conversation highlights that thoughtful artistic direction is an essential element in the success of an orchestra. Thank you for joining us on One Symphony. Special thanks to Thomas Morris for sharing his life and leadership. You can pick up a copy of Always the Music: How a Lifelong Passion Framed a Future for Orchestras wherever you get your books. For a list of recordings played on today's episode, please check out our show notes. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music. https://www.alwaysthemusic.com Featured Music All music selections for this episode feature the Boston Pops.  Tchaikovsky's Serenade for Strings in C Major, Op. 48: Waltz. Conducted by Arthur Fiedler, from the album Fiedler: Greatest Hits.  L'Arlésienne Suite No. 2: Farandole. Composed by Georges Bizet. Conducted by Arthur Fielder, from the album Fiedler: Greatest Hits. “Manhattan Skyline.” From the album Disco Inferno / Manhattan Skyline. Conducted by Arthur Fiedler.  “I Got Rhythm, Embraceable You.” From the album Boston Pops Salutes Astaire, Kelly, Garland. Composed by George and Ira Gershwin. Conducted by John Williams.  “Flying Theme” from E. T. Composed by John Williams. Performed live by John Williams conducting the Boston Pops in 2002.  “America Medley: America.” From the album Salute to America. Composed by Leonard Bernstein. Lyrics by Stephen Sondheim. Conducted by John Williams.  “None But The Lonely Heart.” From the album Pops a la Russe. Composed by Pyotr Ilyich Tchaikovsky. Conducted by John Williams.  The Snow Maiden - Suite - Danse des Bouffons. Composed by Nikolai Rimsky-Korsakov. From the album Pops a la Russe. Conducted by John Williams.  Holst: The Planets, op.32: 3. Mercury, The Winged Messenger. From the album Boston Pops Orchestra: John Williams. Conducted by John Williams. Overture from The Merry Wives of Windsor. From the album Fiedler: Greatest Hits. Conducted by Arthur Fiedler.  “Pizzicato Polka.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  “Funeral March of a Marionette.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  

Lady Gaga, Marion Anderson, Beyoncé, Frank Sinatra, Pete Seeger, Maya Angelou — musicians and poets have been powerful headliners at inauguration ceremonies across the years signaling change, new beginnings and reflecting the mood of the country and a new administration.In January 1973, following the Christmas bombing of Vietnam, conductor Leonard Bernstein gathered an impromptu orchestra to perform an "anti-inaugural concert" protesting Richard Nixon's official inaugural concert and his escalation of the war in Vietnam. One of the main performances of the official inaugural was the 1812 Overture with its booming drums replicating the sound of war cannons.In 1973, the United States was reaching the concluding stages of our involvement in Vietnam.  And while the war would soon come to an end, the weeks leading up to the second inauguration of Richard Nixon were met with some of the most intense and deadly bombing campaigns of the war.The anti-war movement was unhinged. They had marched, they protested — to seemingly no avail when it came to changing Nixon's foreign policies. So what to do next...Leonard Bernstein performed an “anti-inaugural concert” — a concert for peace — following his belief that by creating beauty, and by sharing it with as many people as possible, artists have the power to tip the earthly balance in favor of brotherhood and peace.This story was produced by Brandi Howell with special thanks to Michael Chikinda, Alicia Kopfstein, Matt Holsen, and Bernie Swain. 

durée : 01:58:10 - Fictions / Théâtre et Cie - "J'ai demandé à Dieu et Dieu m'a dit : prends Bernstein." C'est avec ces mots qu'en 1943 Artur Rodzinski choisit comme assistant à la tête de l'Orchestre Philharmonique de New-York un jeune homme de 25 ans, pianiste, compositeur confidentiel, chef d'orchestre encore inconnu.

This is the WORLD PREMIERE of “THE RICH ONES ALL STARS”, the new extended version of my recent single, “The Rich Ones”. The new version features me and my band, Project Grand Slam, along with 8 World Class musicians who previously have been guests on this podcast. Here's the back story.A few months ago I released a single, “The Rich Ones”, featuring Randy Brecker of Blood Sweat & Tears fame on flugelhorn. The single was very popular, and I decided to do something a bit daring and different. I've had many World Class musicians as guests on the podcast. So I asked several of them if they would record a new solo for the track and I would release a new, extended version of the tune. I'm pleased to say that everyone who I asked agreed.The new version, “The Rich Ones All Stars”, features the following musicians in this order.BILLY COBHAM of Mahavishnu Orchestra fame, recorded a new drum track for the tune. Billy is one of the most revered drummers of all time.I kept RANDY BRECKER'S flugelhorn solo from the original version of the tune because it's just so darn good.JOHN HELLIWELL was the saxophonist in Supertramp, one of the greatest bands of the rock era. John contributed a fantastic sax solo to the piece.PAT COIL is an acclaimed jazz pianist who has performed with Michael McDonald, Carmen McRae and many others. He added a sublime piano solo.PETER TIEHUIS is the heralded Dutch guitarist who performs with the Metropole Orkest. He contributed a wonderful guitar solo.ANTONIO FARAO is the extraordinary Italian jazz keyboard player who has performed with Joe Lovano and Jack DeJohnette among others. Antonio contributed a smokin' Fender Rhodes keyboard solo.ELLIOTT RANDALL is the incredible guitarist who gave the world the unforgettable solo on Steely Dan's “Reelin' In The Years”. Elliott gave me a classic guitar solo for the new track.And last, but certainly not least, is DAVID AMRAM, who is, simply put, a National Treasure at 96 years young. He was Leonard Bernstein's first composer in residence for the New York Philharmonic and also the composer for Shakespeare In The Park among many other accomplishments. David contributed a stunning Pennywhistle solo for the track.So there it is. 8 World Class musicians who have contributed their talent to this project.TO WATCH THE OFFICIAL VIDEO CLICK HERETO LISTEN AND STREAM THE TRACK AND FOR ALL LINKS CLICK HERE---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------ROBERT'S SINGLES:“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

JoAnn Falletta is a Classical Music Superstar. She is a phenomenally accomplished lady. For 25 years she has been the Music Director and Conductor of the Buffalo Philharmonic Orchestra. She was the first female conductor in the United States of a major symphony orchestra. She's a Juilliard graduate. She studied with Leonard Bernstein. She's a 2x Grammy winner. And that's just scratching the surface of all of her accomplishments.My featured song is “New York City Groove”, from the album Made In New York by my band Project Grand Slam, in honor of the fact that both JoAnn and I grew up in New York City. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with JoAnn at:www.joannfalletta.com—---------------------------------------ROBERT'S SINGLES:“SOSTICE” is Robert's newest single, with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Alexander's dad loved convertibles and dove them with style. Since dad was Leonard Bernstein does it really matter that he had it all wrong? Click and Clack take on a great American composer(and lose!) on this episode of the Best of Car Talk.Get access to hundreds of episodes in the Car Talk archive when you sign up for Car Talk+ at plus.npr.org/cartalkLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Steven Spielberg is the most successful director of his generation and the highest-grossing director of all time: his films have taken more than $10 billion worldwide. From Jaws to E.T. and Jurassic Park to Schindler's List, his storytelling has captivated audiences around the world.Steven grew up in Phoenix, Arizona, where he started making films as a young boy. In 1958 he made a short Western which won him a Boy Scout merit badge. He screened it to his entire Scout troop and their laughter and applause got him hooked on film making.In 1971 he directed a television movie called Duel about a motorist who is pursued by a murderous truck driver. The film attracted good reviews from critics, and before the age of 30, Steven had directed his first global hit: Jaws grossed $471 million worldwide and is credited as heralding the arrival of the blockbuster era. He now says Jaws was ‘a free pass into my future.'He has won three Academy Awards, and has received eight nominations for best director. The Fabelmans, his most recent film, is a semi-fictionalised account of his own coming of age, drawing on his film-making experiences as a child.Steven is married to the actor Kate Capshaw, who starred in his film Indiana Jones and the Temple of Doom, and they have seven children.DISC ONE: The Man Who Shot Liberty Valance by Gene Pitney DISC TWO: Fugue in G minor, BMW 578 – “The Little” arranged by Leopold Stokowski, composed by J.S Bach, performed by Philadelphia Orchestra and conducted by Yannick Nezet-Seguin DISC THREE: Michelle by The Beatles DISC FOUR: What the World Needs Now Is Love by Jackie DeShannon DISC FIVE: Come Fly with Me by Frank Sinatra DISC SIX: The Ghost of Tom Joad by Bruce Springsteen DISC SEVEN: Somewhere, composed by Leonard Bernstein and Stephen Sondheim, performed by Reri Grist DISC EIGHT: Coolhand by Buzzy LeeBOOK CHOICE: The Grapes of Wrath by John Steinbeck LUXURY ITEM: H-8 Bolex camera CASTAWAY'S FAVOURITE: Coolhand by Buzzy LeePresenter Lauren Laverne Producer Paula McGinley

The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring.  No Broadway show had ever been so gritty, so tragic, and so raw.  The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City.  The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare's Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!