Podcasts about mozart

durée : 02:28:45 - France Musique est à vous du samedi 15 novembre 2025 - par : Gabrielle Oliveira-Guyon - Ce samedi, place à un programme riche et contrasté : Chostakovitch, Mahler, Mozart, Verdi, Bartók ou encore le compositeur bulgare Lajos Bardos. - réalisé par : Emmanuel Benito Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

El Réquiem en Re menor, K. 626 es una misa de difuntos compuesta por Wolfgang Amadeus Mozart (1756-1791) en 1791, dejada inconclusa tras su muerte. Encargada por el conde Franz von Walsegg para conmemorar a su esposa, fue completada por Joseph Eybler y Franz Xaver Süssmayr, basándose en los esbozos de Mozart. Estrenada en 1793, es una obra monumental que combina la solemnidad del Barroco con la expresividad del Clasicismo, considerada una de las cimas de la música sacra."Crónicas Lunares di Sun" es un podcast cultural presentado por Irving Sun, que abarca una variedad de temas, desde la literatura y análisis de libros hasta discusiones sobre actualidad y personajes históricos. Se difunde en múltiples plataformas como Ivoox, Apple Podcast, Spotify y YouTube, donde también ofrece contenido en video, incluyendo reflexiones sobre temas como la meditación y la filosofía teosófica. Los episodios exploran textos y conceptos complejos, buscando fomentar la reflexión y el autoconocimiento entre su audiencia, los "Lunares", quienes pueden interactuar y apoyar el programa a través de comentarios, redes sociales y donaciones. AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ ORTOLARRY:  - NORTE 9 #175 ESQ. OTE 164. COLONIA MOCTEZUMA SEGUNDA SECCION. CDMX - NORTE 17# 211-A COLONIA MOCTEZUMA SEGUNDA SECCION C.P 15530 ALCALDIA VENUSTIANO CARRANZA CDMX  Teléfonos: 5557860648, 5524158512. Whatsapp: 5561075125

In this FYF episode, Lesley Logan celebrates what happens when preparation meets opportunity—and how readiness creates freedom when life speeds up. From a pianist who mastered the wrong concerto onstage to community wins that prove preparation meets courage, this week's stories are all about trusting your instincts and believing you've got what it takes. Lesley also shares how being proactive in your goals can help you find freedom and peace when life speeds up.If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast https://lesleylogan.co/podcast/. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co mailto:beit@lesleylogan.co. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe https://lesleylogan.co/podcast/#follow-subscribe-free.In this episode you will learn about:How a pianist's quick pivot became a lesson in confidence. Why following your gut leads to better results than overthinking.Community wins that celebrate small victories and authentic effort.How Lesley's year-ahead planning turned stress into calm momentum.The power of gratitude to silence self-judgment and refocus your energy.Episode References/Links:Submit your wins or questions - https://beitpod.com/questionsMaria João Pires - https://www.instagram.com/reel/DFbS8MuqD3W If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. https://lovethepodcast.com/BITYSIDEALS! DEALS! DEALS! DEALS! https://onlinepilatesclasses.com/memberships/perks/#equipmentCheck out all our Preferred Vendors & Special Deals from Clair Sparrow, Sensate, Lyfefuel BeeKeeper's Naturals, Sauna Space, HigherDose, AG1 and ToeSox https://onlinepilatesclasses.com/memberships/perks/#equipmentBe in the know with all the workshops at OPC https://workshops.onlinepilatesclasses.com/lp-workshop-waitlistBe It Till You See It Podcast Survey https://pod.lesleylogan.co/be-it-podcasts-surveyBe a part of Lesley's Pilates Mentorship https://lesleylogan.co/elevate/FREE Ditching Busy Webinar https://ditchingbusy.com/Resources:Watch the Be It Till You See It podcast on YouTube! https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gLesley Logan website https://lesleylogan.co/Be It Till You See It Podcast https://lesleylogan.co/podcast/Online Pilates Classes by Lesley Logan https://onlinepilatesclasses.com/Online Pilates Classes by Lesley Logan on YouTube https://www.youtube.com/channel/UCjogqXLnfyhS5VlU4rdzlnQProfitable Pilates https://profitablepilates.com/about/Follow Us on Social Media:Instagram https://www.instagram.com/lesley.logan/The Be It Till You See It Podcast YouTube channel https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gFacebook https://www.facebook.com/llogan.pilatesLinkedIn https://www.linkedin.com/in/lesley-logan/The OPC YouTube Channel https://www.youtube.com/@OnlinePilatesClasses Episode Transcript:Lesley Logan 0:00  It's Fuck Yeah Friday. Brad Crowell 0:01  Fuck yeah. Lesley Logan 0:02  Get ready for some wins. Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self-doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guest will bring bold, executable, intrinsic and targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started. Lesley Logan 0:48  Hey, Be It babe. How are you? Happy Friday. Happy November 14th. Now we're midway through the month, just like that. You know, a few weeks ago, I told you about the 13th month, and I'm just telling you right now, the more I think about how, like, we used to run the calendar off of 28 days in the moon cycle. Like, doesn't it just make sense? Every FYF, I'm like, oh, look at that. Now it's halfway through. Like, yeah, kind of, right? So I'm just saying, like, the more I do this and, like, wait, especially this month, because we end on the Friday was the seventh of 14th. It's just like, like, easy math. And I'm like, yeah, it should just end on the 28th then we start a new month. But anyways, we're, you know, not on that calendar. And I would love to vote that in, but the whole world has to, I guess. So, anyways, this is the episodes where we share some inspiration. Share wins of yours. Share a win of mine. Realize that we are doing a freaking great job, or doing better than we thought. And a little affirmation to kick your weekend off. And if you haven't yet listened to the interview and recap this week, go do it just right below this. You can start with the recap first, Brad and I have a lot of fun bantering, then we answer a question of yours, then we talk about what we liked. And if you are like, oh, that's interesting, I want to hear it from the horse's mouth, you can listen to the interview, and I highly recommend it, because we have some really cool guests. Lesley Logan 1:59  Okay, so I this came across my feed, and this is what I, okay, I don't play instruments. I did play for share like tenor sax. I had a retainer and braces when I learned and then when I took them out, I couldn't play anymore, and so I just stopped playing. It's not funny, but at any rate, since I have been a musician, I have prepared music I have, like had to memorize, and so I know the effort, but this is how the reel goes. And there's a link in the show notes you can, like, go watch it. Okay? When they told you it's Mozart's Piano Concerto number 20 instead of number 23. So she had one minute of the orchestra playing before she had to step in and play the piano, okay? And so here's the thing. The caption says it's probably every music's worst nightmare. Imagine you're sitting here sitting on stage, ready to play your concerto, and the orchestra begins to perform a completely different piece. That's exactly what happened to the great Maria João Pires, or Pires in 1999 when she stepped in to replace another pianist on short notice. In a formidable tour de force performance, Pire's charge changed course and miraculously didn't miss a beat of Mozart's Piano Concerto Number 20 and not 20, 20 not 23 like she had been expecting. This stood out to me, because as a recovering perfectionist and overachiever like I imagine how much time she probably, like, prepped herself for the piece that she has to play, because it's not like they have the music in front of you guys. They just play like they are supposed to just play like it's coming out of them, and there's no music in front of them. And you know, she had one minute to, like, just feel her feelings, and then step in and be it till she sees it. And it is just so beautiful, because imagine, had she found out before the concert started, then she probably could have told herself a million different things and like, even, like, freak herself out a different way, because she didn't have that opportunity. She had to, like, be it till she sees it as, like the other performance, and she didn't miss a beat. And it's worth watching, just to go through the emotions with her and realize, like, this is what you're watching someone step into their power and believe in themselves in such an awesome way. And ladies, we can do this right? We can do these things. And I think we're like, Oh, my God. I like, prepare for my meeting to be on this date, and then something happens, and the meeting doesn't happen, then you're like, oh, but I'm ready for it. I'm frustrated. My love, like, your you will be more authentic the moment it happens. You might be too prepared. You might like, so I would just say, like, anytime an opportunity comes up, you're like, Oh, I'm not ready for this. What if you were? What if you were ready? She was. It's beautiful. I'm like, obsessed with it. I've watched it several times. I'm so into it. Lesley Logan 4:56  All right. Time for wins of yours. Got really fired up. Okay, these are from Instagram. Thanks for sending it in. You can send your wins in to beitpod.com/questions and you can send longer wins in because Instagram does, like, make them super short. So again, like, the longer ones that I've read in the past, you can send those into beitpod.com/questions plus any questions you want me to answer, like, it's a great way to get answers out of me. So, lynneconnolly36 says, covered six back to back classes this week, 5 am wake and clients love them. Holy freaking moly. Lynn, you are a badass, getting up at 5am and then covering six back to back classes. Oh, you are phenomenal. You like, I don't even know how you did it, but way to go. And, of course, the clients love them, because you're authentically you, and you're amazing. Way to go. Lesley Logan 5:39  hli_pilates great private session yesterday. Thank you. Body feels so much better. It is a win when our bodies feel better. I love that you're celebrating that, hli, I just absolutely love it, because it's so easy for us to focus on when our bodies don't feel good, and that you're celebrating your body feels better today is humongous. Way to be it till you see it. julia_reddout, I subbed a level two class in the studio where I take classes. They loved it, and it made my day.Lesley Logan 6:06  Yeah, because those are your people. You know them. You know what they need. You know, I'm so proud of you. I'm so happy for you. What a win, guys. Thank you for sending these in. I just I want more women to share things that they are doing, because the dudes certainly do it. And I was raised like, don't brag, be humble and you want to know something, it didn't get me anywhere. In fact, the more people knew what I was capable of, the more opportunities came to my place. Fun story, I have been teaching for a long time. There was an the big conference that was going on. It was 2019 I think it might have been 28 might have been 2018, 2018, fall of 2018 and I was doing a photo shoot at a big conference, and this woman who hires teachers for another conference saw me, and she had hired me for the next year's conference of her, but her company does, and she'd hired me for some business coaching stuff that I'd applied for, and she saw me doing some exercises on the equipment. She's like, oh, do you teach? Can you teach some classes? And of course, I was like, fuck. Of course, I teach. What the fuck? But then I was like, Oh, she doesn't know who I as a me, as a teacher. She's only seen my application for the business things. I'm not doing a good enough job making sure people know what I do and know what I'm good at. So we gotta start bragging more, babes, and that's why we have to start making Fridays at least Fridays, but if not every day, a day where you celebrate what you fucking slay, what you did, and if it was I just actually did my full schedule and didn't cancel anything, that's a fucking win. In high school, there was a sign that said every class every day, and I'm telling you that wasn't always what happened in my life, but every time I did every class in a day, I was like, Yes, I did it. I know that surprises you as recovering perfectionist, that I would cut classes, but I really thought High School was, like, beneath me, and I just couldn't wait to get out. And I was like, I've got a 4.2 like, this is not gonna take it away from me. I probably could leave. So anyways, that's my rebellious stage. Okay, I gotta share a win of mine, a win of mine. Lesley Logan 8:04  Here we go. So here's what I'm super proud of. Last year, around this time, I was cramming to get everything done before we left for winter tour, and I got sick, and we had to, like, look at everything that didn't get done yet and go, Okay, which of these things can we not do? And for the first time ever, we missed YouTube releases. We did because I could not possibly film YouTube and podcasts and classes for OPC, and so the podcast and class of OPC won and YouTube lost. And from that moment, I had my team, and I had to, like, look at the next year and change how we got things done, so that I was well ahead of schedule, that by the middle of November, I would be done filming things, not just for the end of this year, but the beginning of next year, so that we are not scrambling in case I get sick in the fall, right? And so I'm proud to say that right now, the newsletters through beginning of next year are written, classes are recorded, and podcast recaps are almost done, but we're not scrambling. I don't feel like I'm in a rush, and I'm really excited to go on tour, knowing that when I come back, like, I'm just back in my regular schedule and not like scrambling. So my win is, is that a year ago, I had a vision, and always that was the year before, that was a different was, like, similar vision, but we just keep getting better at it. And why can't I have a win on something that was already a win? Because I'm just getting better at it. And you reflect, you refine, and you continue. And that's how it goes. You're not ever gonna do anything perfectly the first time. And thank God, because then you go, Oh, I didn't like that part actually, I'm glad I didn't do that. So I'm just saying, My win is I'm ahead. I'm on track. I did what I said I wanted to do, and I, you know, I started this project a year ago. So slay the year. What a win for the year, not just the week, okay, but I like those small wins. I like the small wins. Lesley Logan 10:04  Okay. Your affirmation over the weekend. I practice gratitude for all that I have and all that is yet to come. I practice gratitude for all that I have and all that is yet to come. Do you have a gratitude practice? Do you know what the easiest thing is to do? Take a piece of paper and just write down. I'm grateful for the air around me. I'm grateful that I'm listening to this podcast right now. I'm grateful that I got up this morning. All of a sudden, you'll start behind gratitude for other things. It's kind of fun. It's kind of unique. I know some people poo poo a gratitude, but like my therapist said to me, gratitude and judgment can't live in the same space, and that changed everything for me. So whenever I feel judgey about myself, I just start listing off things I'm grateful for. Sometimes, like, I'm grateful that my bed is made. I'm grateful I took a shower today. I'm grateful that last week I got my nails done when I had some time, right? Like, those are wins. They gave me gratitude as well. All right, babe, you know what to do. Until next time, Be It Till You See It. Lesley Logan 10:59  That's all I got for this episode of the Be It Till You See It Podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review and follow or subscribe for free wherever you listen to your podcast. Also, make sure to introduce yourself over at the Be It Pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others Be It Till You See It. Have an awesome day. Be It Till You See It is a production of The Bloom Podcast Network. If you want to leave us a message or a question that we might read on another episode, you can text us at +1-310-905-5534 or send a DM on Instagram @BeItPod. Brad Crowell 11:40  It's written, filmed, and recorded by your host, Lesley Logan, and me, Brad Crowell. Lesley Logan 11:45  Lesley Logan It is transcribed, produced and edited by the epic team at Disenyo.co.is transcribed, produced and edited by the epic team@desenho.coSpeaker 1 11:50  our theme music is by Ali at Apex. Production Music and our branding by designer and artist Gianfranco ciofe.Lesley Logan 11:57  Special thanks to Melissa Solomon for creating our visuals.Brad Crowell 12:01  Also to Angelina Herico for adding all of our content to our website. And finally to Meridith Root for keeping us all on point and on time.Support this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

David Epstein, author of Range: Why Generalists Triumph in a Specialized World, dismantles the myth that early specialization is the only path to excellence. Drawing from research on elite athletes, musicians, and scientists, David reveals how individual variability in learning means there is no one-size-fits-all approach to skill development. He reframes the Tiger Woods and Mozart narratives, showing how their success came from internal drive, not just parental pressure. From his own journey—leaving Sports Illustrated to investigate drug cartels—David demonstrates why sampling periods, lateral thinking, and diverse experiences create more adaptable, innovative problem-solvers than narrow expertise alone. Hosted on Acast. See acast.com/privacy for more information.

Ep 236 | This week on Discover Ag, Natalie and Tara dig into the headlines shaping how we think about food's worth, transparency, and trends — from America's broken sense of food value to Japan's farmer-forward labels and even Nara Smith's $38 garlic oil collab. America's "food value problem" takes center stage as the hosts unpack why Americans spend less than 10% of their income on food — among the lowest worldwide — and what that says about how we price nutrition versus convenience. Then they explore Japan's photo-on-pack movement that connects consumers directly to farmers, redefining transparency and trust in the grocery aisle. Next, influencer Nara Smith launches a $38 garlic oil with a luxury twist, sparking questions about marketing buzzwords and the psychology of "premium" food. Finally, they tackle the McBee Dynasty crop-fraud sentencing, and end on an unexpected high note — Italian water buffalo enjoying massages and Mozart while producing world-famous mozzarella. What We Discovered This Week

Join Howard Morgan and Mozart Fontaine as they discuss wrestling - yesterday, today, and tomorrow - and take your calls. Visit http://vocnation.com. Full Video Episode Available for only $3/mo at www.vocnation.com! Subscribers also get commercial free audio and video of Wrestling with History featuring Bill Apter and Ken Resnick, In the Room featuring PWI's Brady Hicks and former WCW Star the Maestro, No BS with The Bull Manny Fernandez, and more! VOC Nation takes you behind the scenes of your favorite moments in pro wrestling history. Notable show hosts include legendary pro wrestling journalist Bill Apter, former WWE/TNA star Shelly Martinez, former WWE and AWA broadcaster Ken Resnick, former WCW performer The Maestro, former TNA Impact talent Wes Brisco, Pro Wrestling Illustrated's Brady Hicks, independent pro wrestling and Fireball Run star Sassy Stephie, and more! Since 2010, VOC Nation has brought listeners into the minds of the biggest stars in pro wrestling and entertainment. Subscribe to the podcasts for free on most major directories, and visit http://vocnation.com for live programming. Subscribe to premium - only $3/mo - for commercial full commercial free audio and video episodes. Exclusive access to 50 years of Bill Apter's interview archives is available for a nominal charge. Learn more about your ad choices. Learn more about your ad choices. Visit podcastchoices.com/adchoices

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

durée : 00:19:37 - Disques de légende du jeudi 13 novembre 2025 - En 1937, le retour en grâce de Mozart n'a pas encore eu lieu que le chef d'orchestre Fritz Busch donne déjà les plus grands opéras du plus célèbre des compositeurs dans le tout jeune Festival de Glydebourne, dont il a contribué à faire la renommée dès sa création en 1934. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:19:37 - Disques de légende du jeudi 13 novembre 2025 - En 1937, le retour en grâce de Mozart n'a pas encore eu lieu que le chef d'orchestre Fritz Busch donne déjà les plus grands opéras du plus célèbre des compositeurs dans le tout jeune Festival de Glydebourne, dont il a contribué à faire la renommée dès sa création en 1934. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:03:39 - Les larmes contemporaines du Lacrimosa de Mozart - par : Max Dozolme - Mozart est mort le 5 décembre 1791, laissant derrière-lui la promesse de nombreux chef-d 'œuvres que nous ne connaitrons jamais mais aussi son célèbre Requiem. Une œuvre inachevée, à l'image de son Lacrimosa, partition qui continue d'inspirer des artistes divers. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Onder meer door de film Amadeus is het Requiem van Mozart het bekendste requiem uit de klassieke muziek. Mozart schreef het voor een mysterieuze opdrachtgever, maar stierf voor hij het requiem kon afmaken. Verschillende componisten deden een poging om het werk te voltooien. Kees en Botte duiken in de fascinerende ontstaansgeschiedenis.

On the latest episode of ‘New Classical Tracks,' American pianist and Cliburn bronze medalist Evren Ozel joins the Vienna Radio Symphony and conductor Howard Griffiths for a recording of two Mozart Piano Concerti. Listen now with host Julie Amacher!

Somna, i kväll tar vi i hand. Inte på riktigt – men ändå. Vi följer en osynlig kedja av handslag bakåt: från dig och mig, via mormors mormor Ester med rullbandets surr och dalmålets dimma, vidare till pestens Stockholm och kanske, kanske Mozarts samtid. Vi pratar om namnet som ett kontrakt, om ansvar och smitvägar, om varför en kram ibland är lättare än ett handslag och hur armbågs-bumpen fick oss att se ut som amatörmimare under en pandemi. Jago dyker upp och visar hur ett handslag också kan ljuga. Vi petar på atomerna som aldrig riktigt rör vid varandra, funderar på om mikroberna i handflatorna också hälsar, och drömmer om att få skaka hand med ett urgammalt träd. Till sist sträcker jag fram handen till dig, Somna. Avtalet gäller. Nu börjar vi.Sov Gott!Mer om Henrik, klicka här: https://linktr.ee/HenrikstahlLyssna utan reklam, få extraavsnitt, spellistor med mera på: https://somnamedhenrik.supercast.com/ Hosted on Acast. See acast.com/privacy for more information.

Invités :  - François Zimeray, diplomate, spécialiste des droits humains, avocat de Boualem Sansal  - Georges-Marc Benamou, écrivain, scénariste et journaliste, membre du comité de soutien de Boualem Sansal  - Fabrice Le Saché, vice-président du Medef - Alain Bauer, professeur émérite de criminologie au Conservatoire national des arts et métiers, responsable du pôle sécurité, défense, renseignement. Auteur de Déclinocène (Fayard, paru le 15 octobre dernier) et de Conspiration au Vatican (suite des deux premières aventures de l'agence d'espionnage Mozart, aux éd. First, à paraître demain, le 13/11/2025) Chroniqueurs : - Louis Hausalter, journaliste politique au Figaro - Jean-Michel Salvator, chroniqueur politique et communiquant - Victor Eyraud, journaliste politique à Valeurs Actuelles - Arnaud Benedetti, politologue et professeur associé à La Sorbonne Université, membre du comité de soutien à Boualem Sansal Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invités :  - François Zimeray, diplomate, spécialiste des droits humains, avocat de Boualem Sansal  - Georges-Marc Benamou, écrivain, scénariste et journaliste, membre du comité de soutien de Boualem Sansal  - Fabrice Le Saché, vice-président du Medef - Alain Bauer, professeur émérite de criminologie au Conservatoire national des arts et métiers, responsable du pôle sécurité, défense, renseignement. Auteur de Déclinocène (Fayard, paru le 15 octobre dernier) et de Conspiration au Vatican (suite des deux premières aventures de l'agence d'espionnage Mozart, aux éd. First, à paraître demain, le 13/11/2025) Chroniqueurs : - Louis Hausalter, journaliste politique au Figaro - Jean-Michel Salvator, chroniqueur politique et communiquant - Victor Eyraud, journaliste politique à Valeurs Actuelles - Arnaud Benedetti, politologue et professeur associé à La Sorbonne Université, membre du comité de soutien à Boualem Sansal Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invités :  - François Zimeray, diplomate, spécialiste des droits humains, avocat de Boualem Sansal  - Georges-Marc Benamou, écrivain, scénariste et journaliste, membre du comité de soutien de Boualem Sansal  - Fabrice Le Saché, vice-président du Medef - Alain Bauer, professeur émérite de criminologie au Conservatoire national des arts et métiers, responsable du pôle sécurité, défense, renseignement. Auteur de Déclinocène (Fayard, paru le 15 octobre dernier) et de Conspiration au Vatican (suite des deux premières aventures de l'agence d'espionnage Mozart, aux éd. First, à paraître demain, le 13/11/2025) Chroniqueurs : - Louis Hausalter, journaliste politique au Figaro - Jean-Michel Salvator, chroniqueur politique et communiquant - Victor Eyraud, journaliste politique à Valeurs Actuelles - Arnaud Benedetti, politologue et professeur associé à La Sorbonne Université, membre du comité de soutien à Boualem Sansal Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invités :  - François Zimeray, diplomate, spécialiste des droits humains, avocat de Boualem Sansal  - Georges-Marc Benamou, écrivain, scénariste et journaliste, membre du comité de soutien de Boualem Sansal  - Fabrice Le Saché, vice-président du Medef - Alain Bauer, professeur émérite de criminologie au Conservatoire national des arts et métiers, responsable du pôle sécurité, défense, renseignement. Auteur de Déclinocène (Fayard, paru le 15 octobre dernier) et de Conspiration au Vatican (suite des deux premières aventures de l'agence d'espionnage Mozart, aux éd. First, à paraître demain, le 13/11/2025) Chroniqueurs : - Louis Hausalter, journaliste politique au Figaro - Jean-Michel Salvator, chroniqueur politique et communiquant - Victor Eyraud, journaliste politique à Valeurs Actuelles - Arnaud Benedetti, politologue et professeur associé à La Sorbonne Université, membre du comité de soutien à Boualem Sansal Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 01:29:01 - Piotr Anderszewski, une personnalité riche et passionnée - par : Aurélie Moreau - Pour Piotr Anderszewski, pianiste célèbre pour ses interprétations de Chopin, Szymanowski, Beethoven, Mozart et Bach, « la musique demeure, à l'heure d'internet, le dernier bastion d'une géographie des sentiments qui nous dépasse ». (Le Figaro). Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Allt hänger ihop i detta novemberavsnitt! Vi har sett en rad föreställningar som på ett eller annat vis går att knyta ihop med röda trådar. Det handlar om nakenhet, sex, trauman, åldrande och perspektivskiften, bland annat. Men trots allt vi hunnit se, lider Loretto av FOMOvember, för att hon missat så mycket. Till exempel den fina konserten under Birgit Nilsson Prize-galan som Cecilia blev inbjuden till och har smakprov med sig från. Medverkande: Loretto Villalobos och Cecilia Djurberg (klipp och prod) Uppsättningar som avhandlas i detta avsnitt: "Dämon - El funeral de Bergman" av Angelica Liddell och "Parallax" av Kata Wéber och Kornél Mundruczó, Proton Theatre (Bergmanfestivalens två gästspel på Dramaten) "The Cave" av Steve Reich och Beryl Korot på Folkoperan, en turnerande samproduktion (Scenkonst Sörmland och Föreningen Kammarmusik NU i samarbete med J! Judisk Kultur i Sverige, Folkoperan och Stora Teatern) "Diktatorn" av Ernst Krenek, regi Dan Turdén, Kamraterna på Musikaliska kvarteret i Stockholm "A year without summer" av Florentina Holziger, gästspel från Volksbühne Berlin på Dansens hus i Stockholm I avsnittet hörs ljudupptagningar, använda med tillstånd från respektive upphovsmän, ur: "A year without summer" , Birgit Nilsson Prize 2025 på Konserthuset i Stockholm (Peter Mattei ur Mozarts "Don Giovanni", finalen ur Richard Wagners "Tannhäuser" med Daniel Johansson, Peter Mattei och Matilda Sterby, dirigent Susanna Mälkki, Kungliga Operans kör och Kungliga filharmoniska orkestern), samt ur "The Cave" av Steve Reich och Beryl Korot (Gränslandet i musikalisk ledning av Christian Karlsen, sångsolister: Keren Motseri, Charlotte Hellekant, Carl Unander-Scharin, David Risberg)

“My job is to make people love choral music as much as I do, and that's a lot. I really love choral music. My job is to say ‘you should care about this.' You might care about it because it's ravishingly beautiful or because it has a story to tell you. Even if you're not a person who relates to choral music, you can relate to stories. We're going to weave some sort of through-line through this program that tells you something about life that we hope resonates with you whether you're a musician or not.”Joshua Habermann is in his seventeenth season as Artistic Director of the Santa Fe Desert Chorale, one of the nation's premiere professional chamber choirs. Since joining the ensemble, he has broadened its repertoire to include choral-orchestral masterworks and unique concert experiences ranging from early music to new commissions. Under his leadership, the Desert Chorale has been featured at regional and national conferences of the American Choral Directors Association, and its summer and winter festivals are among America's largest choral events.Habermann's experience with symphonic choruses spans over three decades, encompassing the full range of the choral-orchestral repertoire. From 2011 to 2022 he was director of the Dallas Symphony Chorus, where highlights included Bach's St. Matthew Passion, the Requiem Masses of Mozart, Brahms, and Verdi, Elgar's Dream of Gerontius, Bernstein's Kaddish Symphony, Rachmaninov's The Bells, and Vaughan-Williams' Sea Symphony. He is a frequent guest conductor, and in 2022-2023 prepared Handel's Messiah, Ravel's Daphnis and Chloe, and Benjamin Britten's War Requiem for the San Francisco Symphony.A passionate advocate for music education, Joshua Habermann is a regular clinician for state and national events and has led honor choirs and choral festivals in North America, Europe, Asia, and Latin America. In 2024, he conducted Cantatas 72, 73 and 92 for Bach Santiago (Chile), a concert series dedicated to the first full cycle of Bach Cantatas in South America. He currently teaches choral literature at the University of North Texas.As a singer (tenor), Habermann has performed with the Oregon Bach Festival Chorus under Helmuth Rilling and Conspirare under Craig Hella Johnson. Recording credits include Requiem and Threshold of Night, both GRAMMY® nominees for best choral recording. Recordings as a conductor include The Road Home and Rachmaninov's All Night Vigil with the Desert Chorale.To get in touch with Joshua, you can find him on Facebook (@joshua.habermann) or visit the Santa Fe Desert Chorale website, desertchorale.org.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

¿Qué ensalada causó riñas familiares? ¿Cómo recibió Moctezuma a Cortés? ¿Qué relación tienen los osos de peluche con la presidencia estadounidense? ¿Qué es el dies irae (/ire/)? Hoy hablaremos de: Ensalada César, Hernán Cortés, Tenochtitlán, Theodore Roosevelt, Réquiem de Mozart, Y más datos para conquistar en los entremeses del Banquete del Dr. Zagal.See omnystudio.com/listener for privacy information.

Send us a textDescriptionMozart's Piano: The Enlightenment's Favourite Sound Machine in 60 Seconds. Take a minute to get the scoop!Fun FactMozart loved his personal fortepiano so much he took it on tour. It still survives today in Salzburg. Unlike modern pianos, its keys are wood-topped, not ivory, and its sound is surprisingly intimate—more like a lively conversation than a thunderous recital. You could almost imagine it gossiping in Viennese.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.Support the show

1. Inspiration Beyond the BrainThe book challenges the materialist view that creativity is a left-brain, analytical function. Instead, it presents music as a right-brain, paranormal process. Many iconic songs are received through instantaneous “downloads” or vivid dreams. Keith Richards famously dreamt the riff for “(I Can't Get No) Satisfaction,” even recording his snoring afterward. These dream-sourced compositions often arrive fully formed, with clarity unlike typical dream content.2. Musicians as ChannelsMany legendary artists describe themselves as vessels rather than creators. John Lennon said he was “just the channel” for the “music of the spheres.” Michael Jackson believed his best songs were “works of God” that dropped into his lap. Notably, Elvis Presley, The Beatles, and Jimi Hendrix couldn't read or write music—suggesting that genius may bypass formal training and arise from external sources.3. A Historical PatternThis phenomenon isn't limited to rock and pop. Classical composers also reported receiving music from beyond. Mozart described his compositions as arriving “almost complete” in dreams. Brahms spoke of entering a trance-like state where ideas flowed “directly from God.” Such accounts suggest a long-standing tradition of non-local inspiration.4. UFOs and MusiciansThe book documents a striking number of UFO encounters among musicians. If cataloged, the list would include hundreds of high-profile names. John Lennon had a daylight sighting in 1974; Mick Jagger saw a UFO over the crowd at the 1969 Altamont concert. 5. Alien OriginsSome musicians believe they are extraterrestrial in origin. John Denver referenced the constellation Lyra as his home. Elvis Presley claimed he came from Orion, saying, “I am not of this world.” Lee Scratch Perry declared, “I am an alien from outer space… from Krypton.” Kurt Cobain expressed a lifelong feeling of being “homesick,” imagining himself as an alien baby found in a spaceship.6. Messages of Oneness and LoveThe themes expressed in music often mirror those reported by UFO experiencers. The central message is Oneness—the idea that all existence is interconnected. Lennon's lyric “I am he as you are he as you are me…” reflects this unity. His slogan “Love is the Answer. What was the Question?” and the anthem “All You Need is Love” serve as spiritual propaganda for this shift from fear to love.7. Environmental and Nuclear WarningsA recurring theme is planetary survival. Musicians often channel messages warning of ecological collapse and nuclear danger. Neil Young's “After the Gold Rush” describes “silver spaceships” rescuing the chosen ones.8. Targeting YouthMusicians are seen as strategic messengers to reach younger generations—the “ultimate swing voters.” Youth are more open to ideas that transcend traditional structures like religion and politics. Carlos Santana reported that the entity Metatron told him he'd be tuned into a “radio airwave frequency” to deliver a “new menu” of existence, helping students realize they are “multi-dimensional spirits.”9. Dreams and Altered StatesSongs often arrive during altered states—dreams, meditation, or automatic writing. Sting received “Every Breath You Take” in 15 minutes through automatic writing. Billy Joel dreamt many of his songs fully formed. Music heard during near-death experiences is described as “floating,” ethereal, and profoundly beautiful—often called the “music of the spheres.”10. Music and Quantum ConsciousnessThe book concludes by challenging the materialist worldview. It suggests that the universe operates through a quantum reality where consciousness is primary. Musicians report accessing a non-local field of awareness, consistent with quantum experiments showing that consciousness precedes matter. In this view, the brain doesn't create consciousness—consciousness creates the brain. Music becomes a delivery system for awakening, love, and planetary stewardship.

You may not know you know it, but we know you know it! You've definitely heard at least one movement of this piano sonata- let us know which movement you're familiar with! Be sure to like and share with a friend! Music: https://imslp.org/wiki/Piano_Sonata_No.11_in_A_major%2C_K.331%2F300i_(Mozart%2C_Wolfgang_Amadeus) https://creativecommons.org/licenses/by-sa/4.0/legalcode

This week, Donald Macleod explores the life and music of the often overlooked younger Haydn brother, Michael. From his early years in Vienna to his long tenure in Salzburg, Michael Haydn's career was shaped by family ties, shifting patronage, and ecclesiastical politics. His relationship with the Mozart family ranged from friendly collaboration to bitter rivalry, and his music—both sacred and secular—reflected the changing demands of the church and court. As he aged, Michael faced new opportunities and challenges, including a long-awaited reunion with his brother Joseph and a prestigious job offer that stirred unexpected doubts.Requiem in C minor pro defuncto Archiepiscopo Sigismund, MH 155 Symphony No 32 in D Major, P 23 Missa Sancti Aloysii, MH 257 Concerto for Harpsichord and Viola in C major, MH 41 Missa Sanctae Crucis, MH 56 Symphony in B flat major, MH 82 Trumpet Concerto in C major, MH 60 Die Hochzeit auf der Alm Notturno in F major, MH 185 Missa Sancti Hieronymi Symphony No 24 in A major, P 15 Tenuisti manum, MH 695 Missa Quadragesimalis, MH 552 Divertimento in C major, P 98 Ninfe inbelli Missa Sancta Theresiae Der Obersulzer Wein, MH 697 Abendlied, MH 784 Trinklied im Freien, MH 790 Flute Concerto in D Major MH 81 Divertimento in C, MH 600 Missa sub titulo Sancti Leopoldi, MH 837 Endimione: Vado per un momento Presented by Donald Macleod. Produced by Chris Taylor for BBC Audio Wales & West. For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Michael Haydn https://www.bbc.co.uk/programmes/m002lcjr. And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z.

Invités : - Eric Revel, pour son livre «C'est Mozart qu'on assassine ! Les fiascos de la décennie Macron» - Sébastien Martin, ministre délégué chargé de l'Industrie   Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invités : - Eric Revel, pour son livre «C'est Mozart qu'on assassine ! Les fiascos de la décennie Macron» - Sébastien Martin, ministre délégué chargé de l'Industrie   Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Join Howard Morgan and Mozart Fontaine as they discuss wrestling - yesterday, today, and tomorrow - and take your calls. Visit http://vocnation.com. Full Video Episode Available for only $3/mo at www.vocnation.com! Subscribers also get commercial free audio and video of Wrestling with History featuring Bill Apter and Ken Resnick, In the Room featuring PWI's Brady Hicks and former WCW Star the Maestro, No BS with The Bull Manny Fernandez, and more! VOC Nation takes you behind the scenes of your favorite moments in pro wrestling history. Notable show hosts include legendary pro wrestling journalist Bill Apter, former WWE/TNA star Shelly Martinez, former WWE and AWA broadcaster Ken Resnick, former WCW performer The Maestro, former TNA Impact talent Wes Brisco, Pro Wrestling Illustrated's Brady Hicks, independent pro wrestling and Fireball Run star Sassy Stephie, and more! Since 2010, VOC Nation has brought listeners into the minds of the biggest stars in pro wrestling and entertainment. Subscribe to the podcasts for free on most major directories, and visit http://vocnation.com for live programming. Subscribe to premium - only $3/mo - for commercial full commercial free audio and video episodes. Exclusive access to 50 years of Bill Apter's interview archives is available for a nominal charge. Learn more about your ad choices. Learn more about your ad choices. Visit podcastchoices.com/adchoices

[@ 10 min] Alright, this week…Jeanine De Bique goes Inside the Huddle! The Trinidadian soprano is on her way to the US for a recital tour, including stops in New York and Chicago before making her subscription series debut with the Chicago Symphony Chorus and Orchestra in Mozart's Requiem! [@ 35 min] And then…we reach into the Listener Mailbag for a report on the Met's 'Don Giovanni' from our good friend PJ... [@ 39 min] Plus, in the Two Minute Drill...saluting the American flag is now compulsory at the Kennedy Center, and Opera America is Great Again after naming its new president. GET YOUR VOICE HEARD Stream new episodes every Saturday at 10 AM CT on amplisoundsradio.com operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

Presentamos los principales conciertos del 42º Festival de Jazz de Zaragoza, los que tendrán lugar en la Sala Multiusos por parte de John Medeski, Kenny Garrett, Jazzmeia Horn, Something Else, Chucho Valdés y Miles Sanko. Temas que suenan en el programa: 01 1992 Medeski, Martin & Wood - Notes From The Underground 03 La Garonne (5' 36'') 02 2011 John Zorn - Nova Express 2 Port of Saints - John Medeski K Wollesen T Dunn J Baron (5' 09'') 03 2013 John Medeski - A Different Time 01 A Different Time (4' 24'') 04 2018 John Medeski - Mad Skillet 03 Tuna In A Can - Kirk Joseph Will Bernard Terence Higgins (4' 07'') 05 1991 Miles Davis & Quincy Jones & The Gil Evans Orchestra 13 Summertime - Kenny Garrett (4' 35'') 06 2021 Kenny Garrett - Sounds of Ancestors 02 Hargrove - Vernell Brown Corcoran Holt Ronald Bruner Rudy Bird (5' 14'') 07 2025 Jazzmeia Horn - Messages 01 Happy Livin' (5' 40'') 08 2024 Something Else - Soul Jazz 01 Filthy McNasty - Freddie Hendrix Vincent Herring Wayne Escoffery Dave Kikoski Paul Bollenback Essiet Essiet Joris Dudli (4' 51'') 09 2024 Chucho Valdés - Cuba And Beyond 05 Mozart a la Cubana - José Armando Gola Roberto Jr. Vizcaíno Horacio El Negro Hernández (6' 22'') 10 2024 Miles Sanko - Leti it Unfold 12 Say It (2' 02'')

durée : 01:28:55 - Vladimir Ashkenazy, le chef d'orchestre - par : Aurélie Moreau - Pianiste éblouissant et chef d'une grande renommée, Vladimir Ashkenazy nous a offert de passionnants enregistrements à la tête de différents orchestres, au programme aujourd'hui dans Chostakovitch, Rachmaninov, Franck, Berlioz, Mozart, Sibelius… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Oggi a Cult, il quotidiano culturale di Radio Popolare: Elena Russo Arman sulla rassegna per giovani spettatrici e spettatori "Piccoli Elfi"; una mostra conclude il progetto fotografico "Milano vista dal mare" dedicato a minori stranieri; Robert Carsen firma per la prima volta la regia del Così fan tutte" di W. A. Mozart, in scena al Teatro alla SCala; Antonio Serra ricorda Forattini analizzandone le caratteristiche tecniche di caricaturista...

Dicen que MOZART es el compositor más usado en el mundo del cine. Su música aparece en más de 250 bandas sonoras. Y es tal su influencia popular que, a veces , las obras de Mozart han pasado a la historia con el título de la película en que se les ha incluido. Así, por ejemplo, a uno de sus conciertos para piano se le conoce popularmente con el nombre del film ELVIRA MADIGAN. El programa estará dedicado a recordar las bandas sonoras de películas en las que más influyó la música de MOZART

durée : 00:22:43 - Disques de légende du mercredi 05 novembre 2025 - En 2004, René Jacobs signe, avec le Concerto Köln, une nouvelle version des "Noces de Figaro" qui s'impose comme une référence de l'interprétation mozartienne. Cinq ans après son "Così fan tutte" dégraissé et alerte, le chef belge porte ici sa démarche à la perfection. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 03:23:16 - Disques de légende du mercredi 05 novembre 2025 - En 2004, René Jacobs signe, avec le Concerto Köln, une nouvelle version des "Noces de Figaro" qui s'impose comme une référence de l'interprétation mozartienne. Cinq ans après son "Così fan tutte" dégraissé et alerte, le chef belge porte ici sa démarche à la perfection. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

José Rafael Guzmán, quien comparte detalles sobre su gira por Europa y habla de temas variados, desde la música de Mozart hasta relaciones personales. Además, se discuten las dinámicas de las relaciones modernas y la importancia de adaptarse a los cambios en la sociedad.

L'idée que les gauchers seraient plus créatifs que les droitiers est ancienne, séduisante… mais scientifiquement controversée. Elle repose sur une intuition simpliste : si le cerveau gauche contrôle la main droite et le cerveau droit contrôle la main gauche — et que le cerveau droit serait “le siège de la créativité” — alors les gauchers, plus “droit cérébral”, devraient être plus imaginatifs. Mais la réalité, révélée par plusieurs études, est bien plus nuancée.Une étude publiée en 2009 par Shobe et al. dans la revue Brain and Cognition a testé cette hypothèse sur des étudiants américains. Les chercheurs ont mesuré leur “pensée divergente” — la capacité à produire des idées originales — et ont comparé droitiers, gauchers et “inconsistants” (ceux qui utilisent les deux mains selon la tâche). Résultat : les gauchers n'étaient pas systématiquement plus créatifs. En revanche, les personnes au faible degré de latéralisation (ni totalement droitières, ni totalement gauchères) obtenaient de meilleurs scores de créativité. Leur cerveau semblait mieux équilibré entre les deux hémisphères, favorisant des connexions inhabituelles entre des idées éloignées.Cette découverte a inspiré une hypothèse neurolinguistique : la communication interhémisphérique — facilitée par un corps calleux plus actif — pourrait être un atout pour la pensée créative. Autrement dit, ce n'est pas la main utilisée qui compte, mais la souplesse du cerveau à mobiliser ses deux côtés.Des recherches plus récentes, notamment une méta-analyse publiée en 2019, confirment ces nuances : il n'existe aucune corrélation stable entre la main dominante et les performances créatives. Les différences observées sont faibles, variables selon les tests, et largement influencées par d'autres facteurs : culture, environnement familial, éducation artistique, exposition à la nouveauté.Enfin, le cliché du “génie gaucher” vient aussi de l'histoire : Léonard de Vinci, Picasso, Mozart, ou Jimi Hendrix étaient gauchers, ce qui a renforcé l'idée d'un lien mystérieux entre gaucherie et talent. Mais statistiquement, la majorité des créateurs reconnus sont droitiers — simplement parce qu'ils sont plus nombreux.En somme, les gauchers ne sont pas plus créatifs par nature, mais leur cerveau légèrement différent peut favoriser une pensée moins conventionnelle chez certains individus. La créativité, elle, reste surtout une compétence entraînée, nourrie par la curiosité, l'ouverture et la diversité des expériences — bien plus que par la main que l'on utilise pour écrire. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Old Time Radio highlights originally broadcast live October 1 through October 8, 1939. Curated clips of live broadcasts from popular radio shows of the day. A tapestry of History through the eyes of people as they lived it, reported by radio. In today's SoundScape: Charlie McCarthy's in Need of Cash! Mozart has been dead for … Continue reading When Radio Ruled #146 – SoundScape 1939 part 19

Dans cet épisode, Laurie Peret se confie comme rarement.De ses débuts dans la pub à ses premiers sketchs dans des cafés-théâtres, jusqu'à fouler la scène mythique de l'Olympia, elle raconte tout.À 25 ans, elle vivait un rêve éveillé avec Mozart l'Opéra Rock.Puis tout s'arrête brutalement.Entre petits boulots, maternité solo et refus de casting, Laurie traverse des années de galère avant de retrouver sa lumière grâce à l'humour.Aujourd'hui, elle s'apprête à jouer à l'Olympia.Dans cet épisode :Comment rebondir quand tout s'écrouleLe courage de recommencer à zéroLe vrai quotidien d'une humoristeLa maternité, les doutes, la résilienceEt la puissance du rire pour tenir deboutUn échange sincère, inspirant et drôle, avec une femme qui n'a jamais cessé d'y croire

In the liturgical reforms following Vatican II, the decision was made to remove the beloved Dies Irae from the requiem Mass. Fr. Ambrose Dobrozsi and Dr. Joey Belleza discuss the rationale behind this decision and evaluate it in light of the text of the sequence itself.

The great French soprano Rachel Yakar died on 24 June 2023 at the age of 87. As she frequently performed opposite our last subject, Swiss tenor Eric Tappy, this episode makes a suitable pendant to that one. Celebrated for her transcendent performances of Baroque music, (Monteverdi and the French Baroque in particular), Yakar was (like previous podcast subjects Eugene Holmes, Oralia Domínguez, Hana Janků, Gwendolyn Killebrew, and Teresa Żylis-Gara) also a member of ensemble of the Deutsche Oper am Rhein in Düsseldorf and Duisburg, with which company she performed for more than 25 years, singing a dizzying range of repertoire, everything from Mélisande to Arabella, Liù to Rusalka, Euridice to Desdemona. She also performed Donna Elvira and the Marschallin at Glyndebourne; and was an unforgettable Poppea in the Ponnelle-Harnoncourt Monteverdi cycle filmed for Unitel. In her prime she was also a frequent visitor to the recording studio, singing everything from Rameau to Varèse, Mozart to Messiaen, with conductors from Harnoncourt to Boulez, Leonhardt to Nagano. She was also a devoted song recitalist and in the later years of her career, she made two recordings of melodies for Virgin Records with the admirable support of her long-term accompanist Claude Lavoix. For the majority of this episode, I have chosen excerpts from both of those recordings, featuring the songs of Fauré and Hahn, which include settings of poets central to their output, including Paul Verlaine, Armand Silvestre, Léconte de Lisle, and Théodore de Banville, supplementing it with additional material in French by Ravel, Lekeu, Clérambault, Messiaen, and Poulenc. Yakar, who, like Régine Crespin and Nadine Denize, studied under the French dramatic soprano Germaine Lubin, was renowned for her faultless technique, her acting prowess, her peerless French diction, and her communicative artistic sensibility, traits of which are all in evidence in all of her recordings from the 1960s through the end of her career in the mid-1990s. Yakar was especially treasured by her colleagues, friends, and students for the warmth and effervescence of her personality, and her devotion to passing on her knowledge and experience to a younger generation of singers. May you delight in the delicacy, humor, precision, and pathos of one of the most prodigiously gifted and versatile vocal artists of her generation. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 01:28:23 - Fritz Wunderlich, ténor incomparable - 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… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In Composers, we explore how songs are created by people from long ago and today. We meet Bach, Mozart, and Beethoven, and learn how their lives shaped their sounds. We also hear from Sesame Street, and legendary Broadway composer Bill Sherman about writing catchy tunes with meaning. Listeners discover that anyone can start with a small idea and build a powerful piece of music.

Swiss tenor Eric Tappy (19 May 1931 – 11 June 2024) excelled in so many different musical styles, eras, and genres, that when one considers his artistic achievement systematically, as a whole, one is positively stunned at all that he achieved, and that within a relatively short international career that extended barely 20 years. In addition, at the beginning of his career, his voice was that of a light lyric tenor, but gradually he came to sing heavier roles such as Idomeneo and Tito. The episode considers his biography and the trajectory of that career, touching upon his opera and concert work which ranged from early Baroque through contemporary. For the first ten years of his adult life, he worked as a teacher, gradually gaining enough exposure that he was able to fully devote himself to his singing career after he won several international singing competitions. Tappy is heard in the episode in concert work of Bach, Berlioz, Haydn, and contemporary Dutch composer Rudolf Escher; art songs by both Franz Schubert and Lili Boulanger; and operas by Monteverdi, Gounod, Mozart, and Debussy (his Pelléas was as legendary as his Monteverdi and Mozart impersonations). In addition, Tappy is heard in live and radio recordings of work by his fellow Swiss compatriots Arthur Honegger, Frank Martin, Constantin Régamey, and Hermann Suter. Guest singers include Countermelody favorites Ileana Cotrubaș, Rachel Yakar, Hugues Cuénod, Edda Moser, and Gino Quilico; musical collaborators include Ernest Ansermet, Michel Corboz, Nino Sanzogno, John Pritchard, Armin Jordan, Hans Münch (brother of Charles), Colin Davis, Hans Vonk, and Jean Françaix, among others. Prepare to be surprised and delighted by this great singer, who ended his active singing career at the age of only 50 but who continued as a formative and beloved teacher well into his old age. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

A poll from the journal Nature found that 75% of researchers in the U.S. are considering leaving the country. That includes a man who’s been dubbed the "Mozart of Math." Stephanie Sy examines what’s behind a potential scientific brain drain. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Join Howard Morgan and Mozart Fontaine as they discuss wrestling - yesterday, today, and tomorrow - and take your calls. Visit http://vocnation.com. Full Video Episode Available for only $3/mo at www.vocnation.com! Subscribers also get commercial free audio and video of Wrestling with History featuring Bill Apter and Ken Resnick, In the Room featuring PWI's Brady Hicks and former WCW Star the Maestro, No BS with The Bull Manny Fernandez, and more! VOC Nation takes you behind the scenes of your favorite moments in pro wrestling history. Notable show hosts include legendary pro wrestling journalist Bill Apter, former WWE/TNA star Shelly Martinez, former WWE and AWA broadcaster Ken Resnick, former WCW performer The Maestro, former TNA Impact talent Wes Brisco, Pro Wrestling Illustrated's Brady Hicks, independent pro wrestling and Fireball Run star Sassy Stephie, and more! Since 2010, VOC Nation has brought listeners into the minds of the biggest stars in pro wrestling and entertainment. Subscribe to the podcasts for free on most major directories, and visit http://vocnation.com for live programming. Subscribe to premium - only $3/mo - for commercial full commercial free audio and video episodes. Exclusive access to 50 years of Bill Apter's interview archives is available for a nominal charge. Learn more about your ad choices. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A poll from the journal Nature found that 75% of researchers in the U.S. are considering leaving the country. That includes a man who’s been dubbed the "Mozart of Math." Stephanie Sy examines what’s behind a potential scientific brain drain. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

ITL dives into a packed show starting with whether DeMeco Ryans truly blocks out the “outside noise” or if that's just coach talk, and what his approach says about how he handles the business side of coaching. Around The NFL, the guys recap Monday Night Football, break down Carson Wentz's shoulder injury, and share OG Passing Thoughts after an easy night for the Rockets. Things are also looking brighter for C.J. Stroud — has he officially turned the corner? Lopez makes a big confession during Lunch-Time Confessions, and CFBOAT reacts to another chaotic weekend in college football. To close out the show, ITL debates whether the Texans' defense is starting to resemble an all-time great, and in Figgy's Mixtape, Figgy is blown away by the next Mozart, puts Reggie and Lopez to the test with a hilarious reaction challenge, and more.