Podcasts about nannerl

Wolfgang Amadeus Mozart was the quintessential child prodigy. He performed for European royalty at the tender age of six. But he wasn't the only child prodigy in his family or even the first. Big sister Nannerl led the way as his first role model and collaborator. Some of his keyboard music was written with her in mind as the performer, and after his death she worked with his first biographer and publisher to preserve his legacy. Music for this episode includes: Eine kleine Nachtmusik, K. 525 Rondo alla Turca rom Piano Sonata No. 11 in A major, K. 331/300i Symphony No. 40 in G minor, K. 550 Piano Concerto No. 21 in C major, K. 467 as performed by Markus Staab Requiem in D minor, K. 626 All of these recordings are copyright free. Visit the website (herhalfofhistory.com) for sources, transcripts, and pictures. Support the show on my Patreon page for bonus episodes, polls, and a general feeling of self-satisfaction. Or make a one-time donation on Buy Me a Coffee. Join Into History for a community of ad-free history podcasts plus bonus content. Visit Evergreen Podcasts to listen to more great shows. Follow me on Threads as Her Half of History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Interpreten: Quatuor TchalikLabel: alkonostEAN: 3760288803591Sie haben in den vergangenen Jahren CDs mit Werken von Camille Saint-Saëns, Reynaldo Hahn, Boris Tishchenko oder Maurice Ravel aufgenommen, doch mit ihrer neuen CD kehren die Mitglieder des Quatuor Tchalik quasi zurück zu ihren Wurzeln, nämlich den Wurzeln des internationalen Erfolges. Mozart spielt dabei eine große Rolle, wie Michael Gmasz im heutigen Beitrag verrät.Bei den Hagens waren es zur Gründungszeit bis 1981 auch vier Geschwister, beim Schumann Quartett sind es immerhin drei Brüder und auch dem Mandelring Quartett gehören neben Andreas Willwohl die drei Geschwister Schmidt an. Dass sich ein professionelles Streichquartett, wie das französische Quatuor Tchalik, wirklich aus vier Schwestern und Brüdern zusammensetzt, ist jedoch eher eine seltene Fügung. Wie so viele andere junge Streichquartette auch, haben Louise, Sarah, Gabriel und Marc Tchalik ihre Ausbildung und ihren letzten Schliff u.a. beim legendären Günther Pichler vom Alban Berg Quartett an der Escuela Superior de Música Reina Sofia in Madrid genossen. Nach dem Gewinn einiger kleinerer Wettbewerbe, ist der Stern des Tchalik Quartetts 2018 mit dem ersten Preis beim 13. Internationalen Mozartwettbewerb in Salzburg und dem Sonderpreis für die beste Interpretation eines Quartetts von W.A. Mozart aufgegangen. Auf CD kehren die Tchaliks erst jetzt, Jahre später, wieder zurück zu Mozart. „Es ist ein wahres Glück, als Familie Mozart zu spielen; wenig Komponisten haben in dem Maße Hausmusik im Kreise der Familie praktiziert“ erinnern die Tchalik Geschwister im Beiheft ihrer neuen CD an das familiäre Hausmusizieren bei Wolfgang, Nannerl und zumindest Leopold Mozart. Dass hier blindes Verständnis zwischen den jeweiligen Musikerinnen und Musikern herrscht, spürt und hört man von den ersten Takten des eröffnenden Jagd Quartetts KV 458. Gemeinsames Atmen, eine gemeinsame Idee vom Ganzen und ein Gespür für Übergänge ist hier wie in den anderen Quartetten gegeben. Pausen dauern keinen Moment zu kurz oder zu lange, kleine, unerwartete Akzente beleben vor allem die langsamen Sätze, über die auch große Bögen gespannt sind. Ob beim Proben und bei Konzertvorbereitungen alles immer eitel Wonne ist, daran mögen vielleicht alle, die auch Geschwister haben, zweifeln – aber wenn Louise, Sarah, Gabriel und Marc Tchalik dann auf der Bühne oder im Studio sitzen, ergibt sich ein Miteinander, das ohne familiäre Bande nur sehr wenigen gelingt. Mit Dania Tchalik gibt es übrigens auch einen hochbegabten Pianisten Bruder, der für Klavierquintette zur Verfügung steht und die CDs erscheinen im hauseigenen Label Alkonost, vor mehr als zehn Jahren vom Vater Mikhail Tchalik ins Leben gerufen. Mehr Familie geht nicht. (mg)

durée : 00:28:34 - Ismaël Margain, pianiste - Après Fauré et Chopin, Ismaël Margain réunit des Fantaisies et Rondos de Mozart pour son 2e album chez Naïve. Amoureux du jazz autant que du classique, multi-instrumentiste et passionné par le grand écran, il joue aussi dans un conte musical sur Nannerl, grande sœur du compositeur autrichien.

durée : 02:03:56 - Musique matin du mercredi 11 décembre 2024 - par : Jean-Baptiste Urbain - Après Fauré et Chopin, Ismaël Margain réunit des Fantaisies et Rondos de Mozart pour son 2e album chez Naïve. Amoureux du jazz autant que du classique, multi-instrumentiste et passionné par le grand écran, il joue aussi dans un conte musical sur Nannerl, grande sœur du compositeur autrichien. - réalisé par : Yassine Bouzar

Le génie et la renommée de Mozart n'ont pas totalement éclipsé certains membres de sa famille. Ainsi se souvient-on de son père, le compositeur et professeur de musique Léopold Mozart qui, entre 1761 et 1772, entreprit des tournées en Europe pour exploiter le talent musical exceptionnel de son fils. Dans ces déplacements professionnels, il amenait aussi la sœur aînée de Wolfgang Amadeus, Maria Anna, surnommée Nannerl, qui avait, elle aussi, des dons évidents pour la musique. En revanche, on parle rarement de la mère de Mozart. Née en 1720, dans la principauté ecclésiastique de Salzbourg, Anna Maria Pertl a elle-même été élevée dans une famille de musiciens. En effet, son père était contrebassiste et professeur de chant. La vie d'Anna Maria Pertl prend un cours nouveau quand, en 1747, elle épouse Léopold Mozart. Ils auront six enfants, mais deux seulement survivront. La mère de Mozart mena toujours une vie très discrète, dans l'ombre d'un mari autoritaire, qui ne semblait guère s'en préoccuper. Il lui arrive d'accompagner son jeune fils dans ses tournées, notamment lorsque son mari était retenu auprès du prince-archevêque de Salzbourg, dont il était le maître de concert. Le jeune Wolfgang étant de santé fragile, sa mère est à ses côtés et le soigne durant ses maladies. Elle lui apporte aussi un soutien matériel quand il en a besoin, notamment quand, au début des années 1770, il prend en charge sa carrière musicale. À partir de 1763, la famille vit souvent à Paris, où elle change souvent d'adresse. En juin 1778, alors que les Mozart vivent depuis peu dans un appartement de l'actuelle rue du Sentier, dans le IIe arrondissement, Anna Maria, qui a 57 ans, tombe malade. Atteinte de fièvres aiguës, elle meurt le 3 juillet. Elle est enterrée dans le cimetière voisin de Saint-Joseph. Aussi discrète soit-elle, la mère de Mozart lui aura inspiré certaines œuvres, comme les célèbres variations pour piano "Ah ! vous dirai-je maman", ou encore les sonates 10, 11 et 12 pour piano. Learn more about your ad choices. Visit megaphone.fm/adchoices

Le génie et la renommée de Mozart n'ont pas totalement éclipsé certains membres de sa famille. Ainsi se souvient-on de son père, le compositeur et professeur de musique Léopold Mozart qui, entre 1761 et 1772, entreprit des tournées en Europe pour exploiter le talent musical exceptionnel de son fils.Dans ces déplacements professionnels, il amenait aussi la sœur aînée de Wolfgang Amadeus, Maria Anna, surnommée Nannerl, qui avait, elle aussi, des dons évidents pour la musique.En revanche, on parle rarement de la mère de Mozart. Née en 1720, dans la principauté ecclésiastique de Salzbourg, Anna Maria Pertl a elle-même été élevée dans une famille de musiciens. En effet, son père était contrebassiste et professeur de chant.La vie d'Anna Maria Pertl prend un cours nouveau quand, en 1747, elle épouse Léopold Mozart. Ils auront six enfants, mais deux seulement survivront.La mère de Mozart mena toujours une vie très discrète, dans l'ombre d'un mari autoritaire, qui ne semblait guère s'en préoccuper. Il lui arrive d'accompagner son jeune fils dans ses tournées, notamment lorsque son mari était retenu auprès du prince-archevêque de Salzbourg, dont il était le maître de concert.Le jeune Wolfgang étant de santé fragile, sa mère est à ses côtés et le soigne durant ses maladies. Elle lui apporte aussi un soutien matériel quand il en a besoin, notamment quand, au début des années 1770, il prend en charge sa carrière musicale.À partir de 1763, la famille vit souvent à Paris, où elle change souvent d'adresse. En juin 1778, alors que les Mozart vivent depuis peu dans un appartement de l'actuelle rue du Sentier, dans le IIe arrondissement, Anna Maria, qui a 57 ans, tombe malade. Atteinte de fièvres aiguës, elle meurt le 3 juillet. Elle est enterrée dans le cimetière voisin de Saint-Joseph.Aussi discrète soit-elle, la mère de Mozart lui aura inspiré certaines œuvres, comme les célèbres variations pour piano "Ah ! vous dirai-je maman", ou encore les sonates 10, 11 et 12 pour piano. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

DescriptionThe young virtuoso, Maria Anna Mozart, nicknamed Nannerl, was quickly overshadowed by her brother, Wolfgang Amadeus Mozart, five years her junior. But she was nonetheless a child prodigy. Take a minute to get the scoop!Fun FactAs a trusted friend, family member and intimate music-making partner, Nannerl could have been exactly what Wolfgang needed to make the leap from sonatas to symphonies. As one scholar put it, “They probably had lots of discussion about what he was doing. I'll bet she not only reminded him about the horns but also suggested some things for the horns and for other parts of the composition as well.”__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

DescriptionThere is little doubt that Mozart was a genius. But what was extraordinary was his abilities from such a young age. Take a minute to get the scoop!Fun FactWhile Wolfgang was young, his family made several European journeys in which he and his sister Nannerl performed as child prodigies. These began with an exhibition in 1762 at the court of Prince-elector Maximilian III of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Rita Charbonnier"La sorella di Mozart"marcos y marcoshttps://marcosymarcos.com/“A soli dodici anni, la mia piccola ragazzaè tra i migliori pianisti d'Europa”.Leopold Mozart“Sono stupefatto! Non sapevo fossi in gradodi comporre in modo così grazioso. In unaparola, il tuo Lied è bello. Ti prego, cerca difare più spesso queste cose”.Wolfgang Amadeus Mozart,lettera alla sorellaDi Mozart non ce n'è uno solo. Wolfgang aveva una sorella maggiore, prima di lui bambina prodigio, pianista eccezionale e anche compositrice: Maria Anna Mozart, detta Nannerl. Il padre, geloso amministratore dei talenti e delle risorse di famiglia, per anni li fa esibire insieme davanti alle corti d'Europa. I loro destini, tuttavia, si separano quando Nannerl compie diciotto anni. Wolfgang parte con il padre per l'Italia, mentre Nannerl resta a casa a dare lezioni di piano per finanziare il loro lunghissimo viaggio. Da quel momento, l'ascesa del genio della musica diventa inarrestabile; la carriera di musicista di Nannerl, invece, è definitivamente stroncata. Non sapremo mai se Nannerl avrebbe potuto distinguersi come il fratello; purtroppo, non ne ha avuto l'occasione. Questo romanzo è per lei.Rita Charbonnier ha studiato pianoforte e canto, si è diplomata presso la Scuola di teatro classico Giusto Monaco dell'Istituto nazionale del dramma antico, a Siracusa, e ha frequentato il Corso di formazione e perfezionamento per sceneggiatori della RAI, a Roma. Ha collaborato come giornalista ed esperta di teatro con diverse riviste, e scritto soggetti e sceneggiature che hanno ottenuto riconoscimenti tra i quali la Film Story Competition del programma europeo MEDIA. È anche attrice e ha lavorato con personalità di rilievo: Nino Manfredi, Aldo Trionfo, Renato Nicolini, Lucia Poli, Antonio Calenda, per citarne solo alcuni.Ha inoltre scritto racconti, monologhi teatrali e testi di argomento musicale. Si esibisce in reading musicali e recital. Il suo primo romanzo, La sorella di Mozart (Corbaccio 2006, Piemme Bestseller 2011), è stato pubblicato in dodici paesi. La strana giornata di Alexandre Dumas e Le due vite di Elsa (Piemme 2009 e 2011) completano un trittico con protagoniste personaggi femminili e la Storia.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

(Nannerl history starts at 16 minutes)   Zach and Charles cover the life of Wolfgang Mozart's prodigious older sister, Maria Anna "Nannerl", who was sidelined for being a lady despite being as good if not better than him. Check out the Patreon this week for a bonus hour on Wolfgang's insane love of poop jokes:  https://www.patreon.com/overshadowedpodcast   Recorded in July 2022.    Have any ideas for an episode? Feedback? Notes? Hate? Unabashed hate? Send us an email: overshadowedpod@gmail.com   And follow us on social media!  https://linktr.ee/overshadowed_podcast   Instagram: @Overshadowed_Podcast @zachrussellcomedy @charles_engle   YouTube: Overshadowed Podcast Zach Russell  Charles Engle    TikTok:  Overshadowed Podcast Zach Russell  Charles Engle    Produced by Zach Russell   Intro/Outro music by MokkaMusic!

Son époque ne l'a pas laissée exprimer son génie. Maria Anna Mozart (1751-1829) est la sœur aînée de Wolfgang Amadeus Mozart (1756-1791) mais surtout, l'une des plus grandes prodiges de sa génération. Capable de jouer les morceaux les plus difficiles du répertoire, celle que l'on surnomme Nannerl suit son père et son frère en tournée dans les plus grandes villes européennes. Mais à l'âge de 18 ans, sa carrière est stoppée. À cet âge, une femme doit se marier…

Annandag påsk och Nordegren & Epstein bjuder på ett specialprogram med gobitar från vårens program. Vad är skillnaden mellan en miljardär och en oligark? Skrev Mozarts syster egentligen hans violinkonserter och är det dags att kasta bh:n? Vad är skillnaden mellan en oligark och en vanlig miljardär?Efter Rysslands invasion av Ukraina har ryska oligarker fått stor uppmärksamhet. Hur de kunde bli så ofantligt rika i samband med Sovjetunionens fall och vilken roll har de spelat för Vladimir Putins allt mer auktoritära sätt att styra Ryssland? Torbjörn Becker, chef för Östekonomiska institutet på Handelshögskolan gästade programmet för att hjälpa oss reda ut det.Hur mycket av Mozarts musik skrevs av hans storasyster?Maria Anna Walburga Ignatia Mozart, kallad Nannerl, var hunsad av sin far, och trots sina uppenbara musikaliska talanger levde hon större delen av sitt liv en tillbakadragen tillvaro långt från rampljuset. Nu föreslår en pensionerad dirigent och professor, Martin Jarvis, att Nannerl kan vara den verklige upphovsmannen bakom flera av Mozarts violinkonserter. Hur vanligt är det att systrar och fruar ligger bakom kända kompositörers verk? Det diskuterade vi med musikkritikern Edit Söderström och konsertmästare Malin Broman.Rullator-specialRullatorn - den svenska uppfinningen från 1978 som betytt så oerhört mycket för svenska åldringars välmående. Marianne Kylberg, programdirektör på arbetsterapeutprogrammet Lunds Universitet har forskat om rullatorn och så besökte Gerd Klang, rullatoranvändare, Daniel Alling och Louise Epstein i studion.Gör bysthållaren livet bättre eller sämre?Under pandemin har många passat på att gå bh-lösa i sin hemmakarantän. Är det ett trendbrott eller kommer bysthållaren att åka på igen när arbetsplatsen kallar? Hur ser sambandet ut mellan bh-trender och samhällsutveckling? Vad är det egentligen som styr detta klädesplaggs vara eller icke vara? Det frågade vi Louise Wallenberg, professor i modevetenskap vid Stockholms universitet.Programledare: Louise Epstein, Thomas Nordegren och Daniel Alling.Producenter: Amanda Rydman, Jennie Sjöström och Olle Björkman.

Uno de los compositores que escribió música para que varios teclados tocaran juntos, fue sin duda Wolfgang Amadeus Mozart, quien con una habilidad apabullante crea en este tipo de piezas un modo de conversación real entre estos instrumentos. La música que escucharemos hoy escrita para tres pianos, nació producto de la petición de una clienta de Mozart, una condesa llamada Antonia Londron perteneciente a una familia establecida en Salzburgo, que quería disponer de una pieza que pudiera tocar con sus dos hijas. Este compositor que tendría 20 años para la época, la complació y adaptó la partitura a las habilidades técnicas de las intérpretes. Tiempo después, nos cuenta Clemency Burton-Hill, Mozart transformó la obra en una versión para dos pianos que interpretó con su hermana Nannerl. A continuación un fragmento del primer movimiento del Concierto para tres piano No. 7 de Mozart de manos de David Bismuth, Emmanuel Christien y Adam Laloum en el piano junto a la Orquesta de Paris dirigida por Cornelius Meister.

Heimsglugginn hófst á stuttum umræðum um handbolta, Bloody Sunday og stöðuna í breskum stjórnmálum. Aðalumræðuefnin voru hins vegar aflétting sóttvarnartakmarkana víða í grannlöndum og svo voru ræddar tilgátur um að Maria Anna Mozart, eldri systir Wolfgangs, hefði í raun samið einhverja af fimm fiðlukonsertum austurríska snillingsins.

Heimsglugginn hófst á stuttum umræðum um handbolta, Bloody Sunday og stöðuna í breskum stjórnmálum. Aðalumræðuefnin voru hins vegar aflétting sóttvarnartakmarkana víða í grannlöndum og svo voru ræddar tilgátur um að Maria Anna Mozart, eldri systir Wolfgangs, hefði í raun samið einhverja af fimm fiðlukonsertum austurríska snillingsins.

Heimsglugginn hófst á stuttum umræðum um handbolta, Bloody Sunday og stöðuna í breskum stjórnmálum. Aðalumræðuefnin voru hins vegar aflétting sóttvarnartakmarkana víða í grannlöndum og svo voru ræddar tilgátur um að Maria Anna Mozart, eldri systir Wolfgangs, hefði í raun samið einhverja af fimm fiðlukonsertum austurríska snillingsins.

Mozarts äldre syster kan ha legat bakom flera av hans violinkonserter, enligt en teori. Var det så att hon efter broderns död smög in sina egna kompositioner bland hans efterlämnade notsamlingar? Programledare: Thomas Nordegren. Bisittare: Louise Epstein. Hur mycket av Mozarts musik skrevs av hans storasyster?Maria Anna Walburga Ignatia Mozart, kallad Nannerl, var hunsad av sin far, och trots sina uppenbara musikaliska talanger levde hon större delen av sitt liv en tillbakadragen tillvaro långt från rampljuset. Att hon komponerade vet vi eftersom det framgår av syskonens korrespondens. Inga av hennes kompositioner finns bevarade - officiellt. Men nu föreslår en pensionerad dirigent och professor, Martin Jarvis, att Nannerl kan vara den verklige upphovsmannen bakom flera av Mozarts violinkonserter. Hur vanligt är det att systrar och fruar ligger bakom kända kompositörers verk? Det diskuterar vi med musikkritikern Edit Söderström och konsertmästare Malin Broman.Hotet från RysslandIdag möts USAs utrikesminister och Ukrainas president Volodymyr Zelenskyj, för att diskutera hotet från Ryssland. Samtidigt är Zelenskyj inblandad i en konflikt med den förre presidenten Petro Poroshenko, som står åtalad för landsförräderi. Varför väljer man att fokusera på interna konflikter i en tid när säkerhetsläget är så allvarligt, och Ukraina skulle behöva stå enat mot Ryssland? Fredrik Wadström, Ukrainakännare och tidigare Sveriges Radios korrespondent i Moskva, gör en analys.Drönarna över kärnkraftverkenOch på tal om säkerhetsläget så ska vi också prata om drönarna över kärnkraftverken. Är de hjärnspöken eller ryska militärdrönare ute på spaningsuppdrag? Och vilken skada skulle de kunna göra i så fall? Mikael Odenberg, tidigare försvarsminister som även varit chef för Svenska Kraftnät, berättar vad hann tror.Och så ska vi äntligen få höra en låt som många av våra lyssnare har önskat sig...Programledare: Thomas Nordegren Bisittare: Louise Epstein Producent: Julius Bäckman

Né en 1756, Wolfgang Amadeus Mozart ou Johannes Chrysostomus Wolfgangus Theophilus Mozart, était le cadet de sept enfants. Le 18ème siècle ne brille pas par son hygiène et ses conditions sanitaires irréprochables. Aussi Mozart ne conserva qu'une grande sœur à ses côtés. Maria Anna Mozart, surnommée Nannerl, était musicienne comme son frère. On sait qu'elle fut un modèle pour Wolfgang Amadeus Mozart. En réalité elle aurait peut-être fait bien plus encore…Si vous voulez en savoir plus sur Mozart, mais aussi la place des Femmes dans la musique classique, nous vous conseillons la lecture de Mozart était une femme, Aliette De Laleu ! Notre politique de confidentialité GDPR a été mise à jour le 8 août 2022. Visitez acast.com/privacy pour plus d'informations.

Aquesta setmana "Els homes cl

Maria Anna Mozart war die fünf Jahre ältere Schwester von Wolfgang Amadé Mozart. Zunächst wurde sie gefördert und gefeiert als junge Klaviervirtuosin. Doch als sie ins heiratsfähige Alter kam, hatte sie nach damaliger Ansicht andere Ziele zu verfolgen.

Le jeune Mozart rencontrera de multiples personnalités au cours de ses périples européens. Le pape, les nobles, les rois, les grands de ce monde d’alors mais aussi et surtout des compositeurs et musiciens qui auront une importance capitale dans le développement musical de l’enfant. « Wolfgang Mozart aurait été beau s’il n’avait pas eu la variole » confie sa sœur Nannerl. 1767, Vienne est infestée par l’épidémie tout comme d’autres villes d’Europe. Sur 255000 habitants que compte la capitale autrichienne, 800 personnes succombent chaque année à la variole aussi appelée petite vérole. Faisait-on le lien entre hygiène et maladie ? Comment se soignait-on ? Le XVIIIe siècle verra naître ce qu’on appelle alors l’inoculation ou variolisation, ce procédé qui n’est autre que l’ancêtre de la vaccination.

Es muss nicht immer das Requiem sein - Mozart hat nämlich noch ein unvollendetes Werk hinterlassen: die c-Moll-Messe. Auch ergreifend, überirdisch und rätselhaft, allerdings nicht aus dem Todesjahr, sondern schon ein Jahrzehnt früher entstanden. (Autor: Ben Süverkrüp)

Zenélő szintek a műsor, hogyan lehet a hétvégén ismert zenészek leveleit, naplóit vagy jegyzeteit idézni meg. Ezeken keresztül nem csak hozzájuk, hanem ahhoz a korhoz is közelebb kerülünk ahol ők éltek és alkottak. Műsorvezető: Bősze Ádám

Oh, Nannerl. History did you dirty, but fortunately Marie Lu's fantasy novel, The Kingdom of Back, is here to put you centerstage where you should've been all along. In this episode, we discuss Wolfgang's lesser-known sister, the child-prodigy Anne Marie, and the fantasy world they created together as we struggle to pronounce German. Don't worry - we get into it. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

@nannerl​ made a youtube video a few days ago on things black nerds are tired of hearing I saw the title and thought Soul could possible cosign some of these things mentioned. Guess well find out in this video 0_0.

Wolfgang Amadeus Mozart nacque a Salisburgo nel 1756. Considerato il ragazzo prodigio per eccellenza, a quattro anni suonava il clavicordo e componeva dei minuetti. Insieme alla sorella Nannerl, si esibì giovanissimo alla presenza dell'Imperatrice d'Austria Maria Teresa. Imparò a suonare anche il violino e l'organo e prese a viaggiare in Europa.Impressionante vero?E se vi dicessi che anche il Death Metal ha il suo Mozart?---------------------------------------------PUNKCAST------------------------------------------------------------Punkcast è un podcast DIY che parla del mondo hardcore punk a 360 gradi, lo puoi ascoltare e scaricare sulle principali piattaforme di podcasting e qui su YouTube. Iscriviti al mio canale e attiva gli avvisi per rimanere sempre aggiornato.----------------------------------------------PODCAST-------------------------------------------------------------SPREAKER https://www.spreaker.com/show/punkcast_1APPLE PODCAST https://podcasts.apple.com/it/podcast/punkcastSPOTIFY https://open.spotify.com/show/4akW3E2aGvE6OCT1PJ0LlT?si=WUAUhBxoQ4yMjHUXdMd2_AGOOGLE PODCAST https://podcasts.google.com/?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvNDM3MDg5NS9lcGlzb2Rlcy9mZWVk-------------------------------------SOCIAL NETWORK--------------------------------------------------------INSTAGRAM https://www.instagram.com/punkcast_podcastINSTAGRAM https://www.instagram.com/ale18021981FACEBOOK https://www.facebook.com/Punkcast-112546450493378TIK TOK https://www.tiktok.com/@punkcast?lang=it-IT---------------------------------------------------------------------------------------------------------------------------

Scopriamo assieme la storia di Nannerl Mozart

Today Harriyanna interviews Nannerl! They talk about childhood fandoms, The Chipettes, OnlyFans, dolls, and more. Follow Nannerl! YouTube: https://www.youtube.com/nannerll Twitter: https://twitter.com/itsnannerll Instagram: https://www.instagram.com/orochicayla/ Hello citizen of Auradon! Welcome to Harriyanna Hook's podcast, The Memoir of a Descendants stan. On this podcast we discuss everything that goings on in my life as an aspiring actor, writer, and model, who has a big embarrassing love for Descendants. Music produced by Zeeky Beats. Keep in touch with Harriyanna! Youtube Channel : https://www.youtube.com/c/inickel Tumblr: https://inickel.tumblr.com/ Instagram: https://www.instagram.com/nicoleeeojj/ Wattpad: https://www.wattpad.com/user/nicoleeeojj Tiktok: https://www.tiktok.com/@nicoleeeojj Twitter: https://twitter.com/nicoleeeojj --- Support this podcast: https://anchor.fm/harriyannahook/support

Un grupo de científicos y filósofos idearon el plan perfecto para advertirle a los humanos del futuro, de los peligros del presente. En este episodio conoceremos a la hermana, y posiblemente, la gran colaboradora de uno de los compositores más grandes de la historia: Mozart. 

A historical fantasy book based on the imaginative world created by Amadeus Mozart and his sister Nannerl. This is The Kingdom of Back by Marie Lu. You can follow me on Goodreads.

Nannerl Mozart was Mozart’s older sister and a child prodigy herself. Today we’re taking a look at the life of the pushed aside sister.Storical will be a little less frequent for the next few months as I’m undergoing some health treatments. Subscribe in whatever app you use to get all the latest episodes or follow @StoricalPodcast on Instagram.Join Potions and Paperbacks for virtual book club and articles on history, literature and perfume: https://www.facebook.com/groups/247203939797050/Further ReadingMozart’s Sister by Rita Charbonnier - https://www.goodreads.com/book/show/471025.Mozart_s_SisterMozart’s Sister (2010 film) - https://www.imdb.com/title/tt1653911/Mozart’s Last Aria by Matt Rees - https://www.goodreads.com/book/show/10815657-mozart-s-last-aria

Nannerl Mozart was Mozart's older sister and a child prodigy herself. Today we're taking a look at the life of the pushed aside sister.Storical will be a little less frequent for the next few months as I'm undergoing some health treatments. Subscribe in whatever app you use to get all the latest episodes or follow @StoricalPodcast on Instagram.Join Potions and Paperbacks for virtual book club and articles on history, literature and perfume: https://www.facebook.com/groups/247203939797050/Further ReadingMozart's Sister by Rita Charbonnier - https://www.goodreads.com/book/show/471025.Mozart_s_SisterMozart's Sister (2010 film) - https://www.imdb.com/title/tt1653911/Mozart's Last Aria by Matt Rees - https://www.goodreads.com/book/show/10815657-mozart-s-last-aria

For their first ever standalone book, M+K step into the musical, mystical world of The Kingdom of Back and learn some little-known secrets about the Mozart family. Plus, Entertaining Zoom Calls with Famous Authors; Nannerl, the Other Child Prodigy; Nobody Trusts a Teenage Faerie; and Barley Water is Not Best for Baby.

In Betrouwbare Bronnen aflevering 43:Historicus PG Kroeger: de eeuwenoude geschiedenis van het BinnenhofVVD-Kamerlid Jan Middendorp: het liberale denken van Johannes WitteveenHans Borstlap: de kloof tussen flex en vast als 'de nieuwe sociale kwestie'Tijdlijn:00:00:00 - Intro met quotes PG en Borstlap00:04:02 - PG Kroeger (deel 1)00:55:51 - PG Kroeger (deel 2)01:24:10 - Jan Middendorp02:08:53 - Hans Borstlap03:13:57 - Uitro03:14:45 - Einde***Het Haagse Binnenhof is een uniek complex van gebouwen en gebouwtjes dat sinds 1240 ongeveer permanent in verbouwing is. PG Kroeger vertelt over de historie van die verbouwingen, de architectuur en de kunst die het Binnenhof hebben gemaakt wat het nu is. En daarbij prikt hij meteen een hele hoop mythes en legendes door. In zijn historische rubriek laat PG zien dat er tijdperken zijn geweest dat Den Haag en het grafelijk complex van het Binnenhof een soort Washington DC van Europa was, het brandpunt van de wereldpolitiek. Misschien wel geheel vergeten is de bijna 50 jaar dat Holland geregeerd werd door de zeer krachtdadige en machtige heerser Graaf Albrecht van Beieren. Hij resideerde niet in München of in Luxemburg – waarvan hij ook de adellijk heer was – maar in zijn favoriete jachtslot op het Binnenhof. Dankzij Frits van Oostrom weten wij meer over deze bijzondere man uit de 2e helft van de 14e eeuw dan over heel wat andere heersers van ons land voor en na zijn tijd. We weten hoe zijn Binnenhof er uit zag en wat daar gebeurde. En dat is bijna identiek aan het politieke en diplomatieke centrum dat Den Haag nu, 650 jaar later, opnieuw is. De bebouwing van het huidige Binnenhof zou de Beierse graaf zonder veel moeite herkennen.‘Sober en doelmatig’ was zijn kleurrijk bewind overigens allerminst. Beierse barokke zwierigheid en grandeur was Albrecht niet vreemd. Het verhaal over ‘the Royal Wedding’ van 1369 en het ongelooflijke feest dat hij voor zij dochter Catharina organiseerde getuigt daarvan. Zelden zal de Ridderzaal zo chique en feestelijk gevuld zijn geweest met zulke hoge gasten uit heel Europa!De gebouwen aan het Binnenhof zijn door alle bouw en renovatie-activiteiten door 7 eeuwen heen een ratjetoe geworden. Typisch Nederlands, vindt PG. Zonder veel artistieke visie of architectonisch elan werd er gebroken, verbouwd, kapotgemaakt en herbouwd dat het een lieve lust was. En intussen werd er vergaderd, gekonkeld, gemarchandeerd, besloten en bestuurd. Al in de 14e eeuw was het Plein achter de Ridderzaal de hotspot voor lobbyisten, diplomaten, journalisten, assistenten en ambtenaren van de graaf. Die plek werd druk gebruikt en bezocht, want het heette toen ‘De Kooltuin’ en was dus het veld waar de verse groenten en fruit voor het hof en de herbergen daaromheen werd verbouwd.In de 18e eeuw was een Duitse prinses in ons land achter de schermen de baas. Zij had een buitengewoon begaafde muzikale dochter, Caroline. Deze twee vrouwen zorgden in 1765 voor misschien wel het hoogtepunt van de rol van het Binnenhof in de cultuurgeschiedenis van Europa. PG vertelt het spannende en aangrijpende verhaal van het bezoek aan de Balzaal op het Binnenhof – en aan de Loterij, een soort casino dat gevestigd was in de Ridderzaal - van een van de grootste genieën van de klassieke muziek en opera, de toen 9-jarige Wolfgang Amadeus Mozart. De kranten schreven er grote stukken over en wie een kaartje wilde voor een van zijn concerten moest daar liefst 3 gulden - toen een heel hoog bedrag! - voor betalen.Nu het Binnenhof enkele jaren op de schop gaat, omdat de gebouwen min of meer uitgewoond zijn en de brokken van de plafonds in de SP-burelen naar beneden vallen, is het goed te beseffen hoe onze voorouders met zulke plannen omgingen.Het vreemdste was het plan dat een combinatie van twee grote persoonlijkheden in 1863 op tafel legde. Ook al omdat die twee elkaar hartgrondig haatten. Willem III - 'Koning Gorilla' - en Johan Rudolf Thorbecke. Was gebeurd wat de koning toen voorstelde, dan had aan de Hofvijver nu niet het Torentje van Mark Rutte gestaan, maar een reusachtig neobarok paleis, waarvan de ontwerpen PG vooral doen denken aan de Mariinski Opera in Sint Petersburg. Dat was immers de stad van de familie van de koning, waar de autocratisch ingestelde, onbehouwen en ruige persoonlijkheid zich aan spiegelde - de Tsarenfamilie van de Romanovs. ‘Sober en doelmatig’ was dat dus allemaal niet.Nu oud D66-leider en Alexander Pechtold de scepter zwaait over de verbouwingsplannen en misschien wel uitgroeit tot 'renovatie-tsaar - moedigt PG hem aan net als nota bene Koning Gorilla en de liberale staatsman in 1863 vooral niet klein en pietepeuterig te denken. Het minste dat er toch zou moeten komen in de oude Balzaal van het Hof - nu de oude vergaderzaal van de Tweede Kamer – is een prachtige herinnering aan dat glorieuze moment uit de geschiedenis van kunst en cultuur, het concert voor viool en klavier en orkest, dat Wolfgang Amadeus Mozart en zijn zus Nannerl gaven voor de 18e verjaardag van de prins van Oranje.***Op 23 april 2019 overleed Johannes Witteveen. Hij was voor de VVD minister van Financiën in twee kabinetten en daarna president van het Internationaal Monetair Fonds.VVD Tweede-Kamerlid Jan Middendorp werkt aan een proefschrift over onder meer zijn economisch denken. Hij praat in Betrouwbare Bronnen over de bijzondere rol van Witteveen in de na-oorlogse periode van de wederopbouw.Witteveen is een van de meest vooraanstaande liberale economische denkers die ons land gekend heeft. Een liberaal bovendien, die er Keynesiaanse opvattingen op nahield: de overheid moest volgens hem op de juiste momenten een stimulerende rol spelen. Witteveen stond - met mensen als Tinbergen - aan de wieg van instituties als het Centraal Planbureau. Hij was een van de architecten van de welvaartsstaat.Wie zich verbaast over de oproep van premier Mark Rutte aan werkgevers om de lonen te verhogen en wie zich verbaast over de nieuwe koers van VVD-fractievoorzitter Klaas Dijkhoff om de middenklasse beter te beschermen - in dit gesprek blijkt: ze staan in een lange traditie waarvoor Johannes Witteveen al tekende.***In Nederland is de kloof tussen vast werk en flexwerk te groot geworden. Hans Borstlap noemt dit 'de nieuwe sociale kwestie' die een aanpak vergt zoals aan het einde van de 19e eeuw het gebrek aan sociale bescherming van arbeiders moest worden verkleind. De commissie-Borstlap schreef er in samenwerking met de OESO een rapport over: In wat voor land willen wij werken? In november komt hij met concrete beleidsaanbevelingen.Borstlap is voormalig topambtenaar van onder meer premier Ruud Lubbers en de ministers Jan de Koning, Bert de Vries en Ad Melkert."We hebben in dit land een sociaal en economisch probleem", waarschuwt Borstlap. "Bij de eerste de beste recessie zal je zien wie er het eerste werkloos wordt en het eerste richting armoede gaat. Dan komen de flexibele arbeidskrachten en de zzp'ers als eerste in de verdrukking. We hebben dit in Nederland zelf veroorzaakt, door het beleid. Dat betekent dus dat je er ook beleidsmatig iets aan kan doen. De OESO heeft voor ons uitgerekend; een werkgever betaalt voor een vaste arbeidskracht bruto 65.000 euro en voor een flexibele 41.000 euro. Het is scheefgegroeid! We kunnen niet lang meer wachten, want de flexibilisering neemt toe met ongeveer 1-procentpunt per jaar. Bij ongewijzigd beleid hebben we over 10 jaar in Nederland 50 procent flexwerkers. De trend wijst naar een lage lonenland, werkende armoede. Terwijl bij ons type land hoogproductieve arbeid hoort, met goede sociale voorzieningen."De oud-topambtenaar verbaast zich er achteraf over, dat 20 jaar geleden 'zonder veel discussie' de algemene arbeidsongeschiktheidsverzekering is afgeschaft. "Wat wij als commissie eigenlijk bepleiten, is terugkeer van die AAW."

Benjamín Echazarreta ACC nos habla de su trabajo en las películas “Gloria” y “Una mujer fantástica”, con esto nos habla de su manera de usar la fotografía como elemento narrativo. Habla de como se fue construyendo el nuevo cine Chileno.Benjamín Echazarreta es un director de fotografía chileno. Benjamín forma parte de una generación que ha cambiado el cine chileno con directores como Pablo Larraín, Sebastián Lelio, Marcela Said y actores como el gran Alfredo Castro, Antonia Cejas, Luis Gnecco, y directores de fotografía, toda una generación increíble como Inti Briones, Sergio Amstrong, Jorge Lechaptois.Benjamín ha hecho películas como La vida sexual de las plantas, Nannerl, La hermana de Mozart, Gloria, Una mujer fantástica (Ganadora de un Oscar como mejor película extranjera).Echazarreta ha sido nominado a premios como el Fenix de mejor fotografía y ha ganado premios como el premio del American Cinematographer Magazine en el Salem film Fest con "Cielo".Benjamín forma parte de la ACC, Asociación Chilena de Cinematografía, fundada en 2016.

Op 9 juni 1763 kocht Leopold Mozart een koets, hij huurt paarden en vertrekt met vrouw, beide wonderkinderen én zijn bediende naar Parijs. Wolfgang is dan 7 en zijn zusje Nannerl bijna 12 jaar oud. Als volleerd impresario organiseert Leopold concerten en bewerkt hij met vele brieven het thuisfront en zijn sponsors. Hij schept op over hun avonturen en Leopold vergaapt zich aan die eigenaardige Fransen en Engelsen, om over de Hollanders maar te zwijgen… Luister naar de reisavonturen van de familie Mozart.

Emission proposée par Benoit Basirico Diffusée sur Aligre FM En Replay sur Cinezik.fr Au sommaire : - Retour sur 3 B.O récentes : Un Amour Impossible(Grégoire Hetzel), Lola Et Ses Frères (Alexis Rault), Sauver Ou Périr (Christophe La Pinta) - Table ronde critique en compagnie de Julie Issartel et Thibault Vic, sur Les Veuves (Hans Zimmer). - 3 B.O de séries : Ad Vitam (Hit'n Run), Hippocrate - La Série (Low Entertainment), Les Rivières Pourpres - La Série (David Reyes). - Premier invité : le cinéaste Guillaume Nicloux pour LES CONFINS DU MONDE (musique de Shannon Wright). - Spéciale Animation : Le Grinch (Danny Elfman), Astérix: Le Secret De La Potion Magique (Philippe Rombi), Pachamama (Pierre Hamon) - 2e invité : la compositrice Marie-Jeanne Serero (au sujet de sa collaboration avec René Feret dont un coffret DVD sort le 5/12). Avec musiques de "Nannerl, la Soeur de Mozart" et "Anton Tchékhov 1890". - Avant-Première : "L'homme Fidèle" de Louis Garrel (musique de Philippe Sarde) - Un Hommage à Francis Lai, par Manuel Bleton.

Surprise! The Mozart family is the gift that keeps on giving! Here is one more week's worth of fascinating info about the Mozart family, this time directed to W. A. Mozart's sister, Nannerl! Music: http://imslp.org/wiki/Minuet_in_G_major,_K.1/1e_(Mozart,_Wolfgang_Amadeus) https://creativecommons.org/licenses/by-sa/4.0/legalcode https://imslp.org/wiki/Piano_Sonata_No.11_in_A_major%2C_K.331%2F300i_(Mozart%2C_Wolfgang_Amadeus) https://creativecommons.org/licenses/by/3.0/legalcode

Im April 1764 bekam Mozarts Vater starke Halsschmerzen. Wolfgang und Nannerl sollten leise sein und nicht Klavier spielen. Um sich zu beschäftigen, begann der 8-jährige Mozart seine erste Symphonie zu komponieren. Bernhard Neuhoff stellt dieses Werk gemeinsam mit Sir Neville Marriner vor.

Writing isn't easy-but it isn't hard either The key to writing is to know what strategy to follow, so the road isn't bumpy all year long. This episode isn't about going down memory lane. Instead, it's practical advice I wish I'd had—Like how to choose the right coach or the right editor. Writing isn't all about you. Writing depends on the coach, the editor and the client. This podcast is about a strategy that's not commonly expressed and approaches writing in a more philosophical, yet practical way. In this episode Sean talks about Element 1: Why a Coach And Editor Are Incredibly Crucial Element 2: Why Writing For Yourself is A Tedious Process—And To Be Avoided Element 3: Why the ONE word concept is your compass in the darkness Right click here and ‘save as’ to download this episode to your computer.   Useful Resources 5000bc: There is a lot of information on the internet. You can read and learn from it. But in 5000bc the discussion is about you. About your specific problem. And how to go about your specific situation. And Sean is around answering all your questions. Find out more here—5000bc. www.5000bc.com -------------------------- Hi, this is Sean D’Souza and you are listening to the Three Month Vacation Podcast. Who is considered the second greatest British person of all time? When the BBC did a poll in 2002, they expected somehow that Winston Churchill would be in that top ten list. But there in the second position was someone whose name was reasonably unfamiliar. A name that didn’t belong in this century, nor from the previous century. A man who was born in 1806, somewhat mysteriously found his way to the second spot. His name? Isambard Kingdom Brunel—one of the most famous engineering minds of all time. And Brunel built a magnificent ship—and it was called the Great Western At the time of its construction, the Great Western was the longest ship in the world. There she sat at 236 feet, with one stunning goal in mind—to cross the Atlantic. The trip was to start from Bristol, in the UK, and terminate in New York city in the United States. The goal was audacious because no one believed in the commercial viability of such a long journey. In 1838, despite many technological developments, shipbuilders presumed that a ship had limited capability. They believed that no ship could carry both—commercial cargo as well as enough fuel—and make the long journey across the Atlantic. Brunel was a person who thought differently about long journeys For one, his heart was set on engineering. He developed a theory—a sort of formula that involved the amount a ship could carry and how a ship could be built so that it faced a lot less resistance from the ocean. Armed with his formula he set about building the Great Western, but then added more technological improvements.Instead of a ship, made mostly of wood. Brunel added bolts; he added diagonal iron reinforcements. He increased the strength of the keel and carried four masts for sails. And so the ship—the Great Western—embarked on her maiden voyage from Bristol with 610,000 kilos of coal, cargo and seven passengers. The Great Western on her maiden voyage to New York—powered by steam. A feat never achieved before! Despite all the plans and engineering, Brunel’s ship hadn’t got off to a great start In the 1830’s there was a competition to be the first to cross the Atlantic powered by steam alone. The Great Westernshould have been well on its way, but ran into difficulties before leaving Bristol. There was a fire on the ship, a minor fire, but Brunel was hurt in the fire and wasn’t able to make the journey. As a result of the fire, 50 paying passengers cancelled their trip. Finally, the ship made it out of Bristol’s harbour with just seven people on board. What was worse is that it was four whole days behind it’s competitor—another steam ship called the Sirius. The Sirius left as scheduled, leaving the fire-stricken Great Western still in dock. Now, the Great Western and her crew were well and truly behind—and Sirius would get all the glory. But Sirius’ trip was anything but glorious Along the way to New York, Sirius ran into serious trouble. They started to run out of fuel. Her crew was forced to burn cabin furniture, spare yards—even an entire mast because they ran out of fuel. And they took 19 days to get across the Atlantic. The Great Western, in comparison, arrived like the queen of the seas. She took just 15 days and five hours and with a third—that’s almost 200,000 tons of coal to spare. This is a story about journeys—a writing journey, in particular. I didn’t want to write. My story is one of being nudged and pushed into writing. When we started out Millionbucks.co.nz (yes, that was our pathetic first shot at a brand name), I was writing for a fledging portal called MarketingProfs.com. Back in 2000, everyone was a fledging—and there wasn’t as much content online, as there is at this moment in time. Which is why the founder of MarketingProfs, Allen Weiss, would e-mail me and ask me for an article. This meant I had to write. I didn’t want to write, but I didn’t have much of an option. We were new in the business—and had just moved to New Zealand. The only way I could get any credibility in the marketplace was to get better known. And how you can have two sets of people—one battling almost vainly against the headwinds, while the other reaches its destination with amazing grace. When you embark on the task of writing, the headwinds start almost immediately. I know because I ran smack into trouble when I started writing articles. Every article was a chore; something I detested and yet I persisted. Over the years, I’ve learned that sheer determination and persistence is not enough. That engineering and planning make a big difference to the journey. And on that journey, there are three elements that stand out… Element 1: Why a Coach And Editor Are Incredibly Crucial Element 2: Why Writing For Yourself is A Tedious Process—And To Be Avoided Element 3: Why the ONE word concept is your compass in the darkness Element 1: Why a Coach And Editor Are Incredibly Crucial Whenever the topic of a child-genius is brought up, one name rises above them all: Wolfgang Amadeus Mozart. This kid, we are told, was a prodigy. Before the age of six, he was already composing music. Most kids barely are barely finding their way around school at this age. And yet, we are told, Mozart was already competent at playing the piano and the violin. He’s also rumoured to have transcribed entire scores of music on a single hearing. How much of this is true, and how much was stage-craft, we’ll never know. But one thing we know for certain—Mozart had a coach. You don’t think of a coach when you hear the name of Mozart, do you? Yet, Mozart’s coach was his dad—Johann Georg Leopold Mozart. And Leopold Mozart wasn’t your average-let’s-play-music-dad. He was already a famous author on violin playing and celebrated enough to be the deputy director of music to the Archbishop of Salzburg. Plus there was Nannerl, Mozart’s sister. When Nannerl was just seven, her father decided to give her piano lessons because he believed she was gifted. So there was Mozart—baby Mozart—surrounded by all these incredible musicians—but primarily—coaches. Without coaching, you can go far—but it takes a lot of time When you read studies that quote the concept of 10,000 hours to mastery, what fails to emerge is the factor of mistakes. As a beginner, you’re expected to make mistakes. You aren’t aware when or where you’re making the mistakes. All you feel is this frustration—this resistance that ships often felt back in the day of Isambard Brunel. Something is wrong with the engineering, but you’re not sure what to fix. And if you can’t figure out where the mistake lies, the journey ends up with furniture and masts being burnt up—so that you can complete some sort of journey Coaching is valuable—that we already know—what’s hard is knowing how to find a great coach For me, this process of finding a coach has been streamlined to a single factor: skill vs. information. I call it “preacher vs. teacher”. Is the coach going to give you more information, or is he/she going to give you a skill? Alex Blumberg, ex-Planet Money, now co-founder of Gimlet Media is a coach. How do I know? Because in the world of telling radio stories, Alex doesn’t pound you with needless information. Instead, he has a method, even a formula of sorts. For example, when telling a story, he shows you how to evaluate the story. Let’s say you’re writing a story about homeless people—how would you use the formula? The formula runs like this: The story is about X, and it’s interesting because of Y. So the story is about “homeless people” and it’s interesting because “20% of them are college graduates”. Immediately that stands out from a line that goes like this: The story is about homeless people, and it’s interesting because “many have mental problems”. What Blumberg teaches us is how to eliminate the vagueness and lack of interest in the story. In his courses, he goes about things systematically, taking about editing, music, etc., in the world of podcasting. And you end up not full of information, but with specific skills. When you look at Mozarts, the Phelps, the Brunels of the world—they all had coaches. Coaches that enabled them to find their mistakes and move forward. And in article writing, going it your own way is the slowest boat to anywhere. I know because I took that boat. I took that boat in the field of cartooning; in the field of article writing too. And it took me ages to figure out the connectors, the “First 50 Words,” the endings, the beginnings, the structure—all of that misery could have been reduced if I had a coach. A coach that had a system; who would point out the errors—and get me quickly down the road. To me, of all the skills you have to learn as an entrepreneur, article writing stands out because you have to have a precise structure when writing. You have to be interesting; you have to tell stories; you have to stand out in a sea of content. Which is why, even today, I will go to workshops, buy a course, read books—because that’s how you get better at what you do. If there’s one thing I’ve learned it’s that without a coach, you’re floundering even when you’re pretty good. To get outstanding at what you do, you have to find Johann Georg Leopold Mozart to help you along. And you’re going to need not just a coach, but an editor as well You can be the best writer in the world, and you’re going to need an editor. I have five or six, at the very least; sometimes more. There’s David, Pamela, Teresa, Renuka, Alia, Philip—and Zack (I can hear Zack’s voice here). And every one of these editors come from a different angle; they have a different perspective. They force me to relook at what I’ve written so that I fit their needs. I remember the time I was writing a book, and I’d written more than ¾ of the book when I showed it to Philip. But Philip wasn’t impressed “All your books, they show me how to do things,” he said. This one is all information. Nice information, but not a lot I can implement.” There’s no use fighting these editors. And I’ve tried. There was a time when I went “hand-to-hand” in a battle with Pamela. She wanted me to chop out two whole pages from my pre-sell book. Those two pages were about how crummy marketers use pre-sell. Pamela wasn’t interested in reading about the other marketers—even though no names were mentioned. I fought back. I kept it down to a page. She came back and told me to get rid of it. I kept half a page. No dice. I tried a paragraph—and then finally buckled in. Pamela was right all the time, but I couldn’t see it at the start. I was too busy and too in love with what I’d written. But we’re talking about articles, not books. So would I do this for every article? Going back in time, yes, it’s what I did for every article. One of our earliest clients, Chris Ellington, would pore through all my work and shred it a bit more than I liked. It made me a better writer. But even now, I’ll post a series in 5000bc.com, and there are questions; lots of questions. The questions are a form of edit. They show what’s missing from the series and what needs a repair job. Plus, alongside every article we have a “what bugs me” on the website. So years after an article is written, you can have retrospective feedback. This is my first learning in article writing That at all times you need a coach, finding structural mistakes, helping you to get better at the core skill of writing. And then once you’ve written, you need someone to pick out the holes and make the work get to the level it deserves. Yet, to get to complete the article, you have to write it. And there’s a big barrier in the way. It’s you. You are the barrier. Why are you the barrier? This takes us to Element 2. Element 2: Why Writing For Yourself is A Tedious Process—And To Be Avoided Simone Young is a world-renowned conductor from Australia. Alondra de la Parra is also a world-class conductor—from the other part of the planet—Mexico. In a BBC podcast interview featuring the two conductors, there is a moment when they describe fear—Fear and anxiety. Young pipes in first. “I’m always anxious before I get on stage,” she says. “And that’s because I’m thinking about myself. The moment I get on stage, I start thinking about the audience, and my fear goes away.” At which point, de la Parra chimes in. She talks about the “cocktail party” in your brain. About how everyone is seemingly talking about you, and they’re not saying good things. The “cocktail party” chatter never seems to end, or so it seems. This is what you’d call “writing for yourself”—or at least what I call “writing for myself.” When I write an article, my first act is to ask a client for a question. If they ask more than one question, I’m a lot happier. If they have a list, I’m the happiest. Why? Because now I can stop the silly “cocktail party” in my brain. This cocktail party pops up every single time, no matter how good you get at the craft of article writing. Most times, I’m just writing an article, but sometimes that article becomes a book. Like the time I wrote the book on “Dartboard Pricing”, for instance I couldn’t figure out whether it was good enough. I couldn’t understand why anyone would buy the book when I’d written so many articles and done so many podcasts on the topic. Of course, I knew—I knew it’s an entirely different experience reading a structured book vs. random articles. But even so, you think about the “cocktail party” a lot. I had no such trouble when coming up with answers for a future book on “The Three Prong System.” A client and friend, Paul Wolfe, decided to do a series of three interviews with me on the topic of how I take breaks; how I manage to take a three-month vacation; how we handle vocation and vacation. And Wolfe had a series of questions—some prepared in advance, and some that organically sprouted from the discussion in progress. It’s not like I haven’t tried to write the book before. I’ve created an outline, started on the project and then abandoned it repeatedly. And it’s not because of a lack of skill, either. I can easily write the book—possibly in under a week. The problem is that I’d have to clamber into my brain to write that book. When Wolfe asks me the questions, I’m not trying to think about me. I’m thinking about the person asking the question—and occasionally other clients too. And the interview brings up a wealth of information—practical information too! When a client (or interviewer in this case) asks the questions, the cocktail party syndrome disappears, and it’s replaced with a focus on the audience. To write quickly and write a lot, I need questions—a lot of questions. But where do we get the questions? I get most of my questions in 5000bc. Clients ask a ton of questions and get articles in response (yes, I know, it’s a mad system). However, I also get a lot of questions through the podcast, e-mail, through consulting (I rarely consult, but every time I do, it’s amazing). Questions com from chats, after I make a presentation, and through just listening and reading. What I’ve learned is that I can’t just look for a random person asking a question online. That doesn’t fire me up at all. Instead, I have to have a specific person asking me a specific question. And when I’m writing the answer, I’m thinking of that person. Which is what gets me to talk a walk in those shoes and write with far more fluidity than if I sat down with a blank screen staring back at me. But where do we get the questions? We all wonder: Hasn’t this question been answered before? Aren’t there fifty thousand and three variations of this question already on the Internet? And the answer is NO. No one is going to answer the question like you do. For instance, there are whole books on the topic of focus. But my angle on focus—and focus in a distracted world—is different. I take three months off every year, still meet our “fixed revenue” goals and still manage to write books, conduct courses, do workshops, paint, cook—in short, do whatever I want, despite the distractions. So my angle is always going to be unique; my voice is going to be unique. And yours will be too. Your voice, your tone, your language—even the structure of your answer will be different. The question may have been asked a million times before, but the answer—your answer—is different. And you get questions from many sources, but you have to listen—that’s what I’ve learned. When others speak, they’re asking you the questions and doing so in many forms. You’ve got to listen, answer those questions and then keep a writing pad right next to you. Why a writing pad and not a recording? Well, have a recording, but the writing pad is vital because it captures the gist of the conversation. Then, while the ideas are still fresh in your head, you sit down and write. And the orchestra in your brain begins to play. You may not be a great writer yet. You may struggle as I did. But even in the middle of that struggle, you’ll notice the emotion. You’ll realise that everyone has gone home from the cocktail party, but you’re not quite alone. You’ve got words on paper. Writing for yourself is disgustingly difficult. It’s hard to reach into your brain and work out how to write an article, a report or a book. But write for others and you get the feeling that Young and de la Parra talk about. Suddenly, you feel free. ====== A coach, an editor. They help you along. The client and her questions—they bring out the orchestra in your writing. And there’s the article itself. It is also a guide—a big guide. So how do you use the article to stay on course? It’s a concept called the “One Idea.” This takes us to the last element. Click here to continue reading about—Three Interesting Things I Know About Writing-Part 2  http://www.psychotactics.com/writing-for-yourself/

Successful sibling duos in music are rare. The stress of rehearsing and being constantly on the road together can derail the happiest collaboration. The best-known sibling partnership in musical history – Wolfgang Amadeus Mozart and his sister Nannerl – didn't last long. He went off to Paris, Vienna and Prague; Nannerl settled down into marriage. The Swiss cellists Thomas and Patrick Demenga appear to take their collaboration with a more easy-going attitude. Some 35 years since graduating from Juilliard and the Bern Conservatory, respectively, they are still going strong, and performed together in December at the Chamber Music Society of Lincoln Center. "We can go on stage and close our eyes and start without even looking at each other," Patrick Demenga told host Jeff Spurgeon. "We are so close in a way musically that we trust – it's one of the most exciting experiences that you can have on stage." The two cellists, who also have active solo careers, came to the WQXR Café to perform as both a duo and as a trio with the Slovenian accordionist Luka Juhart. Their program combined the music of Bach with two modern works. First up was a transcription of Bach's Sonata in G minor for Gamba and Harpsichord (first movement), with Juhart playing the harpsichord part. "Normally if you play with harpsichord and continuo," said Thomas Demenga, "you have a very thin sound and you have to be very careful as a cellist not to overpower the harpsichord. In this combination with accordion you have a really full range because he can sustain the lines so you have the full polyphony."   Juhart met the Demenga brothers through a composer friend, which led to some festival dates in Europe. At an appearance in Austria last year, David Finckel, the artistic director of the Chamber Music Society of Lincoln Center, heard the trio and booked them on his series. Although the accordion is a relative outsider in U.S. chamber music circles, Juhart estimates that there are 30 or 40 college-level training programs in Europe where one can major in the instrument (he teaches at the academy in Ljubljana, Slovenia). Below, Juhart performs Vinko Globokar’s theatrical solo piece, Dialog über Luft.While Juhart has sought to explore the outer boundaries of the modernist accordion sound, he has also taken up Baroque works by Rameau, Handel, Scarlatti and Frescobaldi. The Demenga brothers, meanwhile, have been equally versatile, as seen in the last work on their program, an excerpt from Thomas Demenga's Solo per due, which features all manner of bowed and plucked techniques. "It's a bit jazzy but not really because I don't like classical musicians who try to play jazz," said Thomas Demenga. He notes that one of his classmates and friends at Juilliard was the violinist Nigel Kennedy, known for a freewheeling forays into popular styles. "We played on the streets [of New York] to make money," Demenga recalls. The two musicians also played frisbee in the halls of Juilliard. "People hated us," he said with a laugh. Video: Kim Nowacki; Audio: Chase Culpon; Production & Text: Brian Wise

Morning Prayers service with speaker Nannerl O. Keohane, Laurance S. Rockefeller Distinguished Visiting Professor of Public Affairs at Princeton University, on Tuesday, April 1, 2014.

Anna Maria "Nannerl" Mozart war eine begabte Pianistin, die gemeinsam mit dem berühmten Bruder Wolfgang ,schon als 11-Jährige am Wiener Hof auftrat. Als Erwachsene war es vorbei mit der Karriere, sie musste erst dem Vater, dann dem ungeliebten Ehemann den Haushalt führen. Autorin: Susanne Tölke

Anna Maria Mozart geboren: Sie war die ältere Schwester von Wolfgang Amadeus Mozart. Schon 1762, "Nannerl", wie sie genannt wurde, war elf und Wolfgang sechs Jahre alt, traten die beiden am kaiserlichen Hof in Wien auf...