Podcasts about Ludwig van Beethoven

18th and 19th-century German classical and romantic composer

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Macintosh & Maud Haven't Seen What?!
HISTORY LESSONS: The Death of Stalin (2017)

Macintosh & Maud Haven't Seen What?!

Play Episode Listen Later Dec 5, 2022


CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of a suicide from 31:20-31:44 and abuse and torture of prisoners from 33:19-34:08. Also, discussion of mass murder, antisemitism, alcoholism, execution, mass killings, death, grief. We move out of the fog of war to a much weirder and funnier moment of history this week as we dive into the power vacuum of Soviet power in 1953. More importantly, though, we're watching an Armando Iannucci film, which means razor-sharp satire and incredibly inventive cursing, both of which are present here. But while the movie is executed impeccably, it misses the absurd scale of Soviet terror and power under their most feared and, at times, respected leader. To be sure, the performances here are incredibly funny and on the mark. But Iannucci wanted to pull punches in the name of realism and perhaps should have just leaned in a bit more. Make sure to run while you plot your next move as we discuss The Death of Stalin on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the “National Anthem of the USSR” as performed by The Red Army Choir, copyright 2002 Silva America. Excerpts taken from the film The Death of Stalin are © 2017 Paramount Pictures. All Rights Reserved. Excerpt taken from "Tema Di Ali (#2)” from the motion picture The Battle of Algiers composed by Ennio Morricone and Gillo Pontecorvo. ℗© 1966, 2015 Creazioni Artistiche Musicali C.A.M. srl. (una Società del Gruppo Sugar) / Universal Music Publishing Ricordi srl.

Daniel Ramos' Podcast
Episode 368: 05 de Diciembre del 2022 - Devoción matutina para Adultos - ¨Nuestro maravilloso Dios¨

Daniel Ramos' Podcast

Play Episode Listen Later Dec 4, 2022 4:35


================================================== ==SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1================================================== == DEVOCIÓN MATUTINA PARA ADULTOS 2022“NUESTRO MARAVILLOSO DIOS”Narrado por: Roberto NavarroDesde: Chiapas, MéxicoUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church 05 DE DICIEMBRE¡SIN RESERVAS!«La sangre de Jesucristo, su Hijo, nos limpia de todo pecado». 1 Juan 1:7CUANDO FRANCES RIDLEY HAVERGAL era una niña, su madre, que yacía en su lecho de muerte, le dijo:-Querida hija, pídele a Dios que te prepare para todo lo que él está preparando para ti. *Para entonces Frances tenía una vez años, pero nunca olvidaría esas palabras. Entre la gloria del mundo y la de Dios, usaría sus dones para glorificar el nombre de Dios. Según Kenneth W. Osbeck, Frances era todavía un adolescente cuando experimentó la conversión. De esa ocasión escribiría posteriormente: «En ese momento y en ese lugar entregué mi vida al Salvador, y tanto el cielo como la tierra me parecieron brillar desde entonces». ** ¿Su versículo favorito? Nuestro texto de hoy: «La sangre de Jesucristo, su Hijo, nos limpia de todo pecado». Tenía ese texto pegado a su cama, donde podía leerlo todos los días.Se dice que Frances era una destacada solista y, también, una excelente pianista, especializada en interpretar a los clásicos, particularmente a Handel, Mendelssohn y Beethoven. Además, habló con fluidez, inglés, francés, alemán e italiano. En otras palabras, tenía todas las herramientas para triunfar en el mundo, pero ella prefirió «cantar para Jesús». Y eso fue exactamente lo que hizo durante su corta vida.En una ocasión fue de visita al hogar de unos amigos, donde pasaría varios días. Ahí se encontró con diez personas; unas, no creyentes; y las otras, cristianos «tibios». Entonces Frances oro: «Dios, por favor dame toda esta gente para Cristo». Dice el relato que eso fue exactamente lo que ocurrió. El gozo que la inundó fue tan grande, que la última noche de su visita no pudo dormir. Durante esas horas reconsagró su vida al Señor y, mientras eso ocurría, comenzó a escribir manos un verso tras otro: «Que mi vida entera esté/ consagrada a ti, Señor/ que a mis pueda guiar/ el impulso de tu amor».El resultado fue el precioso himno de consagración «Que mi vida entera esté». En el Himnario adventista (ed. 2010), es el número 248. Si ahora mismo puedes, lee cada verso y, mientras lo hagas, dedica al Señor cada espacio de tu vida, sin que nada quede fuera de la influencia salvadora del divino Redentor .Pídele a Dios que tome tus manos, para que se muevan «al impulso de su amor». Que tome tus labios, para que solo hablen del bendito Salvador. Que tome tu tiempo, tu mente y tus recursos, «para emplearlos en su honor». Que tome tu voluntad, «y la haga suya nada más». En una palabra, que tome tu vida, «y la haga suya por la eternidad». Querido Jesús, mi vida ya te pertenece, pero hoy quiero consagrarla de nuevo a ti, sin reservas. ¡Úsala, Señor, de acuerdo a tu voluntad y para tu gloria!*MI. Michael y Sharon Rusten, the one-year Book of Christian History, Tyndale, 2003, p. 70. **Kenneth W. Osbeck, 101 Hymn Stories, Family Christian Press, 1982, p. 240.

Es la Mañana del Fin de Semana
El Pentagrama de Comesaña: ¿Qué tienen en común Beethoven y Chuck Berry?

Es la Mañana del Fin de Semana

Play Episode Listen Later Dec 3, 2022 22:18


Manuel Comesaña trae la música más técnica al programa con los riffs de todas las épocas. ¡No te lo pierdas!

AP Audio Stories
Czech museum to return original Beethoven score to heirs

AP Audio Stories

Play Episode Listen Later Dec 3, 2022 0:57


AP correspondent Karen Chammas reports on Czech Beethoven's Score.

CKRL : L'accroche-coeur
L'accroche-coeur : 12/03/2022 09:00

CKRL : L'accroche-coeur

Play Episode Listen Later Dec 3, 2022


Musique classique Jean Perron, Laurent Patenaude et Jean Lecomte Tous les samedis matins, de 9 h à 12 h, L'Accroche-coeur propose aux auditeurs et auditrices férus de découvertes et de musiques rares, plus de 1000 ans de musique, des premiers temps du Moyen-Âge à aujourd'hui.; musiques savantes ou populaires, profanes ou sacrées mettant en vedettes les plus grands artistes capables de mettre en valeurs les oeuvres des Pérotin, Machaut, Dufay, Bach, Vivaldi, Beethoven, Chopin, Debussy, Poulenc, Jarrett et tous ces anonymes dont la postérité n'a retenu que les oeuvres. Le samedi matin, c'est le moment privilégié que CKRL, la radio culturelle de Québec, vous offre pour entendre les plus belles oeuvres de la musique occidentale, celles qui ont fait la meilleure partie de l'humanité. Jean Perron, Laurent Patenaude et Jean Lecomte mettent, tour à tour, leurs connaissances et leur amour de la musique à la portée de tous et toutes. C'est le rendez-vous bien-être de la semaine sur nos ondes.

Musicopolis
Beethoven le 14ème quatuor, une réception difficile

Musicopolis

Play Episode Listen Later Dec 1, 2022 25:13


durée : 00:25:13 - Beethoven le 14ème quatuor, une réception difficile - par : Anne-Charlotte Rémond - L'avant-dernier quatuor de Beethoven, achevé quelques mois avant sa mort, est certainement le plus puissant, le plus dense, le plus exigent. Mais cette oeuvre novatrice n'obéissait plus au schéma traditionnel du quatuor classique. - réalisé par : Philippe Petit

The Beethoven Files Podcast
Ep. 31 Beethoven's Piano Sonata in F Minor, No. 23, Op. 57 (“Appassionata”)

The Beethoven Files Podcast

Play Episode Listen Later Dec 1, 2022 57:11


We'll look at the Piano Sonata in F Minor, No. 23, Op. 57, the famous “Appassionata” sonata.

Hustler Testimony
Community and Opportunity - Noel Martinez Ep. #022

Hustler Testimony

Play Episode Listen Later Dec 1, 2022 56:25


This weeks guest is Noel Martinez the CEO of the Palm Beach North Chamber of Commerce. The Palm Beach North Chamber of Commerce allows business owners in the community to network and acts as a tremendous resource for its members. Watch as Beethoven and Noel discuss Noel upbringing and what brought him to where he is today. They discuss the power in networking, community and commitment. Hustler Testimony is a podcast that was created for hustlers to tell their story. Beethoven Francois, the host, delves deep into his guests pasts in order to bring to light the trials and tribulations that come before success. Watch 'Hustler Testimony' THURSDAY 12AM ET on Hustler Testimony. Stream on Apple Podcast, Google Play & Spotify. Check out our Website! https://www.hustlertestimony.com Follow Us! Instagram - https://www.instagram.com/hustlertestimony/ Facebook - https://m.facebook.com/hustlertestimonytv/ TikTok - https://www.tiktok.com/@hustler.testimony

Classical Music Discoveries
Episode 62: 19062 Memories

Classical Music Discoveries

Play Episode Listen Later Dec 1, 2022 164:24


Decca Classics is proud to announce Nelson Freire-Memories: The Unreleased Recordings 1970-2019.The release pays tribute to the great Brazilian pianist, who passed away on 1 November 2021 and would have been 78 this October. It includes previously unreleased studio recordings and broadcast performances spanning concertos from Beethoven to Bartok.Purchase the music (without talk) at Itunes or Amazon. Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Lesestoff | rbbKultur
Thomas Leibnitz: "Verrisse"

Lesestoff | rbbKultur

Play Episode Listen Later Nov 30, 2022 4:30


Verrisse haben eine große Tradition. Seitdem über Musik geschrieben wird, haben Kritikerinnen und Kritiker für das mögliche Nichtgefallen deutliche Worte gefunden. Und so manche Verrisse lesen sich auch ziemlich vergnüglich. Der österreichische Musikwissenschaftler, Germanist und Publizist Thomas Leibnitz hat sich in seinem Buch „Verrisse. Respektloses zu großer Musik von Beethoven bis Schönberg" damit auseinandergesetzt. Unser Musikredakteur Andreas Göbel stellt das Buch vor.

The Essay
Visibility of Communication

The Essay

Play Episode Listen Later Nov 30, 2022 13:38


A very personal essay series about communication, listening, performance and British Sign Language (BSL). Sophie Stone considers her own life, career as an actor and identity as a Deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots. Each essay describes a formative stage in Sophie's life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 3: Visibility of Communication Sophie talks candidly about the fear and isolation she felt as a deaf child, how seeing other deaf people, finding a community experiencing the world in similar ways, encouraged her to realise she was not alone. In challenging limiting beliefs and fighting for Deaf rights, Sophie describes finding the courage to carve out new pathways and opportunities in her life and career, creating opportunities for deaf voices to be integral to the creative process, and carving space for deafness to be made visible. Listen Harder broadcast on BBC Radio 3 will be accompanied by an animated transcript and BSL translation on BBC Sounds website, increasing accessibility. Sophie Stone is a leading actor who grew up in east London and has been Deaf since birth. She was the first deaf student at RADA. Since graduating, theatre includes: Othello (The Watermill Theatre); The Curious Incident Of The Dog In The Night Time (NT/Frantic Assembly Tour); The Living Newspaper (The Royal Court); The New Tomorrow (The Young Vic); The Beauty Parade (Wales Millennium Centre); As You Like It (Shakespeare's Globe); Emilia (Shakespeare's Globe/ West End); Jubilee (Lyric, Hammersmith/ Manchester Royal Exchange); The Greatest Wealth (The Old Vic); Herons (Lyric, Hammersmith); Mother Courage and Her Children (National Theatre); and In Water I'm Weightless (National Theatre of Wales). Television includes: The Chelsea Detective (2), Moving On, Two Doors Down (2), Shakespeare & Hathaway, Shetland, The Crown, Doctor Who, Mapp and Lucia, Moonstone, Marchlands, Midsomer Murders (2), Small World, Holby City, Casualty (2) and FM. Film includes: Name Me Lawand, Retreat (Sophie was awarded Best Actress Award, Clin d'Oeil Festival), My Christmas Angel, Confessions and Coming Home. She is co-founder of the Deaf & Hearing Ensemble Theatre Company, associate Artist for The Watermill Theatre, Pentabus Theatre and works as a consultant for several TV, Film and Theatre companies. Sophie had a lead role in Beethoven Can Hear You for BBC Radio 3 in 2020. Her essay for Radio 3 in 2020 for the Five Kinds of Beethoven series, was a critical success. It was accompanied by an animated transcript to increase accessibility. Writer and reader Sophie Stone Recording engineer Mat Clarke at Sonica Studios Sound designer Eloise Whitmore Producers Polly Thomas and Mina Anwar A Naked Production for BBC Radio 3

Chompers
Music Week Morning Riddles (11-30-2022)

Chompers

Play Episode Listen Later Nov 30, 2022 2:58


You don't have to be Beethoven to figure out today's MUSIC RIDDLES! Learn more about your ad choices. Visit podcastchoices.com/adchoices

TADPOG: Tyler and Dave Play Old Games
Ep. 691 – Beethoven: The Ultimate Canine Caper

TADPOG: Tyler and Dave Play Old Games

Play Episode Listen Later Nov 30, 2022 43:15


Beethoven: The Ultimate Canine Caper has finally dragged its butt across the our proverbial podcast carpet. Maybe you know this game as Beethoven’s 2nd or maybe you don’t know this game at all – let’s be honest, you probably don’t. Is that a good thing? MAAAAAYYYYYBE. You will find out for certain if you listen … Continue reading → The post Ep. 691 – Beethoven: The Ultimate Canine Caper appeared first on TADPOG: Tyler and Dave Play Old Games.

Melanated Moments in Classical Music
George Bridgetower: A Classical Commodity

Melanated Moments in Classical Music

Play Episode Listen Later Nov 30, 2022 24:29


Joshua and Angela discuss the life and times of Europe's most renowned virtuoso violinist of the 18th and 19th centuries, George Bridgetower. In the age of the global slave trade, competing empires, and revolution, Bridgetower exemplified the refinement, sophistication, and mastery of the classical era while rubbing elbows with the European elite. Featured Music:"Henry, A Ballade," by George Bridgetower, feat. soprano Benita Borbonus"Violin Sonata No. 9, Mvt. 3: Finale," by Ludwig Van Beethoven, feat. violinist Itzhak Perlman and pianist Vladimir AshkenazySupport the show

Jewelry Journey Podcast
Episode 174 Part 2: What's Next in Artist-Jeweler William Harper's 50+ Year Career

Jewelry Journey Podcast

Play Episode Listen Later Nov 30, 2022 26:13


What you'll learn in this episode: How synesthesia—the ability to hear colors and see music—has impacted William's work Inside William's creative process, and why he never uses sketches or finishes a piece in one sitting Why jewelry artists should never scrap a piece, even if they don't like it in the moment The benefits of being a self-taught artist, and why art teachers should never aim to impart their style onto their students How a wearer's body becomes like a gallery wall for jewelry About William Harper Born in Ohio and currently working in New York City, William Harper is considered one of the most significant jewelers of the 20th century. After studying advanced enameling techniques at the Cleveland Institute of Art, Harper began his career as an abstract painter but transitioned to enameling and studio craft jewelry in the 1960s. He is known for creating esoteric works rooted in mythology and art history, often using unexpected objects such as bone, nails, and plastic beads in addition to traditional enamel, pearls, and precious metals and stones. His work is in the collections of the Metropolitan Museum of Art, the American Museum of Crafts, the Cleveland Museum of Art, and the Museum of Fine Arts, Boston. A retrospective of his work, William Harper: The Beautiful & the Grotesque, was exhibited at the Cleveland Institute of Art in 2019. Additional Resources: William's Instagram Photos available on TheJewelryJourney.com Transcript: Rather than stifle his creativity, the constraints of quarantine lockdown and physical health issues helped artist-jeweler William Harper create a series of intricate jewels and paintings imbued with meaning. After 50+ years as an enamellist, educator and artist in a variety of media, he continues to find new ways to capture and share his ideas. He joined the Jewelry Journey Podcast to talk about his creative process; why he didn't want his art students to copy his style; and why he never throws a piece in progress away, even if he doesn't like it. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. I'd like to welcome back one of today's foremost jewelers, William Harper. To say he is a jeweler leaves out many parts of him. He's a sculptor, an educator, an artist, an enamellist, and I'm sure I'm leaving out a lot more. Welcome back.    Yes. Is that how you got to the collection you did during lockdown quarantine?   William: Yes. I live in New York, and New York had almost a complete shutdown. My husband and I were afraid we were going to come down with a disease if we intermingled with too many people. We essentially were in lockdown or quarantine for several months. In that period, I decided I wanted to do something absolutely different from anything I had done before, and I wanted it to be politically motivated. So, just as Goya or Manet or Picasso did important paintings based on criticizing a political body—in Guernica, for instance, Picasso was painting the disruption of the small town of Guernica in Spain. Very powerful. I wanted to see if I could do that in jewelry, which was really strange, I have to say.    I had been playing for at least a year with the idea of trying to do a piece inspired by the expression “the tainted fruit of the poisoned tree.” That's an obtuse way of approaching a piece of jewelry, but I thought of it in terms of the bottom of the tree, the poisoned tree, was our ex-president. At the top, there were elements that represented his monstrous children. You see my politics right there. It's a beautiful piece. If you know the substance behind it, it will mean more to you, but you don't have to. I wanted each piece to be beautiful. Now, my idea of beauty can be unlike a lot of people's, but I think an artist has to know his guidelines for what he wants to be beautiful. There's nothing wrong with the term “ugly” if it has an aesthetic purpose. I did this entire series on that idea.   Sharon: Does quarantine mean something besides—   William: No.   Sharon: Do people ever choose your pieces because of the political message?   William: In this last group, the Quarantine Pieces, there were 10. The first two I sold were to a collector who appreciated very much the political leanings behind it. You don't have to know. If I had someone come in that I knew was a staunch Republican, I wouldn't tell them what the motivation was. Well, maybe I would, and then I'd tell them they weren't special enough to own one of my pieces.   Sharon: I was asking about quarantine, and you said you didn't mean more. Let me ask you this. You taught for more than 20 or 25 years at Florida, right?   William: I taught for 21 years at Florida. Before that, I taught for three years at Kent State. Before that, I taught for three years in a Cleveland high school.    Sharon: So, it's 30.   William: Yes. I came to the conclusion not too long after I started teaching in college that a lot of people were there and didn't really know what they were doing. They were able to get tenure simply by hanging on long enough. But in teaching at a high school, it forced me to be very exact about what I wanted them to do, and yet allow them to have a lot of leeway to do anything original and outside the box. I consider those three years in high school to have been very important to me as a college instructor. I guess it worked, because at the end of my 21 years at Florida State, I was named a distinguished professor. So, I guess my teaching methods paid off.   Sharon: Do you think you can impart your ideas? It sounds like you imparted them to high school students, but can you teach your ideas?   William: No, I don't want to teach my ideas. I want to teach a subject matter or a format in terms of a specific media. Maybe it's a drawing problem. I remember early on in my first year of teaching, I came across a group of toadstools in the yard that were starting to shrivel. I picked up enough to give each table triple toadstools. I simply put them on a piece of white paper on the table, and I said, “This is your inspiration. Now, what do you do with it? And it has to be in pencil.” That was how I handled that situation. If a student's work starts to look like mine, they were not a successful student and I was not a successful instructor.    I have always urged students to find their own voice. A lot of people can't do that. They have mastered a technique, but if the technique leaves you cold when it's finished, then it's not very successful. I want some kind of emotional connection with whatever they feel when they're creating or painting or making a piece of jewelry. I want to see that they have made a connection to what they are deep, deep down and have it come out in their work.    When I taught at Florida State, I was a very popular teacher. Students who were in engineering or communications or theatre would take my course and then decide they wanted it to be their major. I would tell them their father was paying far too much money for them to go to college to major in something that was going to be totally useless to them when they were out of college. I considered that a very important part of my teaching, because I didn't want people getting bogged down. I didn't need high numbers of students. As long as I knew they were taking it as an elective, I was fine with it. If said they wanted to major in it, I had to make sure I foresaw that they would have it in them to do well.   Sharon: When did you decide you could part ways and make a living from this?   William: That was a rather difficult thing to determine. It was a goal, but I didn't know if I would ever get to it. In 1995, I had been represented for a few years by an outstanding New York gallery, Peter Joseph Gallery. He handled high-end, handmade furniture. It wasn't anything you would find in a furniture store; it was artist furniture, and he decided he wanted to add me to his group. I was the lone jeweler within the group of artists in his gallery, and it was a gallery that only represented a small number of people. I think when I was in it, there were only 11 or 12 artists he represented. He was able to sell my work very well.    I always wanted to be able to just throw in the towel and see if I could do it on my own. In the spring of 1995, when I found out I was being named distinguished research professor, there were two other gentlemen in meteorology who were also named. I was always upset at how low my salary was in comparison to a lot of other people. In Florida, every library had to have a book of what every professor made and what they taught in terms of their load. The gentlemen in meteorology were making three times what I was making.    I spoke with my then-wife and said, “It's time to take a chance and see if I could do it by myself.” I prepared myself the next day with a folder that had a resignation letter in it. I went to the vice president who was in charge of everything and said, “There's a disparity of treatment with the three of us.” They were all making three times as much money as I was, and I at least wanted to be brought up closer to what I should have been paid considering what my title suggested. When I told the vice president that, he said, “Bill, you know you have the weakest team in the college. I can't depend on your department to bring any enhancement of reputation,” and I said, “Well, in that case, I resign.” He looked at me quizzically, and I pulled out my letter and said, “Here it is,” and I signed it and gave it to him.    It was the only way I could do it. Then I was forced to go home and get a studio and do things I knew could sell enough to keep us at the same level we had been at when I had a university job. I should say the one cog in the wheel I was able to overcome—and people don't necessarily know this about me, but in 1990, both of my retinas detached. I had to have emergency surgery. After several surgeries, my right eye was fairly stabilized. I don't have much peripheral vision, but it was stabilized. My left eye, I'm totally blind. I'm halfway towards Beethoven, who wrote his last symphony without being able to hear the music. My one eye serves me well enough, obviously, to continue making rather intricate work.   Sharon: How come your jewelry is so different? It's certainly not mainstream. It's gorgeous, but it's not mainstream. What would you say makes it so different?   William: I'm just special. It's the format I've already described. I don't want to make jewelry that's like anybody else's. I definitely don't want to fall into categorization.   Sharon: Have you thought about doing production, more than one?   William: I tried it once and it was a total failure. My daughter had a boyfriend who knew someone who was the vice president of one of those TV networks where you could call and buy things. Carl said, “Bill, come up with a group of pieces, and I'll see that so-and-so is able to see them so you can become part of the team.” I worked and worked and worked, and they weren't me, and I didn't think they were vanilla enough for the home shopping network to carry. So, that was the end of that. I knew it wasn't within my set of talents to do that. You asked how it is—   Sharon: I can't remember what I asked. Do you see people on the street, let's say two women, or a man and a woman who wears a brooch and says, “Oh, that's a William Harper. You must know him,” or “I know who that is”?   William: My funniest story about that is when my ex-wife and I were in Venice. It was a foggy morning, and we sat down in a café to have some cappuccino or hot chocolate or something like that. I had to turn my head because I don't have any sight in the left eye, but from my left I saw a couple coming. They were chattering away, and then I could tell the gentleman was trying to describe to the woman the piece of very large, spectacular jewelry my wife was wearing. They passed close enough so I would hear it. They thought they were insulting me. The gentleman said, “You see that piece of jewelry? There's a man in the United States named William Harper, much, much better than that.” I didn't correct him. I thought it was a story I could hold onto the rest of my life. Actually, it was a compliment.    Sharon: It is. Why do you say your work is fearless? I would say it is fearless, but why would you say that?   William: The word I was trying to think of before was branding. I'm not a brand.   Sharon: Right, you're not a brand.    William: But anyone who sees one of my works, if they're remotely familiar with the field, they will know it's mine. Many ladies tell me that they were wearing a piece of my jewelry and a stranger would come up to them and say, “Excuse me. That's a beautiful piece of jewelry. Is it a William Harper?” Or maybe they didn't even know who it was, and the wearer would say, “Yes, it's Harper. Isn't it beautiful?” That's happened a number of times. I love when a lady reports that back to me.    Sharon: Is it fearless?   William: It's not your everyday piece of jewelry that a lady's going to wear. It is more potent than that. I also hope—although I can't force it, obviously—when someone owns a piece of mine that they dress accordingly, where the outfit they have is secondary to the piece of jewelry. I have seen my jewelry on the lapels of a Chanel jacket, and that combination doesn't help either one of us.   Sharon: I can see why that doesn't work. When you're deciding how to do something, are you thinking about how you can be different or fearless, or how the piece can be different?    William: I don't worry about that. I have enough confidence in my creative ability to know that it will come out strange enough. Even within the art jewelry movement, my work is fairly in the category of not being a decorative pin, let's say, that has no life to it, that's put on somebody's sweater. That kind of work becomes an adornment to the costume the lady is wearing. I want my work, as I said, to be strong enough that the lady is going to have to sublimate what she would like to wear and get clothes that are very plain.    For instance, the red blouse you have on would be a perfect foil for one of my pieces in navy blue or black. In a way, she is becoming like the wall that holds a beautiful painting. It's the same way. Her body is the presentational element for my piece of jewelry to really perform.   Sharon: What have you been doing in terms of your jewelry since the restrictions lifted?   William: When I finished the tenth piece in the Quarantine Series, which was March 22, 2020, I had worked until 2:00 in the morning. I was very happy with what I had done. I had just finished the piece absolutely and I went to bed. The next morning, I woke and could not move anything in my body. I thought I had had a stroke, but after several days in the hospital, I was diagnosed with a very rare affliction. It's an auto-immune disease called Guillain-Barre syndrome It's not fatal, but it's a menace because you lose almost everything, like walking. I couldn't sign my own name, for instance. I had to go through a long process of physical therapy. I'm 95% functional, but I don't feel that I'm ready to take a chance with a torch or deal with anything where I could hurt myself or, god forbid, burn down the apartment. The entire building would shake.    So, I tried to keep away from that, but in the process, I knew I had to do something. My husband and some close friends said, “Bill, you love to paint. You love to draw. You love collages.” So, I have spent the time since then doing very intricate collage drawings that became very, very colorful. They're all 24x30, I believe, and they're really very beautiful. About a month ago, I was giving a lecture at Yale, and when I showed these slides and drawing collages to the head of the department, he said, “I can see they're absolutely you. They look just like something you would have done without looking like your jewelry.” That was the highest compliment he could give me. I really have enjoyed doing it. I think making those saved my mental health because I've had something to do.    It's still hard for me to go to a museum because I can't stand long enough to walk around, and I refuse to go in a wheelchair. I don't want to do that. So, I've been restricted to what I can do in terms of being ambulatory. For instance, it was just this week that I finally, with the aid of my husband—who's also a Bill, incidentally—to start using public transportation. Until then I had used car services, which over a month's time, when you can't do anything else and you have to go to doctors and physical therapy and stuff like that, becomes disgustingly expensive. I knew I didn't want to keep doing that. It was eating into my savings. So, I thought, “O.K., Bill, it's time to start using public transportation.” I've used it three times without any problem, but my husband is with me. I have trouble going up and down steps sometimes, so he wants to make sure I don't trip and fall and get mangled by all the other troops coming out of the train that just want to get wherever they're going to.    Sharon: But you give lectures still?   William: Oh, yeah, for a long time. Colleges, art schools, universities with art departments. We're not really in session, so there wasn't any lecture to give—   Sharon: I keep forgetting, yes.   William: —when all those things are shut down. The lecture at Yale—and that's a pretty good place to start—was the first time I had done that for years.   Sharon: Wow! I want to say thank you very much because I learned a lot about you today.   William: Thank you, Sharon. It's been lovely to be here with you.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

The Essay
Forms of Communication

The Essay

Play Episode Listen Later Nov 29, 2022 13:41


A very personal essay series about communication, listening, performance and British Sign Language (BSL). Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots. Each essay describes a formative stage in Sophie's life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 2: Forms of Communication Sophie looks at different forms of communication, and how her relationship to sounds and her other senses and has shaped her work as a deaf actor. She talks about the challenges and possibilities of shaping a more authentic representation of disability on stage and screen. The essay explores the ways deaf artists have perceived their own deafness and how this impacts their own creativity. Listen Harder broadcast on BBC Radio 3 will be accompanied by an animated transcript and BSL translation on BBC Sounds website, increasing accessibility. Sophie Stone is a leading actor who grew up in east London and has been deaf since birth. She was the first deaf student at RADA. Since graduating, theatre includes: Othello (The Watermill Theatre); The Curious Incident Of The Dog In The Night Time (NT/Frantic Assembly Tour); The Living Newspaper (The Royal Court); The New Tomorrow (The Young Vic); The Beauty Parade (Wales Millennium Centre); As You Like It (Shakespeare's Globe); Emilia (Shakespeare's Globe/ West End); Jubilee (Lyric, Hammersmith/ Manchester Royal Exchange); The Greatest Wealth (The Old Vic); Herons (Lyric, Hammersmith); Mother Courage and Her Children (National Theatre); and In Water I'm Weightless (National Theatre of Wales). Television includes: The Chelsea Detective (2), Moving On, Two Doors Down (2), Shakespeare & Hathaway, Shetland, The Crown, Doctor Who, Mapp and Lucia, Moonstone, Marchlands, Midsomer Murders (2), Small World, Holby City, Casualty (2) and FM. Film includes: Name Me Lawand, Retreat (Sophie was awarded Best Actress Award, Clin d'Oeil Festival), My Christmas Angel, Confessions and Coming Home. She is co-founder of the Deaf & Hearing Ensemble Theatre Company, associate Artist for The Watermill Theatre, Pentabus Theatre and works as a consultant for several TV, Film and Theatre companies. Sophie had a lead role in Beethoven Can Hear You for BBC Radio 3 in 2020. Her essay for Radio 3 in 2020 for the Five Kinds of Beethoven series, was a critical success. It was accompanied by an animated transcript to increase accessibility. Writer and reader Sophie Stone Recording engineer Mat Clarke at Sonica Studios Sound designer Eloise Whitmore Producers Polly Thomas and Mina Anwar A Naked Production for BBC Radio 3.

Star Wars Music Minute
ESB 3: Snowy Spectralism (Minutes 11-15 with Jacob Jahiel)

Star Wars Music Minute

Play Episode Listen Later Nov 28, 2022 69:25


This episode is about minutes 11-15 of The Empire Strikes Back with my guest Jake Jahiel -- a musicologist, Baroque music specialist, and 2022 Fellow of the Rubin Institute for Music Criticism. Today, we're talking about the Spectralist-adjacent music of Hoth, the Force theme that sprang from the petri dish, Wagner's influence, and the music that John Williams originally wrote that got cut from this scene. Video version of this episode is here: https://youtu.be/hRujf84GhXM  Discussion Guide: 00:00 - Hello there! 05:10 - Listening to the beginning of these minutes. 6:31 - How Ben Burtt made Threepio's sound here. 11:21 - Somber horn stinger. 15:15 - What is the meaning of this fragmented Force theme? 23:36 - Ligeti/Spectralist influences. 30:49 - "Ben! Dagobah!" 35:25 - The music that John Williams originally wrote for this scene that got cut. 40:56 - Quickie Topic: Tempo 55:21 - Why it's worth acknowledging Wagner's influence on Star Wars. 1:03:19 - SWMM Questionnaire Things to Check Out: Dominic Sewell's analysis of 1m3/2m1 "Luke's Escape" - https://youtu.be/xKysHgjNtmk Dominic Sewell's analysis of 2m2 "Ben's Instructions" - https://youtu.be/Dh9W98GykGs "Allegretto" from Beethoven's 7th Symphony (first chord) - https://youtu.be/vCHREyE5GzQ György Ligeti - "Atmospheres" - https://youtu.be/RCNzwdLwA8g The Empire Strikes Back sound design explained by Ben Burtt (INDEPTH Sound Design) - https://youtu.be/VUeWJKwQwsE Spectral music: https://en.wikipedia.org/wiki/Spectral_music Film-as-Concert-Music And the Formal Implications of 'Cinematic Listening' - https://franklehman.com/film-as-concert-music/ Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Cues: Very end of 1M3/2M1 "Luke's Escape" 2M2 "Ben's Instructions" Musical Themes: 3. Force Possible hint of 1a. Main Theme (A Section) Where are we in the soundtrack(s)?: "The Wampa's Lair/Vision of Obi-Wan/Snowspeeders Take Flight" STAR WARS MUSIC MINUTE QUESTIONNAIRE: 1. In exactly 3 words, what does Star Wars sound like? Unproblematic intergalactic Wagner. 2. What's something related to Star Wars music or sound that you want to learn more about? The foley work. 3. What's a score or soundtrack you're fond of besides anything Star Wars? Lord of the Rings trilogy (composed by Howard Shore) --------------- Guest: Jacob Jahiel You can find Jake's writing on Early Music America (EMA): https://www.earlymusicamerica.org/?s=jacob+jahiel ------------------ If you want to support the show and join the Discord server, consider becoming a patron!  https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Spotify: https://smarturl.it/swmm-spotify Apple Podcasts: https://smarturl.it/swmm-apple YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

The Essay
Communication Withheld

The Essay

Play Episode Listen Later Nov 28, 2022 13:47


A very personal essay series about communication, listening, performance and British Sign Language (BSL). Sophie Stone considers her own life, career as an actor and identity as a deaf person, through the role of communication, both spoken and in BSL. Hers is an unusual and vivid life – she was sometimes homeless as a child, became a young single mother, broke new ground as the first deaf acting student at RADA, enjoys a successful actor career, and maintains strong activist roots. Each essay describes a formative stage in Sophie's life and career, incorporating historical figures, the challenges and achievements of deaf and hard of hearing people since the 19th century and her own personal experience. Essay 1: Communication Withheld Sophie talks candidly about her early years as a deaf child, denied access to language and communication through an inadequate education system teaching oralism above any other form of communication. Sophie describes her rebellious teenage years and how through finding BSL and the language of theatre, she began to find deeper more authentic ways to communicate. Listen Harder broadcast on BBC Radio 3 will be accompanied by an animated transcript and BSL translation on BBC Sounds website, increasing accessibility. Sophie Stone is a leading actor who grew up in east London and has been deaf since birth. She was the first Deaf student at RADA. Since graduating, theatre includes: Othello (The Watermill Theatre); The Curious Incident Of The Dog In The Night Time (NT/Frantic Assembly Tour); The Living Newspaper (The Royal Court); The New Tomorrow (The Young Vic); The Beauty Parade (Wales Millennium Centre); As You Like It (Shakespeare's Globe); Emilia (Shakespeare's Globe/ West End); Jubilee (Lyric, Hammersmith/ Manchester Royal Exchange); The Greatest Wealth (The Old Vic); Herons (Lyric, Hammersmith); Mother Courage and Her Children (National Theatre); and In Water I'm Weightless (National Theatre of Wales). Television includes: The Chelsea Detective (2), Moving On, Two Doors Down (2), Shakespeare & Hathaway, Shetland, The Crown, Doctor Who, Mapp and Lucia, Moonstone, Marchlands, Midsomer Murders (2), Small World, Holby City, Casualty (2) and FM. Film includes: Name Me Lawand, Retreat (Sophie was awarded Best Actress Award, Clin d'Oeil Festival), My Christmas Angel, Confessions and Coming Home. She is co-founder of the Deaf & Hearing Ensemble Theatre Company, associate Artist for The Watermill Theatre, Pentabus Theatre and works as a consultant for several TV, Film and Theatre companies. Sophie had a lead role in Beethoven Can Hear You for BBC Radio 3 in 2020. Her essay for Radio 3 in 2020 for the Five Kinds of Beethoven series, was a critical success. It was accompanied by an animated transcript to increase accessibility. Writer and reader Sophie Stone Recording engineer Mat Clarke at Sonica Studios Sound designer Eloise Whitmore Producers Polly Thomas and Mina Anwar A Naked Production for BBC Radio 3

Macintosh & Maud Haven't Seen What?!
HISTORY LESSONS: The Great Escape (1963)

Macintosh & Maud Haven't Seen What?!

Play Episode Listen Later Nov 28, 2022


CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of prisoners of war, execution, war crimes, torture, concentration camps, Nazis, the SS and Gestapo, war, death, imprisonment. We're moving on to World War II this week with a film that more prison break than war movie. Though in this case, it also happens to be 100% real, and the real story might even be more wild than the movie. It's a star-studded, solid cast with some outstanding writing. Unfortunately, the story is so sweeping, with so many characters, that even 3 hours doesn't give us quite enough to really latch onto. But despite terrible studio notes and a diva actor in the lead role, it's still one heck of a movie, even 60 years on. Make sure to empty the dirt from your stockings in the garden as we talk about The Great Escape on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpts taken from the film The Great Escape are © 1963 Metro-Goldwyn-Mayer Studios Inc. and John Sturges. All Rights Reserved Excerpt taken from the “National Anthem of the USSR” as performed by The Red Army Choir, copyright 2002 Silva America.

Classic & Co
Le nouvel album de la pianiste Anne Queffélec, consacré aux trois dernières sonates de Beethoven

Classic & Co

Play Episode Listen Later Nov 27, 2022 5:56


durée : 00:05:56 - Classic & Co - par : Anna Sigalevitch - La pianiste Anne Queffelec consacre son nouvel album, paru chez Mirare, à Beethoven, précisément aux trois dernières sonates, les Opus 109, 110 et 111…

Private Passions
Adam Rutherford

Private Passions

Play Episode Listen Later Nov 27, 2022 39:21


The geneticist and broadcaster Adam Rutherford tells Michael Berkeley how his passion for music allows him to escape the rigours of science and enjoy the emotional side of life. Adam Rutherford's career in science has taken him from a PhD on the role of genetics in eye development to becoming a well-known broadcaster who campaigns against pseudoscience and racism. Presenter of Radio 4's Start the Week and The Curious Cases of Rutherford and Fry, he's also the author of six bestselling books; a lecturer at University College London; and the recipient of the Royal Society David Attenborough Award for outstanding public engagement with science. Adam shares some astonishing facts about our genes and our common ancestry: everyone of European descent is definitely directly descended from the eighth-century Emperor Charlemagne – and from the person who cleaned his boots. Adam was a music scholar at school and his passion for the violin started with lessons at the age of four and culminated in playing with his teacher in Berlioz's Symphonie Fantastique. We also hear his favourite piece of violin music, Beethoven's Violin Concerto. Adam is the President of Humanists UK but asks for music from his two musical gods, Bach and Radiohead. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3

Natural Born Alchemist
Episode 324: unleash the beast

Natural Born Alchemist

Play Episode Listen Later Nov 27, 2022 64:52


In this episode we are going to talk psychedelics, nervous system work and healing with John Wood. Check out his site Rageheart if you want to unleash the Beast!Donate BTC to the show: bc1q3gkvrnpe5nmsasuk9e44rvle6w96u2adtl9sqeg63uq8dh45q3zqm7z049.Join the Revolution: Sign the Pledge… STOP Consuming Corporate Media.Subscribe to the YouTube channel.Support the podcast.Music featured in this episode:Ludwig van Beethovenen.wikipedia.org/wiki/Ludwig_van_Beethoven

Medieval Death Trip
MDT Ep. 97: Concerning Three Witches

Medieval Death Trip

Play Episode Listen Later Nov 26, 2022 80:01


This time on Medieval Death Trip, we celebrate Black Friday weekend with some black magic in our belated Halloween anniversary episode. We look at a couple of quite different medieval witches, a Cornish wildwoman from the Life of St. Samson and the famous Witch of Berkeley, as well as a report of a night-hag from the 18th century. Today's Texts - William of Malmesbury. Chronicle of the Kings of England. Edited by J.A. Giles, translated by John Sharpe and J.A. Giles, George Bell & Sons, 1895. Google Books. - The Liber Landavensis, Llyfr Teilo, or the Ancient Register of the Cathedral Church of Llandaff. Edited by W.J. Rees, William Rees, 1840. Google Books. - Burnett, George. Specimens of English Prose-Writers from the Earliest Times to the Close of the Seventeenth Century, with Sketches Biographical and Literary, Including an Account of Books as Well as of Their Authors; with Occasional Criticisms, etc. Vol. I, Longman, Hurst, Rees, and Orme, 1807. Google Books. - Sprenger, James, and Henry Kramer. Malleus Maleficarum. Originally published 1486. Translated by Montague Summers, 1928. Sacred-Texts.com. Audio Clips: - The Tragedy of Macbeth. Directed by Joel Coen. Apple Studios, 2021. - The Witch. Directed by Robert Eggers. A24, 2015. - The Witches. Directed by Nicholas Roeg. Warner Bros., 1990. - The Blair Witch Project. Directed by Daniel Myrick and Eduardo Sánchez. Artisan Entertainment, 1993. - Suspiria. Directed by Dario Argento. Produzioni Atlas Consorziate, 1977. - Monty Python and the Holy Grail. Directed by Terry Gilliam and Terry Jones. EMI Films, 1975. - The Wizard of Oz. Directed by Victor Fleming. MGM, 1939. - Clash of the Titans. Directed by Desmond Davis. United Artists, 1981. - Young Frankenstein. Directed by Mel Brooks. 20th Century Fox, 1974. Additional Music Credit: Ludwig van Beethoven, Coriolan Overture, composed in 1807 (the same year Burnett published his Specimens of English Prose Writers), and performed by the Musopen Symphony (CC-PD). Chapters 00:00:00: Introduction 00:04:54: Movie witchlore montage 00:10:12: Introduction, cont. 00:14:00: Text: from the Malleus Maleficarum 00:21:10: Introduction, cont. 00:23:24: Text: from The Life of St. Samson in the Book of Llandaff 00:27:44: Commentary 00:45:36: Text: from William of Malmesbury's Gesta Regum Anglorum 00:51:50: Commentary 01:04:21: Text: from George Burnett's Specimens of English Prose Writers 01:09:40: Commentary 01:11:38: Mystery Word: baggaged 01:17:03: Outro

Music Matters
Ailish Tynan, older people and music, Beethoven in Russia, UK Music diversity report

Music Matters

Play Episode Listen Later Nov 26, 2022 44:01


Kate Molleson speaks to Irish soprano Ailish Tynan at home with her dog. She reminisces about growing up in Ireland, learning her craft as a young artist at the Royal Opera House, Covent Garden, and working with students at Trinity Laban Conservatoire of Music & Dance in Greenwich where she has been recently announced as International Artist in Voice. Kate travels to rehearsals to meet members of the Glasgow Senior Citizens Orchestra where she finds them preparing for their next concert; and she talks to music therapist, Grace Meadows from the Utley Foundation and David Cutler Director of the Baring Foundation about the benefits music brings to older people. Author Frederick W. Skinner introduces his new book 'Beethoven in Russia: Music and Politics' which explores how the composer's music interfaced with politics in Russia and the revolutionary struggle that culminated in the Revolution of 1917. Marina Frolova-Walker, Professor of Music History and a Fellow of Clare College, Cambridge sets the context and describes the current musical climate in Russia. Plus, Kate speaks to Ammo Talwar from UK Music about their newly published Diversity Report. And Charisse Beaumont joins us from Black Lives in Music to explain some of the findings of the report. Produced by Marie-Claire Doris.

Sadhguru's Podcast
The Secret Behind Beethoven's Musical Genius | Sadhguru

Sadhguru's Podcast

Play Episode Listen Later Nov 26, 2022 6:13


Considered among India's 50 most influential people, Sadhguru is a yogi, mystic, bestselling author, and poet. Absolute clarity of perception places him in a unique space, not only in matters spiritual but in business, environmental and international affairs, and opens a new door on all that he touches.Conscious Planet: https://www.consciousplanet.orgSadhguru App (Download): https://onelink.to/sadhguru__appOfficial Sadhguru Website: https://isha.sadhguru.orgSadhguru Exclusive: https://isha.sadhguru.org/in/en/sadhguru-exclusiveYogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times.

BFM :: Front Row
Love and Strength United

BFM :: Front Row

Play Episode Listen Later Nov 25, 2022 21:12


Two young artists based in Malaysia are collaborating for the first time, set to bring two great works to life - Beethoven's Choral Fantasy and Prokofiev's Third Piano Concerto in a concert called Love and Strength United. We find out what's in store from pianist Dr Poom Prommachart and Conductor Caeleb Tee.Image Credit: Cloudjoi/Love and Strength United

Macintosh & Maud Haven't Seen What?!
HISTORY LESSONS: Lawrence of Arabia (1962)

Macintosh & Maud Haven't Seen What?!

Play Episode Listen Later Nov 25, 2022


CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of suspected sexual assault during prison torture from 25:33-26:44, and a brief mention of suicide from 43:02-43:15. Also, discussion of torture, racism, brownface, racist portrayals in movies, homophobia, war, death, grief, murder. Our next history lesson takes us on a journey across the desert through the longest film to date for this show. Clocking in at just under four hours, David Lean's masterpiece is a film that truly stands alone in its scope and technique in filmmaking. No one had ever made a movie quite like this in 1962, and it feels safe to say no one will ever make another one like it again. Because the original story of the figure behind this week's movie and the process of making the film itself were both epic in every sense of the word. And while we have some issues with the script and storytelling, the sheer beauty, magnitude and influence of this week's film are simply undeniable. Grab your gun and climb on your camel as we continue our History Lessons series with 1962's Lawrence of Arabia on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpts taken from the film Lawrence of Arabia are © 1962 renewed 1990 Columbia Pictures Industries, Inc. All Rights Reserved. Excerpt taken from “Mr. Lucky” from Music De Wolfe, Copyright 1980. Excerpt taken from “Sabre Dance from the Gayane Suite No. 3,” composed by Aram Khachaturian and performed by the Bernliner Philharmoniker, conducted by Sir Simon Rattle, December 31, 2013. Excerpt taken from “The Young Person's Guide to the Orchestra,” composed by Benjamin Britten and performed by the WDR Symphony Orchestra, conducted by Jukka-Pekka Saraste, October 3, 2010. Excerpt taken from the film The Great Escape is © 1963 Metro-Goldwyn-Mayer Studios Inc. and John Sturges. All Rights Reserved

WDR 3 Meisterstücke
Von der Quelle bis nach Prag in 12 Minuten - Smetanas Moldau

WDR 3 Meisterstücke

Play Episode Listen Later Nov 24, 2022 12:49


Das berauschende Thema seiner "Moldau" konnte Smetana selbst nie hören, denn da war er schon taub. In musikalischen Bildern beschreibt der Komponist den Lauf von Tschechiens längstem Fluss und schafft es damit in seiner Heimat zum Nationalhelden. (Autor: Philipp Quiring und Michael Lohse) Von Philipp Quiring.

Hustler Testimony
The Power of Storytelling - Jude Charles Ep. #021

Hustler Testimony

Play Episode Listen Later Nov 24, 2022 109:56


This weeks guest is Jude Charles the founder and CEO of Jude Charles co. The mission at Jude Charles Co. is to tell your brands story and do so through dramatic clarity, dramatic leverage, and dramatic demonstration. Learn more at https://judecharles.co Watch as Beethoven and Jude discuss Jude's upbringing and what brought him to where he is today. They discuss the power in storytelling, strategy and roadmapping, and other tips and tricks to running a business. Hustler Testimony is a podcast that was created for hustlers to tell their story. Beethoven Francois, the host, delves deep into his guests pasts in order to bring to light the trials and tribulations that come before success. Watch 'Hustler Testimony' THURSDAY 12AM ET on Hustler Testimony. Stream on Apple Podcast, Google Play & Spotify. Check out our Website! https://www.hustlertestimony.com Follow Us! Instagram - https://www.instagram.com/hustlertestimony/ Facebook - https://m.facebook.com/hustlertestimonytv/ TikTok - https://www.tiktok.com/@hustler.testimony

En pistes ! L'actualité du disque classique
Premier enregistrement mondial de l'intégrale de l'oeuvre pour violon de Tomasi

En pistes ! L'actualité du disque classique

Play Episode Listen Later Nov 23, 2022 90:00


durée : 01:30:00 - En pistes ! du mercredi 23 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, Emilie et Rodolphe vous font (re)découvrir les cantates de Bach avec le dernier enregistrement du chef Christoph Spering. Nous écouterons aussi Bella Davidovich interprétant Chopin et Beethoven. En piste !

YourClassical Daily Download
Ludwig van Beethoven - String Quartet No. 15: 3rd movement

YourClassical Daily Download

Play Episode Listen Later Nov 23, 2022 15:39


Ludwig van Beethoven - String Quartet No. 15: 3rd movement Kodaly Quartet More info about today's track: Naxos 8.554592 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Classical Music Discoveries
Episode 56: 19056 CMD Mix 22Nov22

Classical Music Discoveries

Play Episode Listen Later Nov 22, 2022 96:08


A Mix of 19 selections randomly made from our most recent shows.Total time: 1 hour and 36 minutesSelections from Meyerbeer, Mozart, Handel, Foster, Lully, Balmorhea, Beethoven, Gregson, and many more.

Muse Mentors
Beethoven Hymn of Thanksgiving-A meditation like no other

Muse Mentors

Play Episode Listen Later Nov 22, 2022 15:57


 Muse Mentors host Karen Kevra  discusses Beethoven's transcendent Hymn of Thanksgiving from the Op. 132 A minor string quartet with Nicholas Kitchen, the first violinist of the Borromeo Quartet.Credits:Beethoven, Hymn Of Thanksgiving (String Quartet Op. 132, Movement III)  Borromeo Quartet  - Nicholas Kitchen, Violin; Kristopher Tong, Violin; Mai Motobuchi, Viola; Yeesun Kim, Cello)Use this link to hear and see the entire performance by the Borromeo String Quartet Support the show

Busy Kids Love Music
Songs of Thanksgiving

Busy Kids Love Music

Play Episode Listen Later Nov 22, 2022 9:32


Many countries around the world celebrate a festival or holiday of Thanksgiving. As we celebrate ours this week here in the United States, I put together a podcast episode where we'll learn about three classical songs that focus on thankfulness. Enjoy!     Links Mentioned in this Episode: Episode 12: Beethoven's Nine Symphonies Music Heard in this Episode: Simple Gifts (Instrumental) Simple Gifts from Appalachian Spring Symphony No. 6 in F Major, Op. 68 "Pastoral": V. Allegretto - Shepherd's Song, Thanksgiving Crüger: Now Thank We All Our God (Nun Danket) Bach - Nun danket alle Gott BWV 657 - Kofler | Netherlands Bach Society Edward Taylor plays Nun danket alle Gott by S. Karg Elert Music Listening Schedule for Episode 84 I've created a YouTube playlist for you that includes some music from today's episode as a few additional arrangements of the songs discussed. You can view the videos I've complied here. Subscribe & Review in iTunes Are you subscribed to my podcast? If you're not, head on over to do that today so you don't miss an episode. Click here to subscribe in iTunes! If you're feeling extra magnanimous, I would be really grateful if you left a review over on iTunes, too. Those reviews help other families find my podcast learn more about music. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what you love about Busy Kids Love Music. Thanks!  

Les grands entretiens
Abdel Rahman El Bacha, piano (2/5) : "Le violon ne m'a pas tout de suite adopté"

Les grands entretiens

Play Episode Listen Later Nov 21, 2022 25:07


durée : 00:25:07 - Abdel Rahman El Bacha, pianiste (2/5) - par : Judith Chaine - Pianiste réputé pour les qualités émotionnelles de son jeu, le franco libanais Abdel Rahman El Bacha chérit la musique de Beethoven et par-dessus tout, celle de Chopin dont il a enregistré l'intégrale. Retour sur le parcours musical et personnel du pianiste et compositeur Abdel Rahman El Bacha. - réalisé par : Françoise Cordey

People Behind the Science Podcast - Stories from Scientists about Science, Life, Research, and Science Careers
683: Synthesizing Self-Healing Materials Using Squid Proteins - Dr. Melik Demirel

People Behind the Science Podcast - Stories from Scientists about Science, Life, Research, and Science Careers

Play Episode Listen Later Nov 21, 2022 28:45


Dr. Melik Demirel is a Professor of Engineering Science and Mechanics at The Pennsylvania State University. Melik is fascinated by complexity in living and nonliving systems. He works at the intersection of biology, materials science, and computational science to understand whether patterns in living and nonliving systems follow mathematical and statistical rules, to determine the underlying physical basis of these patterns, and identify relevant mechanisms. He likes listening to music to engage the creative aspects of his mind. Some of his favorites are composers like Beethoven and Rachmaninov. Melik's wife plays piano, and his son plays piano and cello, so music is a big part of their lives. Malik received is B.S. and M.S. in Engineering from Boğaziçi University in Turkey and was awarded his PhD in Materials Science and Engineering from Carnegie Mellon University. Afterwards, Melik conducted postdoctoral research at Los Alamos National Laboratory and was awarded an Alexander von Humboldt Fellowship in Molecular Biology at the Max Planck Institute in Gottingen, Germany. He accepted a faculty position at Penn State in 2003. Melik was a recipient of the Young Investigator Award from the Office of Naval Research within the Department of Defense, was selected as a Wyss Institute Visiting Scholar at Harvard University, and was awarded the Outstanding Research Award from Penn State, among other honors during his career. In this episode, he tells us about his experiences in life and science.

Studio Class
Episode 90: Masterclass - Hilary Ginther

Studio Class

Play Episode Listen Later Nov 21, 2022 69:10


Opera Now Magazine in their article, “Written in the Stars” profiled Hilary Ginther in May 2016 as one of ten young American singers intent on taking the opera world by storm, calling attention to her “substantial and richly colored instrument”. This was followed by her Philadelphia Orchestra debut in Bernstein's MASS under the baton of Yannick Nézet-Séguin, which was recorded by Deutsche Grammophon and released in March 2018, in commemoration of the composer's centenary. Most recent engagements include Olga in Eugene Onegin for Opera Omaha, Rosina in Il Barbiere di Siviglia for Opera on the James, Adalgisa in Norma for Musica Viva Hong Kong, and Beethoven's Ninth Symphony in Santa Fe. My gratitude goes out to Hannah Boissonneault who edits our Masterclass episodes and to Juanitos and Scott Holmes for the music featured in this episode. You can help support the creation of these episodes when you join the Sybaritic Camerata on Patreon. Get started at patreon.com/mezzoihnen. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Hilary Ginther.

Les grands entretiens
Abdel Rahman El Bacha, piano (1/5) : "J'ai débuté le piano en jouant d'oreille une chanson d'Oum Kalthoum"

Les grands entretiens

Play Episode Listen Later Nov 21, 2022 25:09


durée : 00:25:09 - Abdel Rahman El Bacha, pianiste (1/5) - par : Judith Chaine - Pianiste réputé pour les qualités émotionnelles de son jeu, le franco libanais Abdel Rahman El Bacha chérit la musique de Beethoven et par-dessus tout, celle de Chopin dont il a enregistré l'intégrale. Retour sur le parcours musical et personnel du pianiste et compositeur Abdel Rahman El Bacha. - réalisé par : Françoise Cordey

Au coeur de l'orchestre
Orchestrations, transcriptions, arrangements

Au coeur de l'orchestre

Play Episode Listen Later Nov 21, 2022 118:33


durée : 01:58:33 - Orchestrations, transcriptions, arrangements - par : Christian Merlin - De Ravel ou de Moussorgski, les Tableaux d'une exposition ? De Liszt ou de Beethoven, la version pour piano de la Symphonie héroïque ? Trahison ou amélioration, l'édition des symphonies de Schumann par Mahler ? Où l'on se demandera ce que veut dire orchestrer. - réalisé par : Marie Grout

Au coeur de l'orchestre
Orchestrations, transcriptions, arrangements (4/4) : un compositeur s'orchestre soi-même

Au coeur de l'orchestre

Play Episode Listen Later Nov 21, 2022 28:16


durée : 00:28:16 - Orchestrations, transcriptions, arrangements (4/4) : un compositeur s'orchestre lui-même - par : Christian Merlin - De Ravel ou de Moussorgski, les Tableaux d'une exposition ? De Liszt ou de Beethoven, la version pour piano de la Symphonie héroïque ? Trahison ou amélioration, l'édition des symphonies de Schumann par Mahler ? Où l'on se demandera ce que veut dire orchestrer. - réalisé par : Marie Grout

Au coeur de l'orchestre
Orchestrations, transcriptions, arrangements (3/4) : un compositeur en orchestre un autre

Au coeur de l'orchestre

Play Episode Listen Later Nov 21, 2022 28:09


durée : 00:28:09 - Orchestrations, transcriptions, arrangements (3/4) : un compositeur en orchestre un autre - par : Christian Merlin - De Ravel ou de Moussorgski, les Tableaux d'une exposition ? De Liszt ou de Beethoven, la version pour piano de la Symphonie héroïque ? Trahison ou amélioration, l'édition des symphonies de Schumann par Mahler ? Où l'on se demandera ce que veut dire orchestrer. - réalisé par : Marie Grout

Au coeur de l'orchestre
Orchestrations, transcriptions, arrangements (2/4) : du clavier à l'orchestre (II)

Au coeur de l'orchestre

Play Episode Listen Later Nov 21, 2022 28:14


durée : 00:28:14 - Orchestrations, transcriptions, arrangements (2/4) : du clavier à l'orchestre (II) - par : Christian Merlin - De Ravel ou de Moussorgski, les Tableaux d'une exposition ? De Liszt ou de Beethoven, la version pour piano de la Symphonie héroïque ? Trahison ou amélioration, l'édition des symphonies de Schumann par Mahler ? Où l'on se demandera ce que veut dire orchestrer - réalisé par : Marie Grout

Au coeur de l'orchestre
Orchestrations, transcriptions, arrangements (1/4) : du clavier à l'orchestre

Au coeur de l'orchestre

Play Episode Listen Later Nov 21, 2022 28:00


durée : 00:28:00 - Orchestrations, transcriptions, arrangements (1/4) : du clavier à l'orchestre (I) - par : Christian Merlin - De Ravel ou de Moussorgski, les Tableaux d'une exposition ? De Liszt ou de Beethoven, la version pour piano de la Symphonie héroïque ? Trahison ou amélioration, l'édition des symphonies de Schumann par Mahler ? Où l'on se demandera ce que veut dire orchestrer. - réalisé par : Marie Grout

Les grands entretiens
Abdel Rahman El Bacha, piano (5/5) : "S'appartenir à soi est une quête pour être authentique"

Les grands entretiens

Play Episode Listen Later Nov 21, 2022 25:15


durée : 00:25:15 - Abdel Rahman El Bacha, pianiste (5/5) - par : Judith Chaine - Pianiste réputé pour les qualités émotionnelles de son jeu, le franco libanais Abdel Rahman El Bacha chérit la musique de Beethoven et par-dessus tout, celle de Chopin dont il a enregistré l'intégrale. Retour sur le parcours musical et personnel du pianiste et compositeur Abdel Rahman El Bacha. - réalisé par : Françoise Cordey

Les grands entretiens
Abdel Rahman El Bacha, piano (4/5) : "La beauté est une garantie du sens et de la valeur de ce monde"

Les grands entretiens

Play Episode Listen Later Nov 21, 2022 25:12


durée : 00:25:12 - Abdel Rahman El Bacha, pianiste (4/5) - par : Judith Chaine - Pianiste réputé pour les qualités émotionnelles de son jeu, le franco libanais Abdel Rahman El Bacha chérit la musique de Beethoven et par-dessus tout, celle de Chopin dont il a enregistré l'intégrale. Retour sur le parcours musical et personnel du pianiste et compositeur Abdel Rahman El Bacha. - réalisé par : Françoise Cordey

Les grands entretiens
Abdel Rahman El Bacha, piano (3/5) : "La musique française m'a vraiment été révélée en France"

Les grands entretiens

Play Episode Listen Later Nov 21, 2022 25:17


durée : 00:25:17 - Abdel Rahman El Bacha, pianiste (3/5) - par : Judith Chaine - Pianiste réputé pour les qualités émotionnelles de son jeu, le franco libanais Abdel Rahman El Bacha chérit la musique de Beethoven et par-dessus tout, celle de Chopin dont il a enregistré l'intégrale. Retour sur le parcours musical et personnel du pianiste et compositeur Abdel Rahman El Bacha. - réalisé par : Françoise Cordey

Classics For Kids
Charles Ives 3: Folk Tunes in Classical Music

Classics For Kids

Play Episode Listen Later Nov 19, 2022 6:00


The Country Band March has 12 recognizable popular and folk tunes in it. But Ives was not the only composer to put borrowed tunes in his music. Many classical composers -- including Ludwig van Beethoven, Mily Balakirev, and Percy Grainger -- used folk music in the pieces they wrote.

Sticky Notes: The Classical Music Podcast
The Degenerates: Music Suppressed By The Nazis

Sticky Notes: The Classical Music Podcast

Play Episode Listen Later Nov 17, 2022 57:39


The center of Western Classical Music, ever since the time of Bach, has been modern-day Germany and Austria.  You can trace a line from Bach, to Haydn to Mozart to Beethoven to Schubert to Schumann, Brahms, and Wagner, and finally to Mahler. But why does that line stop in 1911, the year of Mahler's death? Part of the answer is the increasing influence of composers from outside the Austro-German canon, something that has enriched Western Classical music to this day. There was also World War I getting in the way.  But after the war, one could have expected that this line would continue again.  The 1920's in Germany and the rest of Europe were a time of radical experimentation, a flowering of ideas, a sort of wild ecstasy of innovation across all the arts. So why don't we hear of these Austro-German experimenters and innovators anymore?  Because of Adolf Hitler, Joseph Goebbels, and their Entartete, or Degenerate music.  Hitler's worst crime was by no means his suppression of dozens of German, Austrian, and Eastern European composers, but it is a fact all the same that from the end of World War I until 1933, classical music in Germany and Eastern Europe(especially Czechoslovakia), was flourishing, with composers such as Zemlinsky, Krenek, Korngold, Schreker, Schulhoff, Haas, Krasa, and Ullmann taking up the mantle of the giants of the past and hoisting it upon themselves to carry it forward.     The Nazis silenced, exiled, or  killed off many of these musicians during the twelve years of 1933-1945, and those voices are forever lost, but the music they wrote before, during the War and the Holocaust, and after it, some of it masterpieces quite on the level of their predecessors, has been preserved.  So why then are these composers not better known? I've chosen 12 composers, all of whom were writing music at the highest level.  Some of them may be familiar to you, but many probably won't be.  And through all of their trials and tribulations, one of the things I want to emphasize throughout these stories, even the bleakest ones, is that so many of them found the will to be able to compose this heart-rending, beautiful, and often optimistic music all as they witnessed unimaginable horrors. It may seem empty when the end for many of these artists was so horrific, but these compositions and the men and women who were behind them are a true testament to the resilience of the human spirit.  These artists created a life for their friends, neighbors, and fellow inmates in concentration camps.  They wrote music they knew would almost certainly not be heard in their lifetimes, from an urge that could not be destroyed, even by gas chambers. Join us to learn about them this week.

The Show Presents Full Show On Demand
The Show Presents: Full Show On Demand 11.15.22

The Show Presents Full Show On Demand

Play Episode Listen Later Nov 15, 2022 115:53


Emily's Birthday, Sky Gave Away Her Husband's Dinner, Eddie's Holiday with Beethoven the Dog