Podcasts about liszt

The Martian Chronicles by Ray Bradbury - Introduction w/ Jesan Sorrells---00:00 - Welcome and Introduction - The Martian Chronicles by Ray Bradbury. 01:00 Exploring The Martian Chronicles.07:04 Ray Bradbury's Post World War 2 World Building.09:20 Martian Civilization Encounter.13:19 Bradbury's Inspiration for The Martian Chronicles.16:56 Existential Exploration in The Martian Chronicles.21:50 Colonial Destruction and Moral Escape.26:53 Screenwriting Debate: Plot vs. Realism.27:58 The Martian Chronicles: Escaping Existential Dread.33:50 Bradbury's Take on Segregation.37:25 Bradbury's Exodus to Mars.40:27 Return from Mars: A Cynical Irony.47:01 Reviving Sincerity in Leadership.49:54 The Illusion of Empathy vs. Sincerity.---Music - Overture to Tannhauser (piano version, Liszt), S. 442. ---Opening and closing themes composed by Brian Sanyshyn of Brian Sanyshyn Music.---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the 2022 Leadership Lessons From the Great Books podcast reading list!--- ★ Support this podcast on Patreon ★ Subscribe to the Leadership Lessons From The Great Books Podcast: https://bit.ly/LLFTGBSubscribeCheck out HSCT Publishing at: https://www.hsctpublishing.com/.Check out LeadingKeys at: https://www.leadingkeys.com/Check out Leadership ToolBox at: https://leadershiptoolbox.us/Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members.---Leadership ToolBox website: https://leadershiptoolbox.us/.Leadership ToolBox LinkedIn: https://www.linkedin.com/company/ldrshptlbx/.Leadership ToolBox YouTube: https://www.youtube.com/@leadershiptoolbox/videosLeadership ToolBox Twitter: https://twitter.com/ldrshptlbx.Leadership ToolBox IG: https://www.instagram.com/leadershiptoolboxus/.Leadership ToolBox FB: https://www.facebook.com/

Send us a textDescriptionShowtime with Strings Attached: The Romantic Concerto in 60 Seconds. Take a minute to get the scoop!Fun FactFranz Liszt's piano concertos were so demanding that critics sometimes accused him of showing off. He didn't mind—he once said performing should “transport the listener.” Paganini caused similar uproar: audiences whispered he'd sold his soul to the devil to master the violin. Marketing hype, 19th-century style.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.

Hoje vamos mergulhar na Sinfonia de Dante, uma das obras mais visionárias e, ao mesmo tempo, desafiadoras de Franz Liszt. A estreia aconteceu em 7 de novembro de 1857, no Teatro Real de Dresden, sob regência do próprio Liszt. A recepção? Digamos… nem todos estavam preparados para tanta ousadia.Apresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg e Rafael Hassan.Tudo começou lá em 1837, quando Liszt estava curtindo a paisagem do Lago de Como ao lado de sua companheira Marie d'Agoult. Entre um passeio e outro, ele mergulhou na leitura da Divina Comédia de Dante Alighieri. Foi aí que nasceu a ideia de transformar esse épico literário em música – mas não apenas música: Liszt queria juntar som, poesia e até artes visuais. Teve até planos malucos, como projetar imagens em lanterna mágica durante o concerto e usar uma máquina de vento experimental para simular as rajadas do Inferno. Isso em 1850 e poucos! Visionário demais, né?Em 1855, ele escreveu para o amigo e futuro genro, Richard Wagner, contando sobre a obra que estava compondo. A ideia era uma sinfonia em três movimentos: Inferno, Purgatório e Paraíso. Só que Wagner deu aquele pitaco clássico: disse que o Paraíso não podia ser representado em música. Liszt até aceitou o conselho – meio a contragosto – e deixou o último movimento em aberto, reduzindo-o a um coro feminino com trechos do Magnificat.A estreia rolou em 7 de novembro de 1857, no Teatro Real de Dresden, com o próprio Liszt regendo. E olha… foi um fiasco! Faltou ensaio, a imprensa caiu matando e até amigos próximos ficaram com o pé atrás. Mas a obra sobreviveu ao tempo e hoje é considerada uma das mais ousadas tentativas de unir literatura e música no século XIX.

durée : 01:28:12 - Relax ! du jeudi 04 septembre 2025 - par : Lionel Esparza -  À l'occasion du centenaire de la naissance de l'immense pianiste Aldo Ciccolini, le label Erato publie un coffret un exceptionnel de 60 CDs réunissant notamment des cycles complets de Liszt, Déodat de Séverac ou Saint‑Saëns, et quelques inédits enregistrés en concert. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:12 - Relax ! du jeudi 04 septembre 2025 - par : Lionel Esparza -  À l'occasion du centenaire de la naissance de l'immense pianiste Aldo Ciccolini, le label Erato publie un coffret un exceptionnel de 60 CDs réunissant notamment des cycles complets de Liszt, Déodat de Séverac ou Saint‑Saëns, et quelques inédits enregistrés en concert. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Send us a textThis week on Here's What We Know, Gary Scott Thomas sits down with Robert Emery,  world-renowned conductor, pianist, and Founder of The Arts Group, one of the UK's most dynamic entertainment companies. From childhood prodigy to international maestro, Robert brings a refreshing, fun, and deeply human perspective on classical music, creativity, and the colorful personalities behind history's greatest composers.In This Episode:Why classical music was once the “pop music” of its timeSurprising connections between country, rock, and operaRobert's bold journey from a 7-year-old pianist to global conductor and entrepreneurWhat conductors really do and the leadership lessons they offerWild, unforgettable stories about legends like Liszt and MozartHow classical themes show up everywhere, from film scores to cartoonsRobert's drive to keep innovating through conducting, musicals, and TED's List for online music educationThis episode is sponsored by: Reed Animal Hospital (Be sure to tell them Gary sent you!) Bio:Robert Emery is a conductor, pianist, and serial entrepreneur. He is lucky enough to travel the world; ranging from performances in London's Royal Albert Hall, through to the Sydney Opera House, Robert has seen them all. Besides music, he is the Founder & Director of The Arts Group, one of the most diverse entertainment companies in the UK. Within the portfolio is a national music tuition agency, symphony orchestra, choir, artist agency, record label, and production company. Aside from that, he lives in London and Cambridge, has a wife (Mrs. E), a toddler (Master T), a baby (Master A), and 4 cats.Website: https://robertemery.com/YouTube: https://www.youtube.com/robertemeryofficialFacebook: https://www.facebook.com/robertemeryofficialInstagram: https://www.instagram.com/robertemeryofficial/Connect with Gary: Gary's Website Follow Gary on Instagram Gary's Tiktok Gary's Facebook Watch the episodes on YouTube Advertise on the Podcast Thank you for listening. Let us know what you think about this episode. Leave us a review!

There is an old joke, "What is Beethoven up to these days?" Answer, "Decomposing." Haha very funny. Everybody laughs. But what if I told you that in the 1960's famous dead musicians of the past got tired of decomposing and decided to start re-composing? With the help of a mild mannered British single mother and lunch lady, a full Liszt of the greats were ready to take the stage once more and start their encore.  Support us on Patreon! patreon.com/leasthaunted Join us on Discord! https://discord.gg/6jSqPXupJk Follow us on Tumblr! https://leasthaunted.tumblr.com Check out our Skeets! https://bsky.app/profile/leasthaunted.bsky.social Support The Trans Lifeline https://translifeline.org and The Trevor Project https://www.thetrevorproject.org Least Haunted & The Least Haunted Podcast ©2020-2025 Sequoidea Productions LLC. 

durée : 01:28:34 - Musique matin été du mercredi 20 août 2025 - par : Gabrielle Oliveira-Guyon - Elle n'avait pas enregistré Liszt depuis près de quinze ans. Avec son nouvel album "Phantasmagoria", Lise de la Salle revient à ses premières amours avec l'un de ses compositeurs fétiches. Également au Festival de Rocamadour en cette fin d'été, elle sera en tournée dans toute l'Europe à la rentrée. - réalisé par : Delphine Keravec Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:27:50 - Lise de la Salle, pianiste - Elle n'avait pas enregistré Liszt depuis près de quinze ans. Avec son nouvel album "Phantasmagoria", Lise de la Salle revient à ses premières amours avec l'un de ses compositeurs fétiches. Également au Festival de Rocamadour en cette fin d'été, elle sera en tournée dans toute l'Europe à la rentrée. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:04:48 - Musique matin - par : Max Dozolme - Aujourd'hui on fête un joyeux anniversaire à tous les natifs du 22 octobre ! Vous êtes nés le même jour que l'un des plus grands compositeurs du 19e siècle, c'est Franz Liszt, l'auteur d'un Rêve d'Amour, une partition très simple et chantante qui avait donc tout pour devenir un tube ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

If you “get” Gundula Janowitz, then you really get her, and this birthday tribute will be a delectable treat. If, however, you don't get her, or don't think that you get her, you might want to give this episode a try, anyway, for it focuses on her work as a Lieder singer. It is my contention that she was one of the very finest song recitatlists of the late 20th century. Like Grace Bumbry, Margaret Price, Helen Donath, and a number of others, she balanced her work in opera with superlative work on the recital stage. To support my informed opinion, I have found a number of rare live recordings from Amsterdam, Tokyo, and Athens, in which the beloved soprano performs (with her pianists Irwin Gage, Charles Spencer, and Peter Waters and conductor Rudolf Barshai), songs of Strauss, Schubert, Liszt, Wagner, and Hindemith. The episode is supplemented by music by Haydn, Bach, and Robert Stolz, the last an early-career Janowitz performance of his obscure opera Die Rosen der Madonna. In these works, she is heard in duet with Waldemar Kmentt and last week's featured singer, Hermann Prey. Herzliche (aber nachträgliche) Geburtstagsgrüße an unsere geliebte Frau Kammersängerin! 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.

Tonight, we'll read about the musical genius Franz Liszt as a child piano prodigy from the book “Life of Liszt” written by Ludwig Nohl. Liszt was a Hungarian composer, pianist and teacher of the Romantic era. He gained renown during the early nineteenth century for his virtuoso skill as a pianist. Since he often appeared three or four times a week in concert, it could be safe to assume that he appeared in public well over a thousand times during one eight year period. During his virtuoso heyday, Liszt was described by the writer Hans Christian Andersen (who has written many fairy tales featured by Snoozecast) as a "slim young man...[with] dark hair hung around his pale face". He was seen as handsome by many, with a German poet writing concerning his showmanship during concerts: "How powerful, how shattering was his mere physical appearance". — read by 'N' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoices

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.Všechny díly podcastu Výlety můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Zámek v Hradci nad Moravicí na Opavsku patří k nejvýznamnějším památkám v Moravskoslezském kraji. Tvoří ho rozlehlý přírodně krajinářský park s řekou Moravicí a dvěma zámky, které mají nejen různou barvu, ale na první pohled i naprosto odlišnou architekturu.

Georgian pianist Mariam Batsashvili shares her journey from student to international artist. She reflects on her roots in Georgia's rich musical culture, her transformative experience as a BBC New Generation Artist, and the thrill of returning to the Royal Albert Hall. Mariam discusses the emotional depth of Liszt's music, recounts how reading Dante at 13 shaped her interpretation of his Fantasia quasi Sonata, and explores the spiritual dimension of performance

durée : 01:58:34 - Alfred Brendel, les enregistrements des années soixante - par : Philippe Cassard - Celui qui, né en 1931 et s'est retiré de la scène en 2008, a été sans doute le grand interprète des classiques viennois (Haydn, Mozart, Beethoven) et de Schubert, a, dans ses jeunes années, joué la musique du XXème siècle et Liszt de manière transcendante. - réalisé par : Davy Travailleur Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:42 - Esa-Pekka Salonen, du grand répertoire à la création - par : Aurélie Moreau - Le pianiste Alfred Brendel était un immense interprète de Beethoven, Schubert, Liszt… et aussi l'auteur d'essais "extrêmement pertinents, mines de renseignements, de réflexions et de pensées pour les musiciens". (Ph. Cassard, Les Grands Entretiens) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In his later years, Liszt increasingly pursued his favoured causes by using piano transcriptions of other composers' works; and his own symphonic poems appeared as transcriptions from the 1850s. In 1865 Liszt famously complained to Hans von Bülow that “I have better things to do with my time than transcribe, paraphrase, and illustrate, and from now on I will be more discriminating in this recreation.” This declaration, however, was not rigorously pursued, and the lucrative activity continued to support Liszt and his causes all his life. Raymond Bisha introduces a new album of Mozart and Donizetti opera transcriptions by Liszt, performed by Swiss-Russian pianist Konstantin Scherbakov, one of today's most versatile and accomplished artists.

durée : 01:28:28 - Relax ! du vendredi 13 juin 2025 - par : Lionel Esparza - Une émission relaxante, un patchwork qui se construit tranquillement entre Lassus et Chabrier, Haydn, Liszt et... du plaisir ! - réalisé par : Antoine Courtin

durée : 01:28:18 - En pistes ! du jeudi 12 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - L'orchestre de Melbourne nous offre une nouvelle version des Planètes de Gustav Holst, mise en miroir avec "Terre" de la compositrice australienne Deborah Cheetham Fraillon. Côté piano, de nouvelles parutions discographiques sont consacrées à Mendelssohn, Liszt et Beethoven.

durée : 01:28:18 - En pistes ! du jeudi 12 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - L'orchestre de Melbourne nous offre une nouvelle version des Planètes de Gustav Holst, mise en miroir avec "Terre" de la compositrice australienne Deborah Cheetham Fraillon. Côté piano, de nouvelles parutions discographiques sont consacrées à Mendelssohn, Liszt et Beethoven.

durée : 01:28:43 - Krystian Zimerman, le perfectionnisme et l'audace - par : Aurélie Moreau - Le pianiste Krystian Zimerman est pour sa consœur Hélène Grimaud "un architecte des sons, de la forme et des émotions. Un idéal inégalable, l'un des rares génies en exercice." (Le Monde). Aujourd'hui : Brahms, Liszt, Beethoven, Chopin, Rachmaninov…

durée : 00:18:15 - Le Disque classique du jour du vendredi 06 juin 2025 - Lise de la Salle revient à l'un de ses compositeurs de prédilection, Franz Liszt. Dans ce disque, elle propose notamment la Sonate en si mineur, en miroir des Réminiscences de Don Juan, une partition rarement fréquentée de nos jours.

durée : 00:18:15 - Le Disque classique du jour du vendredi 06 juin 2025 - Lise de la Salle revient à l'un de ses compositeurs de prédilection, Franz Liszt. Dans ce disque, elle propose notamment la Sonate en si mineur, en miroir des Réminiscences de Don Juan, une partition rarement fréquentée de nos jours.

Celui que la presse a consacré comme « Le Pianiste du siècle » ou « La réincarnation de Liszt » a traversé beaucoup d'épreuves avant de faire de la France sa patrie d'adoption. 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.

Interpreten: Pablo Ferrández, Julien Quentin, Swedish Chamber Orchestra, Martin FröstLabel: Sony ClassicalEAN: 198028986328Manchmal darf es auch wohlklingender Hochglanz sein, der es zur CD der Woche auf radio klassik Stephansdom schafft. Wie das Album Moonlight Variations des Cellisten Pablo Ferrández. „Nachtmusiken“ scheinen derzeit Hochsaison zu haben, wenn man an die Nocturnes-, Serenaden- usw. CDs der vergangenen Wochen und Monate denkt. Mit der Nacht in der Musik hat sich nun auch Pablo Ferrández beschäftigt, und das, obwohl er laut eigener Aussage ein ausgesprochener Morgenmensch ist. Träumerische Melodien von Schumann, Schubert, Liszt, Debussy, Chopin, Ponce und Dvořák hat der junge Cellist Ferrández teils in Originalbearbeitungen, teils in Eigenarrangements mit Orchester- oder Klavierbegleitung aufgenommen. Mit den Rokoko-Variationen von Peter Iljitsch Tschaikowsky findet die CD aber auch einen ganz und gar nicht nächtlichen Höhepunkt, aus musikalischer Sicht aber völlig irrelevant…„Einer der Gründe, weshalb ich so gerne Lieder spiele, ist, dass wir mit dem Cello immer zu singen versuchen.“ So wird Pablo Ferrández im Beiheft der CD zitiert und genau das gelingt ihm auch in den unterschiedlichen Bearbeitungen auf dieser CD. Schon bei Rusalkas Lied an den Mond zur Eröffnung oder auch Schuberts Nacht und Träume. „Heil'ge Nacht, du sinkest nieder; Nieder wallen auch die Träume, wie dein Mondlicht durch die Räume, durch der Menschen stille Brust.“ Da ist er wieder, der Mond. Schumanns Träumerei oder der dritte Liebestraum von Liszt fügen sich genauso ins Spektrum und erhellen den musikalischen Nachthimmel, wie der kleine Stern Estrellita des mexikanischen Komponisten Manuel Ponce. Selten genug, dass das Hauptwerk einer CD, wie hier die Rokoko-Variationen von Tschaikowsky, zur Zugabe mutiert. Makellos und musikantisch gelingen die sieben Variationen auf ein Rokoko-Thema, wobei auch das Schwedische Kammerorchester unter Martin Fröst seinen Anteil daran hat. Aufmerksam wie die sprichwörtlichen Haftlmacher begleiten die Musikerinnen und Musiker und legen so ein Fundament, auf dem es sich wunderbar solieren lässt! Das Finale ist dabei ein feingezeichnetes Feuerwerk, bei dem sich Orchester- und Solostimme herrlich ineinander verschränken. (mg)

Five commercial Liszt Sonata recordings that deserve wider recognition:Van Cliburn - https://www.youtube.com/watch?v=CmyFMhtJngcJitka Čechová - https://www.supraphon.com/album/96-brahms-liszt-live-at-the-rudolfinumBoris Berezovsky - https://www.prestomusic.com/classical/products/7984370--boris-berezovsky-plays-liszt?srsltid=AfmBOoqEJKHu96EbKtmOz-nQ49y2jA-JVNeJKTTDZ6BHHAMJzTx0dVApAlexei Grynyuk - https://www.youtube.com/watch?v=SVyMCDz2JJcGeorge-Emmanuel Lazaridis - https://www.youtube.com/watch?v=5g5HBjoEFAI

durée : 01:28:26 - Iván Fischer, chef d'orchestre exigeant et chaleureux - par : Aurélie Moreau - Fondateur et directeur musical du célèbre Orchestre du Festival de Budapest, Iván Fischer, également compositeur, privilégie "avant tout la musicalité, le style et la maîtrise artistique de l'orchestre". Aujourd'hui : Dvořák, Liszt, Mahler, Bartók…

Send us a textEl frenesí provocado por un carismático pianista será el punto de partida para una historia de histeria colectiva. Ese relato será la puerta de entrada al complejo mundo del comportamiento de masas, el estudio de lo que hacemos cuando otros nos rodean y de cómo la tecnología ha permitido hacer experimentos gigantescos de manipulación de estados de ánimo sin pedir permiso.Support the show

Consider a paid subscription to The Piano Maven podcast via our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenA (mostly) Liszt recital from January 19th, 2001; link to video -https://lukarn.fr/en/program/akiko-ebi-franz-liszt-frederic-chopin/Link to audio-only soundtrack on Archive.org - https://archive.org/details/thr_20250223

Toute cette semaine, Au Cœur de l'Histoire spéciale "Ils ont choisi la France !" Ou les destins de personnages qui se sont fait un – grand – nom dans notre pays. Pour le 3e épisode, Stéphane Bern raconte Fryderyk Franciszek Chopin, dit Frédéric Chopin, jeune pianiste célèbre en son pays qui a décidé de quitter sa Pologne natale pour Vienne avant tenter sa chance dans l'autre capitale musicale de l'Europe : Paris... Et bien lui en a pris ! Pourquoi la musique de Chopin parle-t-elle à tout le monde ? Comment a-t-il inventé le piano moderne ? Comment sa musique a-t-elle traversé les siècles sans perdre de sa splendeur ? Pour en parler, Stéphane Bern reçoit Jean-Yves Clément, écrivain, auteur de "Chopin et Liszt, la magnificence des contraires" (Passés Composés, collection Alpha). Au Cœur de l'Histoire est réalisée par Pierre Cazalot. Rédaction en chef : Benjamin Delsol. Auteur du récit : Pïerre-Vincent Letourneau. Journaliste : Clara Leger. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Toute cette semaine, Au Cœur de l'Histoire spéciale "Ils ont choisi la France !" Ou les destins de personnages qui se sont fait un – grand – nom dans notre pays. Pour le 3e épisode, Stéphane Bern raconte Fryderyk Franciszek Chopin, dit Frédéric Chopin, jeune pianiste célèbre en son pays qui a décidé de quitter sa Pologne natale pour Vienne avant tenter sa chance dans l'autre capitale musicale de l'Europe : Paris... Et bien lui en a pris ! Pourquoi la musique de Chopin parle-t-elle à tout le monde ? Comment a-t-il inventé le piano moderne ? Comment sa musique a-t-elle traversé les siècles sans perdre de sa splendeur ? Pour en parler, Stéphane Bern reçoit Jean-Yves Clément, écrivain, auteur de "Chopin et Liszt, la magnificence des contraires" (Passés Composés, collection Alpha). Au Cœur de l'Histoire est réalisée par Pierre Cazalot. Rédaction en chef : Benjamin Delsol. Auteur du récit : Pïerre-Vincent Letourneau. Journaliste : Clara Leger. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

DescriptionLisztmania: The First True Fan Frenzy in 60 Seconds. Take a minute to get the scoop!Fun FactLisztmania wasn't just poetic—it was real, and intense. Fans fought over Liszt's handkerchiefs, collected his hair, and wore cameos bearing his face. Some even claimed his music had healing powers. Critics struggled to understand the frenzy, but audiences simply couldn't get enough of the pianist who played like a storm.__________________________________________________________________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.

Con María Fernández Dobao | Son muchos los compositores extranjeros que viajaron a España e, incluso, vivieron aquí alguna temporada. Algunos de ellos escribieron aquí obras maravillosa, como Chopin sus Preludios, otros encontraron la inspiración en su folclore, su música o sus ciudades, como Liszt o Saint- Saens. Hoy te invitamos a descubrir algunas de estas obras.

he German poet and journalist Heinrich Heine coined the term “Lisztomania” on 25th April 1844 to describe the phenomenon of frenzied fandom in Europe where women would physically assault Franz Liszt by tearing his clothes, fighting over broken piano strings and locks of his shoulder-length hair. Heine said there was something about Liszt's performances that “raised the mood of audiences to a level of mystical ecstasy” – which seemed to be a result of the combination of his good looks, his charisma and his stage presence. In this episode, Arion, Rebecca and Olly explain how Liszt created an almost parasocial relationship with his fan base; investigate why critics are still reproving of expressive concert pianists to this day; and discuss whether the Heine was trying to extort money from performers like Liszt in exchange for better reviews…  Further Reading: • ‘The Virtuoso Liszt' (Cambridge University Press, 2002): The Virtuoso Liszt - Google Books: https://www.google.co.uk/books/edition/The_Virtuoso_Liszt/koSQAjlxeOIC?hl=en&gbpv=1&dq=lisztomania&pg=PA203&printsec=frontcover • ‘Forget the Beatles – Liszt was music's first “superstar”' (BBC Culture, 2016): https://shorturl.at/eipIP • ‘Lisztomania: the 19th-century pop phenomenon that made Beatlemania look tame' (The Telegraph, 2019): https://shorturl.at/lwNOP • ‘Before Beatlemania, There Was Lisztomania' (Great Big Story, 2020): https://www.youtube.com/watch?v=3sjCA8OPobw  Love the show? Support us!  Join 

This Day in Legal History: Plaut v. Spendthrift Farm, Inc.On April 18, 1995, the U.S. Supreme Court delivered its opinion in Plaut v. Spendthrift Farm, Inc., a significant decision reinforcing the constitutional principle of separation of powers. The case arose after Congress enacted legislation requiring federal courts to reopen certain final judgments in securities fraud cases that had been dismissed under an earlier statute of limitations ruling. The plaintiffs, whose claims had already been dismissed with finality, sought to revive their lawsuits under this new provision.In a 7–2 decision, the Court struck down the law, holding that Congress cannot force Article III courts to reopen final judgments. Writing for the majority, Justice Antonin Scalia stressed the importance of finality in judicial decisions and warned against legislative interference with core judicial functions. He argued that once a case is decided, it becomes law of the case and should not be revisited at Congress's whim.The ruling underscored the judiciary's independence from political pressure and reaffirmed that each branch of government must respect the constitutional boundaries of the others. Scalia noted that permitting Congress to override final court decisions would blur the lines between legislative and judicial authority, threatening the rule of law.This decision was not just a technical interpretation of procedural law; it was a firm statement about institutional integrity. Plaut became a cornerstone case for understanding the limits of congressional power over the courts. It continues to be cited in debates over judicial independence and the sanctity of final judgments.A federal appeals court rejected an emergency attempt by the Trump administration to block a judge's order requiring the government to aid in the return of Kilmar Abrego Garcia, a Maryland man deported to El Salvador despite a 2019 court ruling barring his removal. The court condemned the Justice Department's actions, with Judge Harvie Wilkinson calling them a violation of fundamental liberties and due process. He criticized the administration for acting as though it could abandon individuals in foreign prisons without legal recourse.The Supreme Court previously upheld a similar directive from District Judge Paula Xinis, requiring the administration to work toward bringing Abrego Garcia back from Salvadoran custody. The government claims Garcia is affiliated with the MS-13 gang and lacks the right to remain in the U.S., arguing that Xinis overstepped by involving herself in foreign affairs. However, Wilkinson stressed that due process rights apply regardless of alleged affiliations and warned that ignoring court orders could lead to broader abuses of power, including the potential deportation of U.S. citizens.Abrego Garcia, who has no criminal record in either country, was deported alongside 250 alleged gang members to El Salvador's high-security prison. His 2019 immigration court ruling protected him from deportation due to threats of gang-based extortion.Trump Loses Emergency Appeal to Halt Maryland Deportation CaseThe U.S. Supreme Court will hear arguments on May 15 regarding President Donald Trump's attempt to limit birthright citizenship, a constitutional principle rooted in the 14th Amendment. Although the case won't directly determine the legality of Trump's executive order, it will address whether lower court rulings that blocked the policy nationwide should be scaled back to apply only to specific plaintiffs or jurisdictions.Trump's order, signed in January, seeks to deny citizenship to babies born in the U.S. unless at least one parent is a citizen or permanent resident. It directs federal agencies to withhold documents like Social Security cards and passports from newborns who don't meet that criterion. Critics argue this violates well-established legal interpretations of the 14th Amendment, which affirms citizenship for nearly everyone born on U.S. soil.The Justice Department argues that nationwide injunctions—orders that block policies across the country—exceed judicial authority and should be narrowed. The administration also questions whether the states and groups suing have legal standing. Despite these claims, lower courts have uniformly refused to allow the executive order to take effect.Opponents, including 22 Democratic-led states and immigration advocacy groups, argue that Trump's effort seeks to strip citizenship from thousands of children and overturn long-standing legal precedent. Trump maintains that birthright citizenship was originally intended only for formerly enslaved people, not for the children of non-citizens.US Birthright Citizenship: Supreme Court to Hear Arguments in Case - BloombergUS Supreme Court to hear Trump bid to enforce birthright citizenship order | ReutersFifth Circuit Judge James Ho sharply criticized the power of trial-level judges in a recent opinion, focusing on what he sees as overreach in politically sensitive cases. Ho issued a writ of mandamus instructing a district judge in Louisiana to vacate her order reopening a death penalty case years after it had been dismissed. He was joined by fellow Trump appointee Judge Andrew Oldham, while Judge Catharina Haynes dissented, arguing the appellate process should proceed normally.In his concurring opinion, Ho warned against what he called the misuse of judicial power to obstruct democratic outcomes. He connected the Louisiana case to a recent U.S. Supreme Court decision that reversed a nationwide order from Chief Judge James Boasberg in Washington, D.C., which had blocked the deportation of alleged Venezuelan gang members under the Alien Enemies Act. The Supreme Court said the Venezuelan plaintiffs should have filed their suit in Texas, where they were detained, effectively transferring jurisdiction and narrowing Boasberg's reach.Ho used that ruling to reinforce his argument that appellate courts must intervene swiftly when district judges exceed their authority. He accused some judges of rushing to block policies they oppose politically, calling it a threat to the electorate's choices and governmental efficiency. He argued that deferring to the standard appeals timeline enables what he called “district judge supremacy.”Judge Haynes pushed back in dissent, criticizing the majority's allegation that the district court manipulated legal processes, especially since neither party in the case had challenged the judge's integrity. She maintained the threshold for a mandamus was not met and objected to the majority's tone and assumptions.James Ho Knocks Trial Judge Who Blocked Venezuelan DeportationsThis week's closing theme is The Moldau by Bedřich Smetana, a defining work in Czech Romantic nationalism and one of the most evocative tone poems in classical music. Smetana, born in 1824 in what is now the Czech Republic, was a pioneering composer who sought to express the identity, history, and natural beauty of his homeland through music. A contemporary of Liszt and Wagner, he was deeply influenced by the idea of programmatic music—compositions that tell a story or paint a picture without the use of words.The Moldau (or Vltava, in Czech) is the second and most famous piece from Smetana's larger symphonic cycle Má vlast(My Homeland), composed between 1874 and 1879. The piece traces the course of the Vltava River from its source in the Bohemian forest, through the countryside, past villages and castles, and ultimately to its merger with the Elbe River. Through rich orchestration and shifting textures, Smetana portrays everything from bubbling springs and flowing currents to a peasant wedding and moonlit night dances by water nymphs.Composed while Smetana was going completely deaf, The Moldau is as much a feat of imagination as it is of musical skill. The main theme, introduced by the flutes and then carried through the orchestra, is one of the most recognizable and emotionally stirring in classical music. It serves not just as a musical depiction of a river but as a symbol of Czech identity, resilience, and natural beauty.Closing with The Moldau offers a moment to reflect on continuity, movement, and national spirit—fitting themes for a week shaped by legal currents and constitutional debate.Without further ado, The Moldau, by Bedřich Smetana – enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

From fueling some of mankind's most violent events to inspiring your daughter's latest pop star obsession, mania has become an indispensable force in shaping our collective story. This hour we explore a centuries-long flower frenzy and modern-day fanaticism to uncover why we are so drawn to being "totally obsessed." GUESTS: Daniel Durbin: Professor of Communication and Director of the Institute of Sports, Media and Society at the University of Southern California Annenberg School Sarah Bilston: Professor of English at Trinity College and author of the forthcoming book, The Lost Orchid: A Story of Victorian Plunder & Obsession Paul Barnes: Pianist and Professor of Music at the University of Nebraska-Lincoln Glenn Korff School of Music Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

durée : 00:03:24 - Dimanche est un roman - par : Clara Dupont-Monod - Clara Dupont-Monod conseille le roman "Daniel Liszt, un fils mal aimé", de Charles Dupechez, qui est paru au Mercure de France.

18-year-old violinist and From the Top alum Julia LaGrand co-hosts this special episode dedicated to celebrating the stories and performances of disabled and neurodivergent musicians. Julia, who is blind, also interviews special guest Itzhak Perlman. We meet a 16-year-old double bassist who began studying music when spina bifida made it difficult to keep up with youth sports leagues, a 14-year-old pianist who uses Braille scores to learn his repertoire, a 26-year-old cellist who believes his musical skills are sharpened by his autism, and a 16-year-old pianist with Escobar Syndrome who shares her journey to millions on social media. They perform works by Grieg, Liszt, and more.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy