Podcasts about mahler

Tod Field's Tár (2022) is one of the best ghost stories we've discussed on the show. The story of a troiubled genius, the film is also a wonderfully ambiguous portrat of a person persued by her past in the form of an unseen and vengerful force. Lydia Tár is by turns charismatic, repulsive, fascinating, and frightening. She's a real person and demands a compicated response, just like the film as a whole. Part Amadeus and part Lolita, Tár is a high-water mark for anyone intrested in a portrat of the artist. Bumper music: Gustav Mahler's Symphony No. 5 - Trauermarsch by Jason Weinberger & WCF Symphony. Licensed under Creative Commons: By Attribution 3.0 If, like Lydia Tár, you're fascinated by Mahler, check out Stephen Downes' 2025 biography. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran's substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Mike Takla is on substack at The Grumbler's Almanac. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Seit Jahren kämpft Gustav Mahler als Direktor der Wiener Hofoper gegen die Rückständigkeit des Hauses. Vor allem die Positionierung des Orchesters ist ihm ein Dorn im Auge. Doch da hat Mahler eine zündende Idee.

Tod Field's Tár (2022) is one of the best ghost stories we've discussed on the show. The story of a troiubled genius, the film is also a wonderfully ambiguous portrat of a person persued by her past in the form of an unseen and vengerful force. Lydia Tár is by turns charismatic, repulsive, fascinating, and frightening. She's a real person and demands a compicated response, just like the film as a whole. Part Amadeus and part Lolita, Tár is a high-water mark for anyone intrested in a portrat of the artist. Bumper music: Gustav Mahler's Symphony No. 5 - Trauermarsch by Jason Weinberger & WCF Symphony. Licensed under Creative Commons: By Attribution 3.0 If, like Lydia Tár, you're fascinated by Mahler, check out Stephen Downes' 2025 biography. Please subscribe to the show and consider leaving us a rating or review. You can find over three hundred episodes wherever you get your podcasts. Follow the show on Letterboxd and email us any time at fifteenminutefilm@gmail.com with requests and recommendations. Check out Dan Moran's substack, Pages and Frames, where he writes about books and movies, as well as his many film-related author interviews on The New Books Network. Mike Takla is on substack at The Grumbler's Almanac. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Conductor Alexander Briger has built an extraordinary international career, working with orchestras and opera companies across Europe and Australia, while also creating one of this country's most ambitious musical projects: the Australian World Orchestra. As the AWO celebrates 15 years, Alexander reflects on how an idea originally intended as a one-off became an ongoing orchestra bringing together leading Australian musicians from around the world, and discusses the upcoming concerts in Melbourne and Sydney .Alex also looks back on the beginnings of his own remarkable career, from hearing his uncle Sir Charles Mackerras conduct Mahler when he was 12 and immediately deciding to become a conductor, to leaving Australia for Europe in search of opportunities he simply couldn't find at home. He recalls learning from Mackerras, Pierre Boulez and other great conductors, and the complex reality of carving out his own identity independent of his famous uncle. There are also some telling stories of the less glamorous side of an international conducting career, from having to learn major works at a day's notice, to racing between countries and opera houses until the relentless pace eventually took its toll. He also reflects on what decades on the podium have taught him, including the importance of personality and instinct to great conducting.Alexander Briger conducts the Australian World Orchestra for Shostakovich's 10th Symphony, Stravinsky's Petrushka and a world premiere by Jonathan Mills, at Hamer Hall in Melbourne on Wednesday, 19 August and in the Concert Hall of the Sydney Opera House on Thursday 20 August.

Unter Leitung von Dirigent Iván Fischer hat das Budapest Festival Orchestra bei den Salzburger Festspielen konzertiert. Auf dem Programm stand neben Mahler und Schubert eine Hommage an den 100-jährigen Komponisten György Kurtág.

Eine Woche Südtirol im August klingt nach Wandern, Weinverkostung und gutem Essen. Doch die rund hundert jungen BLJO-Musikerinnen und -Musiker verbringen, die ihre erste Sommerferienwoche in Eppan verbringen, verfolgen da ganz andere Ziele.

An approach to dyspnea (shortness of breath), including the dyspnea pyramid to remember the differentials, as well as key investigations that help identify the cause, as well as common patterns in the history and physical examination. PDFs available here: https://rhesusmedicine.com/products/assessment-or-interpretationConsider subscribing on YouTube (if you found any of the info useful!): https://www.youtube.com/channel/UCRks8wB6vgz0E7buP0L_5RQ?sub_confirmation=1Patreon: https://www.patreon.com/rhesusmedicineBuy Us A Coffee!: https://www.buymeacoffee.com/rhesusmedicineTimestamps:0:00 What is Dyspnea?0:19 The Dyspnea Pyramid2:50 Dyspnea History & Physical Exam Patterns4:43 Dyspnea InvestigationsLINK TO MNEMONICS:https://www.youtube.com/watch?v=p-XE7PiwGgE&list=PLGNSE_HvIV4t7a33bbHN1fq-j_tge0GmpLINK TO SOCIAL MEDIA: https://www.instagram.com/rhesusmedicine/Please remember this podcast and all content from Rhesus Medicine is meant for educational purposes only and should not be used as a guide to diagnose or to treat. Please consult a healthcare professional for medical advice. ReferencesBMJ Best Practice (2025) Evaluation of dyspnoea in adults. BMJ Publishing Group.BMJ Best Practice (2025) Acute dyspnoea. BMJ Publishing Group.National Institute for Health and Care Excellence (2025) Breathlessness. Clinical Knowledge Summaries (CKS).MSD Manual Professional Edition (2025) Dyspnea. MSD Manual Professional Edition.StatPearls (2024) Dyspnea. In: StatPearls. Treasure Island (FL): StatPearls Publishing.Parshall, M.B., Schwartzstein, R.M., Adams, L., Banzett, R.B., Manning, H.L., Bourbeau, J., Calverley, P.M.A., Gift, A.G., Harver, A., Lareau, S.C., Mahler, D.A. and O'Donnell, D.E. (2012) An Official American Thoracic Society Statement: Update on the Mechanisms, Assessment, and Management of Dyspnea. American Journal of Respiratory and Critical Care Medicine, 185(4), pp.435–452.

John Canzano interviews Dave "Softy" Mahler from KJR in Seattle. Softy has a warning for Trail Blazers fans and city leaders -- don't mess this up! Also, Softy talks about the Washington-Oregon football rivalry and more. Plus, Olivia Cleary reads the news. Subscribe to this podcast. Read JohnCanzano.com so you don't miss a thing. Support our sponsors -- The Wall (ByTheWall.com) and Gresham Ford (www.GreshamFord.com). Watch the video of this show on YouTube: www.youtube.com/@JohnCanzano

Jahrzehnte hat es gedauert, bis Gustav Mahler nach seinem Tod 1911 in den internationalen Konzertsälen heimisch geworden ist. Heute ist seine Musik aus den Programmen nicht mehr wegzudenken. Mit dem Namen Mahler sind vor allem seine neun vollendeten Sinfonien verbunden. Doch gerade in jungen Jahren hat der Komponist auch eine Reihe von Liedern geschrieben, die wesentlich zur Entwicklung seines unverwechselbaren musikalischen Stils beigetragen haben. Jetzt hat der Pianist Joseph Middleton mit mehreren Sängerinnen und Sängern ein Album veröffentlicht, dass sich diesen frühen Liedern widmet.

Conductor Alexander Briger has led orchestras all over the world. But his niche occupation is not the only fascinating thing about him. Alex's family history is wild.Alexander Briger has stood in front of musicians all over the world, summoning a gigantic, beautiful noise from them.Classical music was a huge part of Alex's story growing up.He is the nephew of the famous conductor, the late Sir Charles Mackerras; and descended from the so-called "father of Australian music", Isaac Nathan.Another branch of Alex's family tree astonishingly connects him to the man who murdered Rasputin.Rasputin was a Russian peasant and mystic, whose abilities as a faith healer drew him into the inner circle of the Russian Tzars.Fearing his destructive grip on the monarchy, a posse of aristocrats led by Alex's ancestor, Prince Felix Yusupov, drew Rasputin into a trap, luring him to his death in a Saint Petersburg basement in 1916.In recent years, Alex was invited to Russia to conduct a modern opera, coincidentally called and about Rasputin, in a full circle moment.Alex is back in Australia right now as the chief conductor and artistic director of the Australian World Orchestra, the only ensemble of its kind in the world.The Australian World Orchestra is playing in Melbourne on 19 August and in Sydney on 20 August. You can find out more about the orchestra and its performances online.This episode of Conversations was produced by Meggie Morris. Executive producer is Nicola Harrison.It explores classical music, Russian revolution, family history, Paris, Munich, Berlin Philharmonic, conducting, symphony, Mahler, the great Western composers, Wagner, Stravinsky, Shostakovich, Jewish Australians, whacky history, Yusupov, how did Rasputin die, European politics, Bolshevik Revolution, the October Revolution, exile, ballet, Sydney Conservatorium of Music, Australian classical music, Australian expats.To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.

Wie setzt man Melodien in Orchesterklänge um? Meike Katrin Stein ist Orchestratorin und berichtet von ihrem ungewöhnlichen Musikberuf: Das Handwerk braucht Erfahrung im Umgang mit den verschiedenen Instrumenten, denn alle haben ihre eigenen Tücken und Stärken. Welcher Komponist war ein Orchestrierungsmeister und was ist eine Folk-Metal Oper?

I love how deeply pairing is woven into the natural world. Not just the supposed ‘pairing' of dock leaves and nettles, but the way in which so many things come in twos, whether for balance, survival, or fundamental physics – from the pairs of eyes, ears, and nostrils the Lord has given us, and which provide stereoscopic vision and directional hearing, to the two kidneys and lungs that provide vital backup should one fail. There is a God-inbuilt symbiotic mutualism that bonds pairs of distinct species so that they rely on each other for survival—like flowering plants and their specific pollinators, or fungi and algae as they form lichens. Chromosomes likewise exist in pairs (one set from each parent), just as DNA itself forms a double helix using complementary base pairs. In our own lives, too, we experience the God who not only opens doors for us, but who in His mercy closes others in His love and wisdom. He grants us seasons of intense wrestling – but also times of rich ‘nestling.' Rest and work, night and day, the pairings are everywhere; each is different, but each has its own role to play, and all are linked. Pairs are a feature of biblical poetry. The opening verses of Psalm 19 are an example of this ‘parallelism,' pairing the heavens with the skies, and declaration with proclamation; just as day is paired with night, speech with sound, and voices with words. The heavens declare the glory of God; the skies proclaim the work of His hands. Day after day they pour forth speech; night after night they reveal knowledge. Without speech or language, without a sound to be heard, their voice has gone out into all the earth, their words to the ends of the world. (Psalm 19:1-4) in this parallelism, the one half of the pair invites the other; sometimes fulfilling our expectation, and sometimes taking us aback with an unexpected counterpoint. In Him, all things hold together: light and darkness, heights and depths, the truly ginormous and the microscopic. We have used a similar technique to craft this celebration of the magnificent riches of God's character and the the riches of the world He has created. The exquisite music is Steve Jones' arrangement for string quartet of the opening moments of Mahler's fourth symphony, which is thought to depict a child's vision of Heaven. One can hear in it a walk through the countryside, in broad views across a lake, or alpine meadows. Thank you, Grace and Jonathan Lee on violin, Cathie Muncie on viola, and Corinne Frost on cello for helping us to take great delight in the sights and sounds of God's beautiful world! God of Heaven's High Domain, Who delights to dwell with the lowly; God of raging, running waters God of quiet, reflective lake and pool, God of mountain panorama and God of darkest valley; God the first and God the last, Three in one, and one in Three; God of nurturing peace, who stirs and spurs us into action. God of awesome holiness, Who leads us with sweet hilarity. God of might and mystery – Gentle Shepherd who will not break a bruised reed. God of narrow, ancient paths: Who leads us along highly unorthodox trails; God of utmost joy and ecstasy: God of war and Man of Sorrows; God who crafted our intricate inmost being, tune our ears to catch the nearness of Your presence and the nowness of Your Word. Let our hearts beat in time and tune with Yours.

Mahler Festival Broadcast: Mahler 7 by CSO Association

Andrés Amorós culmina el ciclo dedicado a las sinfonías de Gustav Mahler.

Thence the universe resounds
 With a joyful cry  I AM. These are the final lines of Alexander Scriabin's epic Poem of Ecstasy, a 300-line poem that takes nearly 10 minutes to read aloud and is one of the most surreal texts in the world. Scriabin wrote a Poem of Ecstasy in text and a Poem of Ecstasy in music simultaneously. Both are absolutely wild, with the musical Poem of Ecstasy being a 20-minute thrill ride that alternates between languid, sinewy, seductive music and some of the loudest, most over-the-top, and dramatic music that could possibly exist. I've always been fascinated by Scriabin, and so this week's episode is an opportunity to talk about his wild (I'm going to be using that word a lot today) life and the eclectic philosophy behind Scriabin's works, as well as to take you through this masterpiece of musical sensuality. Scriabin not only doesn't shy away from sensual aspects in music but instead fully embraces them; in fact, the original title for this piece was Orgiastic Poem! Thankfully, since the piece probably would have never been performed with that title, Scriabin changed the name to Poem of Ecstasy, and the piece has stayed in the repertoire of most big orchestras ever since. And big is the key word here, because this piece is written for an absolutely massive orchestra. Like a Mahler symphony, the Poem of Ecstasy is an event whenever it is performed, simply from seeing the sheer size of the orchestra on stage when you see this piece live in concert. It is truly an overwhelming experience to listen to this piece, and I can't wait to share it with you this week. Join us!

durée : 01:28:23 - par : Aurélie Moreau - Le légendaire ténor Fritz Wunderlich, qui débuta à l'opéra en 1955, avait conquis un vaste public par sa voix douce et puissante, qui rayonnait avec chaleur. Il perdit la vie avant ses 36 ans. Aujourd'hui : Schumann, Mozart, Mahler, Lehár, Schubert… - équipe : Cécile Bonnet des Claustres, Benjamin Orgeret - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Andrés Amorós continúa el ciclo dedicado a las sinfonías de Gustav Mahler, en esta ocasión con la Sinfonía nº 9.

durée : 01:58:39 - par : Christian Merlin - Deuxième volet de notre vaste histoire de l'Orchestre Philharmonique de Vienne, pour évoquer l'après- Mahler et l'après-Première guerre mondiale. Où l'on croisera les figures de Richard Strauss, Clemens Krauss et Furtwängler, sans oublier la fondation du Festival de Salzbourg. - équipe : Marie Grout, Soizic Noël Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Mary Beth Orr is a wonderful award-winning horn player and folk vocal artist. Throughout this moving episode you'll be hearing short excerpts from her album “The Singing Horn” which celebrates traditional Appalachian songs with Mahler and contemporary works composed for Mary Beth through Vox Novus' Fifteen Minutes of Fame Project. Mary Beth is currently 3rd Horn of the Grand Rapids Symphony, and she shares the best advice I've heard about succeeding at orchestral auditions. Mary Beth also experienced a serious accident that threatened her life and then her ability to play the horn and she shares many other difficult personal challenges. I was so moved to hear her story and wisdom and I encourage you to come back and listen to the end. You can watch the video on my YouTube or listen to the podcast, and I've also linked the transcript. Have a look at the show notes of this episode on my website, where you'll find all the links (suggested episodes, podcast merch, newsletter, and of course Mary Beth and her album). SHOW NOTES: IMPORTANT LINKS! (00:00) Intro(01:43) The Singing Horn, with clips of tracks 1,2,6,3(12:37) 15 Minutes of Fame project Robert Voicsey with clips of tracks 15, 13 (16:26) Mahler, The Singing Horn album inspirations, clips track 4 (22:45) becoming a mother, creative process, clip of her song Good and True track 25(28:51) live experience, connecting with audiences, arrangements and collaborators with clips track 7, 24, 26(40:41) other suggested episodes(41:50) Appalachian singing style, why the horn is hard (50:13) female brass mentors (53:11) the accident and recovery with clip track 12 (01:07:24) grief and living life with joy with clip of track 18 (01:14:06) Mary Beth's sister Ann Marie Orr, disability awareness(01:19:31) audition and career advice

Andrés Amorós continúa el ciclo dedicado a las sinfonías de Gustav Mahler.

Stephanie Childress is principal guest conductor of the Barcelona Symphony Orchestra, and she is a rising star on both sides of the Atlantic, equally at home in opera and in concerts.Born in London to a non-musical family, as a teenager she would often skip classes and spend her afternoons watching stage and orchestra rehearsals at the English National Opera, eventually dropping out of school to pursue musicology at the University of Cambridge, aged 16. Stephanie has received much critical acclaim over her interpretations of Mozart's operas, and she will make her Paris Opera debut in Spring of 2027 with Don Giovanni.She is passionate about cross-disciplinary projects, whether they involve cinema, theatre, dance, or a DJ set. Reimagining the concert experience lies at the heart of her artistic mission, and in June 2026 she collaborated with director Tom Morris on an exploration of Mahler's Symphony No. 1 at St John's Smith Square in London.In 2020, she gained international recognition following her second-prize win at the conducting competition ‘LaMaestra'. She previously undertook a residency at the Villa Albertine, the French Institute for Culture and Education, a division of the French Embassy in the United States. 

[0:06] The psychology of vocal fry. Why ending a sentence in vocal fry removes commitment from your message. [1:07] Introducing Dr Louise Mahler: from singing opera on the great stages of Europe to Top 30 Global Guru in body language, vocal intelligence and communication; author of the bestselling book, Gravitas. [1:50] What's wrong with communication today? We've left out the most important part - delivery. [2:30] How gestures fell out of fashion after World War Two, and why body language theory of the 1970s-80s got it wrong; communication is about bringing your best, not pandering to others' perceptions. [3:30] Cicero: it's not about how to be understood; it's how not to be misunderstood. [4:10] The five canons of rhetoric, and why delivery was considered the most important; gravitas as the manner of trust and respect. [5:20] Gravitas is not seriousness; it's equally weighted with humour and levity. Cicero was said to be the funniest man in ancient Rome. [6:30] A keynote timing mix-up in front of hundreds of CFOs, and how walking on stage laughing set the room on fire. [7:20] Laughter is the bouncing of the diaphragm; only people who trust you will laugh with you. [7:50] Do some people just have executive presence, or can it be learnt? It's always learnt. [8:40] Creating anchors in the air with gestures; what the ancients called architecturally designing your material. [9:40] Three reasons to move: breathing, visual interest, and memory . . . how Roman orators presented for hours without notes. [11:00] The three rules of gestures: always congruent, never repeated more than twice, and hold each gesture until the next one. [12:20] Why breathing matters so much: if the breath doesn't work, go home. What a held diaphragm does to your voice and why upper-body tension reads as aggression. [14:00] Do you need vocal warm-ups before a meeting? The voice is warm all the time; just kick the diaphragm free. [15:00] A fix for nerves and self-doubt: confidence is competence. Without training there is no knowledge; without knowledge there is no confidence. [16:30] On a good day natural talent will arise; on a bad day they fall back on the craft. The amateur practises till they get it right; the professional practises till they can't get it wrong. [17:40] Where practice really happens: internalising your material in everyday life so it comes out authentically, improvised within a framework. [19:00] How metaphor speaks to the unconscious mind; opening with a creative link that connects to your message. [20:20] The autostereogram (magic eye picture) as a metaphor for transformational change: refocus the eyes and see the real picture behind the abstract. [21:20] Vocal fry explained: closing the throat, jamming the diaphragm, and why salespeople sabotage the end of their sentences. You never run out of breath; you only run into tension. [22:30] One thing to do before a big meeting tomorrow: breathe out, throw the elbows off the body, and show your palms - the gesture of trust. [23:00] How to work with Dr Louise Mahler: online and face-to-face coaching, keynotes and executive team work. Closing thought: delivery, delivery, delivery CONTACT DR LOUISE MAHLER https://www.louisemahler.com.au/ Connect with Dr Louise Mahler on LinkedIn: https://www.linkedin.com/in/louisemahler/ ABOUT PODCAST HOST, NINA SUNDAY Nina Sunday's latest book, ‘'Manage Self, Lead Others: Constructive Conversations, True Self-Leadership, and Culture You Can't Fake'' now on Amazon - paperback or kindle. Amazon USA ⁠⁠⁠⁠https://a.co/d/3WaplI9⁠⁠⁠⁠ Amazon Australia ⁠⁠⁠⁠https://amzn.asia/d/0KwghaM⁠⁠⁠⁠ You can read any Kindle eBook on your PC, laptop or phone; you don't need a Kindle device.  === To learn more about face-to-face training programs with Nina Sunday or one of her experienced Facilitators from Brainpower Training Pty Ltd in Australia Pacific, visit: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.brainpowertraining.com.au...⁠ === To visit Nina Sunday's speaker site for global in-person speaking bookings visit: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.ninasunday.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠ === Connect with Nina Sunday on LinkedIn ⁠ https://www.linkedin.com/in/ninasunday/ === To subscribe to Nina Sunday's blog go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.brainpowertraining.com.au/⁠ ⁠⁠⁠⁠⁠⁠⁠⁠and scroll to bottom of the page to register Learn more about your ad choices. Visit megaphone.fm/adchoices

Communications expert Louise Mahler has spent years helping leaders gain confidence, presence, and influence in the way they communicate. However, since the pandemic and the rapid increase of online platforms, Mahler believes people are losing the ability to engage with audiences. But she's hopeful that connection can be restored. On this week's episode, the former opera singers reveals her top public speaking tips to BOSS editor Sally Patten. This podcast was sponsored by the City of Parramatta. Further reading: Want to be better at public speaking? NIDA’s CEO shares her tips Chief executive Liz Hughes has a few secrets when she is preparing a speech, such as leaving marks to show the parts that need to be delivered with high energy. The speaking tips these execs use to own the room, and get ahead Female executives suffer from a “gravitas gap” but some are learning to project greater confidence and authority, helping them to move up the corporate ladder. ‘I’d lost my identity.’ How this exec recovered from redundancy A new coach, hypnotist and Hollywood movie helped Allison Rossiter tackle one of her biggest fears. Now, the Novartis president shares how they can help you too. See omnystudio.com/listener for privacy information.

Dirigentinnen und Dirigenten aus aller Welt messen sich bei der renomierten Mahler Competition, die die Bamberger Symphoniker ausrichten. Ein Bericht vom Finale.

Andrés Amorós continúa el ciclo dedicado a las sinfonías de Gustav Mahler.

Kein erster Platz - aber große Schritte in Richtung Karriere: Der Gewinner des Abends ist Jakub Przybycien mit dem Zweitem Preis und dem Publikumspreis, weitere junge Dirigenten setzen ein internationales Ausrufezeichen.

Andrés Amorós continúa el ciclo dedicado a las sinfonías de Gustav Mahler.

Andrés Amorós continúa el ciclo dedicado a las sinfonías de Gustav Mahler.

Aujourd'hui, je reçois le chorégraphe Emanuel Gat.Il est au programme du Festival Montpellier Danse avec sa dernière création, Cinq Jours au Soleil, imaginée sur la Cinquième Symphonie de Gustav Mahler.Chorégraphe éclectique, créateur lumière et également compositeur, Emanuel Gat entretient avec la musique un rapport singulier : pour lui, elle est indissociable de l'écriture chorégraphique. Comment la musique nourrit-elle le mouvement ? Comment dialogue-t-elle avec la danse ?On l'écoute avec joie.À la fin de cette conversation, Renann Fontoura, artiste-étudiant de la formation Exerce, prolongera l'échange avec quelques questions.Renann Fontoura est un artiste brésilien installé en France, issu de la culture hip-hop. Danseur, chorégraphe, interprète et pédagogue, il termine cette année le master Exerce,  

durée : 00:04:54 - Classic & Co - par : Anna Sigalevitch - Anna Sigalevitch nous parle ce matin de "5 jours au soleil", la nouvelle création du chorégraphe Emanuel Gat avec la 5e symphonie de Mahler. Ce sera les 21 et 22 juin au festival Montpellier Danse, avant une grande tournée la saison prochaine. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Send us Fan MailThis episode comes from two threads that have been weaving together in my practice lately: training in Polarity Champissage — a beautiful Ayurvedic marma-based body therapy developed by my friend and mentor Caroline Crichton — and developing Somatic Stretch and Shake, the movement class I've been teaching at Soma in Belfast, Maine.I want to be upfront: these ideas are still in process for me. I'm researching this both academically and in my own body, and it doesn't feel fully cooked yet. But there has been so much synchronicity around this topic lately that it felt like a sign to share what I have so far — and keep exploring from here.What we cover:The neurogenic tremor — the natural, involuntary shaking response that animals use to discharge stress (and that we've learned to suppress), and why somatic shaking gives this built-in mechanism somewhere to goWhat shaking does to fascia — the connective tissue web running through the entire body, richer in nerve endings than muscle tissue, and how trauma and chronic stress can cause it to tighten, thicken, and lose its fluid qualityMechanotransduction and hyaluronan — how vibration triggers cellular responses in fascia, including the cycling of hyaluronan, the gel-like substance that keeps fascial tissue hydrated and gliding freelyThe interstitium — the recently mapped, fluid-filled connective tissue network discovered somewhat by accident in 2015, and why it was invisible to traditional biopsy methods for so longA possible bridge between systems — emerging research suggesting the interstitium may be the physical substrate for the meridians of Traditional Chinese Medicine, and how this connects to marma points and Polarity ChampissageThe rasa dhatu connection — why interstitial fluid flow decreasing with age (especially after 50) may be one physical mechanism behind the dryness and depletion of rasa dhatu in perimenopause, and how movement and shaking help keep this fluid circulatingHow to actually shake — shaking in sets of three to six minutes, followed by a minute of stillness to let the body integrate; why subtle shaking is just as effective as big movement; and why consistency matters more than intensityThe synchronicities: Thinking about a chapter on the interstitium in Abigail Rose Clark's book Returning Home to Our Bodies — and getting an email from her about an emboided anatomy class she is teaching on the interstitium hours laters. A New York Times article on the interstitium. An interview with Dr. Neil Theise, the NYU pathologist at the center of the 2015 discovery, on fascia, the interstitium, and consciousness. All arriving within days of each other.Somatic Stretch and Shake: In-person classes are held Thursdays from 9:30–10:30am at Soma in Belfast, Maine. Online on-demand classes and a live series are coming soon — join the email list to stay in the loop.Bibliography & ReferencesThe Interstitium — Discovery & ResearchBenias, P.C., Wells, R.G., Sackey-Aboagye, B., et al. (2018). Structure and Distribution of an Unrecognized Interstitium in Human Tissues. Scientific Reports, 8, 4947. https://doi.org/10.1038/s41598-018-23062-6Theise, N.D., & Mahler, S. (2024). Fascia, the Interstitium, and the Living Matrix: Implications for Consciousness Research. [Interview/lecture referenced]Fascia & MechanotransductionEffectiveness of Vibration on Myofascial Trigger Points. World Journal of Yoga, Physical Therapy and Rehabilitation. https://irispublishers.com/wjypr/pdf/WJYPR.MS.ID.000583.pdfDynamic Responses of Human Skin and Fascia to an Innovative Stimulation Device — Shear Wave Stimulation. PMC/NIH. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11351488/Understanding Fascial Tissue on the Molecular Level — The Calcium-Hyaluronan (CHA) Axis. PMC/NIH. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC12785924/Interstitial Fluid Flow & AgingInterstitial fluid flow decreases with age, especially after 50 years. NMR Biomed, 2024 Jul;37(7):e5030. PMID: 37675787. https://pubmed.ncbi.nlm.nih.gov/38796942/Regulation of interstitial fluid flow along adventitia of vasculature by heartbeat and respiration. ScienceDirect. https://www.sciencedirect.com/science/article/pii/S258900422400628XSomatic Shaking & TRE ResearchThe Science of Shaking Medicine: Unlocking Neurogenic Tremoring for Trauma Release and Nervous System Balance. https://www.shakingmedicine.com/science-of-shaking-medicineThe science of somatics: how shaking resets the nervous system — Rori Cross Brown Yoga. https://www.roriyoga.co.uk/resources/the-science-of-somatics-and-shakingBooks MentionedClark, A.R. Returning Home to Our Bodies. [Chapter on the interstitium]Resources:Free Masterclass:  The Alchemy of the Perimenopause PortalAyurvedic Dosha Quick Reference GuideAbhyanga Self Massage GuideWeekend Nervous System ResetNourished For Resilience Workbook Find me at www.nourishednervoussystem.comand @nourishednervoussytem on Instagram

Boulez Conducts Mahler, Bartók, & Stravinsky by CSO Association

Andrés Amorós continúa con su ciclo dedicado al compositor austríaco.

durée : 00:21:54 - par : Lionel Esparza - On admire Bruno Walter pour ses symphonies de Mozart, de Mahler ou de Beethoven, plus rarement pour ses Schubert. Il en laisse pourtant des versions équilibrées, claires et tendres, d'esprit classique, gravées pour la Columbia lors de son ultime période américaine. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Alice Farnham surveys recordings of Mahler's Symphony no.5 and makes a top recommendation

Paola Capriolo, Teresa Maresca"Il canto della luna"Con la traduzione dal tedesco del "Canto della terra" di Gustav MahlerBibliotheka Edizioniwww.bibliotheka.itNell'autunno 1907 fu pubblicata in Germania l'antologia Il flauto cinese, un centinaio di liriche di autori compresi tra il XII secolo a. C. e l'epoca contemporanea. Gustav Mahler ne venne a conoscenza e l'incontro con quelle poesie ebbe un immediato riflesso sulla sua opera. Nel 1908, sulle Dolomiti, dove trascorse le ultime estati della sua vita, compose infatti il ciclo di lieder Il Canto della Terra, basato su sette poesie della raccolta, traendo spunto per la maggior parte da Li Po (702 – 763). L'ombra fascinosa e potente di uno dei capolavori della musica del ‘900 ha suggerito alla scrittrice Paola Capriolo e all'artista Teresa Maresca un libro a quattro mani che intreccia in modo personalissimo e originale letteratura, pittura e musica.Paola Capriolo vive e lavora a Milano.Ha esordito nel 1988 con i racconti de La Grande Eulalia (Premio Berto), in seguito Il Nocchiero (Premio Rapallo, Premio Selezione Campiello), Il Doppio Regno (Premio Grinzane Cavour), e, tra gli altri, Una Luce Nerissima, Il Pianista Muto, Mi ricordo, Marie e il signor Mahler, Irina Nikolaevna.Tutti i suoi romanzi sono stati tradotti in molte lingue. Ha tradotto classici della letteratura tedesca, tra cui Goethe, Kafka, Kleist, Thomas Mann. Teresa Maresca vive a Milano dagli anni '80.Con una pittura figurativa e visionaria lavora sui temi del paesaggio, spesso rivisto attraverso la memoria cinematografica o la poesia.Hanno scritto di lei Carlo Sini, Sergio Givone, Lalla Romano, Roberto Sanesi, Paolo Biscottini.Ha pubblicato il libro Il Primitivo del Sogno su arte, natura e pensiero primitivo e ha in preparazione la mostra-installazione Stars&Bones per la Fabbrica del Vapore di Milano. Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Andrés Amorós continúa con el ciclo dedicado al compositor austriaco Gustav Mahler.

The conductor Klaus Tennstedt was born on June 6, 1926. After his arrival from East Germany to the West, he held chief conductor posts with the NDR Symphony Orchestra in Hamburg (1979-81), and with the London Philharmonic Orchestra (1983-87), with whom he recorded extensively, including a Mahler symphony cycle (of which No 8 won a Gramophone Award back in 1987). To mark the anniversary Warner Classics has issued a 41-CD set of all of the conductor's EMI recordings. Additionally, there is a substantial Tennstedt catalogue on the LPO's own label as well as numerous off-air performances on YouTube and various other record labels. A century on, we celebrate Tennstedt's artistry with a special Gramophone podcast in which the critic and broadcaster Edward Seckerson – who interviewed the conductor, attended recording sessions and heard him live many time – talks to James Jolly about what made him such an admired musician. See omnystudio.com/listener for privacy information.

Ein Bauernhaus in Toblach, eine zugige Holzhütte – und Musik an der Grenze zum Unendlichen: Mahlers 9. Sinfonie klingt wie ein Abschied, aber auch wie ein letzter großer Liebesbrief an die Welt. Von Christoph Vratz.

Today's lengthy episode (I probably should’ve divided it in half!) is another devoted to orchestral song, in this case Deutsche Orchesterlieder. But, in a twist, you will not be hearing any music by either Mahler or Strauss today. (Their orchestral songs have already been amply represented on Countermelody. No, today I am featuring songs ranging from the late nineteenth century through the mid-twentieth century. Some of the composers presented – Alban Berg, Max Reger, Hugo Wolf, Arnold Schoenberg – will be familiar to listeners; others – Alexander Zemlinsky (pictured), Hans Pfitzner, Paul Hindemith, Hans Werner Henze, Franz Schreker – perhaps more as names familiar for musical historical reasons than for their actual compositions. Still others – Ernst Toch, Wolfgang Fortner, Joseph Marx – may be new discoveries altogether. What links them is that they are all fascinating composers whose works run the gamut from lush post-romanticism to exotic orientalism to Neue Sachlichkeit clarity. Texts include the great German lyric poets; anonymous Italian folk poetry; German translations of American poets such as Walt Whitman and major figures of the Harlem Renaissance; and translations of ancient Chinese poetry and the verse of Rabindranath Tagore. Similarly varied are the singers (Elisabeth Söderström, Friedrich Schorr, Edith Mathis, Willard White, Elly Ameling, Irmgard Seefried, Roberta Alexander, Barry McDaniel, Christine Brewer, Christa Ludwig, Helen Donath) and conductors (Michael Tilson Thomas, Riccardo Chailly, Rafael Kubelik, Sergiu Celibidache, Erich Leinsdorf, Carl Schuricht, Hermann Scherchen), heard. Settle in for a ride across a varied, surprising, and always engaging musical landscape. Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Andrés Amorós continúa el ciclo dedicado a las sinfonías de Gustav Mahler.

Mäkelä Conducts Mahler 3 by CSO Association

AI artist Mick Mahler has a counterintuitive take: the more powerful the machines get, the less the technology actually matters. Showing delightful examples of his own art, from jazz-playing spiders to a Kafka-inspired beetle film, he explains how creators can use new technology to serve their vision (not replace it). The real question — the one that separates meaningful work from AI slop — is the one only you can answer. Hosted on Acast. See acast.com/privacy for more information.

durée : 01:27:35 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le chef Semyon Byshkov présente une intégrale des symphonies de Gustav Mahler enregistrées entre 2018 et 2025 au Rudolfinum de Prague, avec l'Orchestre philharmonique tchèque dont il est le directeur musical. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:27:35 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le chef Semyon Byshkov présente une intégrale des symphonies de Gustav Mahler enregistrées entre 2018 et 2025 au Rudolfinum de Prague, avec l'Orchestre philharmonique tchèque dont il est le directeur musical. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Thank you to Jerry for sponsoring today's episode on Patreon! Goethe's Faust is considered to be the greatest work of German literature. This sprawling, 2-part play occupied Goethe's life for nearly 60 years, from its original version, begun in 1772, all the way to Goethe's final revisions before his death. It inspired just about every Romantic era composer who came after it, including Beethoven, Schubert, Schumann, Brahms, Berlioz, Gounod, Mahler, and our subject for the show today, Franz Liszt. Liszt, who was in many ways the world's first pop star, was initially skeptical of Faust, saying that he couldn't relate to the eponymous main character of the play. He wrote: "Faust's personality scatters and dissipates itself; he takes no action, lets himself be driven, hesitates, experiments, loses his way, considers, bargains, and is interested in his own little happiness." But slowly, Liszt began to be taken in by this remarkable play and decided to try his hand at a reflection on it, writing a massive, 3-movement, 75-minute-long symphony that never attempts to tell the story of Faust, but instead reflects on the psychological nature of the 3 central characters: Faust, Gretchen, and Mephistopheles (the Devil). A lot of English-speaking listeners will know this as the story of a man who sold his soul to the devil, but for Goethe it was much more than that, and it was for Liszt as well. I've never talked about Liszt on the show, because frankly I've never been in love with his music. But this is one of the great things that these Patreon-sponsored episodes can do — help me discover pieces that I've never come across before. So today, we're going to talk about Liszt, Faust, and then take a stab at some of the greatest moments in this symphony. We'll talk about thematic transformation, a technique Liszt essentially invented and which is a vital part of understanding this piece.

I was so honoured and delighted to have this opportunity to have this conversation with Nancy Shear, whose diverse career in classical music will fascinate you. I loved reading her memoir “I knew a man who knew Brahms” which is very much a book about appreciation for great music making as well as the importance of reflecting on the legacies our elders. You'll hear about insights gleaned from her close releationships with many luminaries including Leopold Stokowski and Mstislav Rostropovich. Nancy was a troubled teenager when she began working as part of the Philadelphia orchestra library staff, and her brave determination, sensitivity and brilliance have led her to many unexpected opportunities. Whether or not you are currently a fan of classical music, I'm sure Nancy's wisdom and storytelling will inspire you. We're also including Nancy's suggested listening links in the show notes, as well as other episodes you'll enjoy. Complete show notes take you to: video, transcript, Nancy's website and listening suggestions, other episodes you'll enjoy, podcast newsletter sign-up, podcast merch store, podcast support page to buy this independent podcaster a coffee, and more! SHOW NOTES with ALL links! (00:00) Intro(01:38) memoir “I Knew a Man Who Knew Brahms”(12:01) Leopold Stokowski and her memoir(38:14) William R. Smith (43:25) Eugene Ormandy(52:48) other suggested episodes (53:47) Stokowski, excerpt from the book(56:50) Stravinsky Rite of Spring, Stokowski, Mahler(01:00:35) Rostropovich(01:08:49) Nancy's career and independence (01:17:35) Stokowski's fascination with technology(01:20:32) great concerts, Byron Janis, Jacqueline du Pré, Ormandy(01:24:22) Curtis(01:27:41) growth mind-set, healthy tech boundaries, writing(01:36:45) final excerpt from “I Knew a Man Who Knew Brahms” about Stokowski, Saul Caston, music appreciation(01:40:14) who was the man who knew Brahms, importance of legacyphoto of Nancy: David Teubner

SynopsisAs far as anniversary gifts go, the one Dutch conductor Willem Mengelberg received in 1920 was pretty spectacular. To celebrate his 25th year as Music Director of the Concertgebouw Orchestra in Amsterdam, they staged a special month-long festival in honor of one of Mengelberg's favorite composers — Gustav Mahler, the Austrian composer of monumental symphonies, who had, in fact, conducted the Concertgebouw several times before his untimely death at 50 in 1911.Mahler was the conductor Mengelberg admired most, and Mengelberg and his orchestra were ardent champions of Mahler's symphonies, too: their 1920 festival performed all nine of them over the course of two weeks that May. Mahler's widow Alma was in attendance, as were his younger Austrian contemporaries Arnold Schoenberg and Anton Webern, Danish composer Carl Nielsen and a young British conductor and Mahler fan named Adrian Boult, who reported on the festival for a British newspaper back home.In 1995, the Concertgebouw staged another Mahler Festival on the 75th anniversary of the 1920 one, this time inviting the Berlin Philharmonic and the Vienna Philharmonic to participate. A hundredth-anniversary festival was planned for May 2020, but the COVID pandemic forced that Mahler cycle to be postponed until May 2025. Good things come to all who wait.Music Played in Today's ProgramGustav Mahler (1860-1911): Symphony No. 1 (Titan); Royal Concertgebouw Orchestra; Riccardo Chailly, conductor; London/Decca 448813

On this episode of The Bandwich Tapes, I sit down with percussionist Jake Nissly, Principal Percussionist of the San Francisco Symphony, for a conversation about what it actually takes to build and sustain a career at the highest level of orchestral playing. Jake's résumé is remarkable, but what stands out even more is the range of hats he wears: orchestral musician, soloist, educator, department chair at the San Francisco Conservatory of Music, drum set player, former drum corps kid, and even Little League coach.We spend time unpacking the reality of orchestral auditions, the intense preparation, the psychological pressure of playing behind a screen, and the almost figure-skating-level precision required to compete in that world. Jake walks through his own path: winning the Detroit Symphony job at 26, then later the Cleveland Orchestra, and ultimately facing the difficult experience of not receiving tenure. Rather than ending his trajectory, that moment reshaped it and eventually led him to the San Francisco Symphony.One of my favorite parts of this conversation centers on Jake's concept of feel. He credits much of his orchestral success to his background in drum set and drum corps, where groove, flexibility, and listening are everything. That experience, he says, translates directly into orchestral playing, even in repertoire like Mahler or Ravel's Bolero, where there's still a pocket to find if you're listening closely enough.We also talk about teaching and the changing landscape for young musicians. Jake shares thoughtful insights about how YouTube and digital access have transformed preparation, often producing incredibly polished players who sometimes struggle to develop ownership, personality, and soul in their playing. It's an honest conversation about pedagogy, resilience, and the kind of musicianship that lifts everyone in the room.Key TakeawaysOrchestral auditions demand extraordinary precision — success often comes down to microscopic musical details.Career paths are rarely linear — setbacks can become turning points rather than endings.Groove matters in orchestral music — Jake's drum set and drum corps background inform his orchestral feel.Listening is the core skill — great musicians adjust in real time to the ensemble around them.Technical mastery alone isn't enough — personality and ownership bring music to life.Teaching requires adapting to new generations — digital resources have reshaped how students prepare.Leadership in music is collaborative — the best players elevate the entire ensemble.Music from the EpisodeJohn Adams - City Noir: I. The City and its Double - St. Louis Symphony (David Robertson, conductor) - Jake Nissly - drum setAdam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussionAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

This week, we've gone back into the City Arts & Lectures archives for a 2009 interview with the late conductor, composer, and pianist Michael Tilson Thomas. Tilson Thomas was the music director and conductor of the San Francisco Symphony from 1995 to 2020 - and stayed active as its music director emeritus until the last year of his life. He was known as a champion of contemporary American music - and an innovator in presenting symphonic music - even collaborating with heavy metal band Metallica. He received 12 Grammy Awards for the San Francisco Symphony's recordings of Mahler, Prokofiev,  Stravinsky, and John Adams.  In June of 2008 - Michael Tilson Thomas presented “The Thomashevskys - Music and Memories of a Life in the Jewish Theater” at Davies Symphony Hall.  This multimedia performance celebrated the life and work of his grandparents, Boris and Bessie Thomashevsky. He shares some of those stories in this program.  We'll also hear him talk with culture critic Steven Winn about “Keeping Score” the PBS documentary series which he created and hosted...and about his work with the New World Symphony in Miami. In the years since this program was recorded on January 6, 2009 - Michael Tilson Thomas continued to lead the San Francisco Symphony - and guest conduct orchestras all over the world.  In 2021, he was diagnosed with an aggressive form of brain cancer - but continued to work and travel - and was able to take the podium at his 80th birthday celebration in 2025.  Michael Tilson Thomas died at his home in San Francisco on April 22, 2026.