Podcast appearances and mentions of Nathan Milstein

Jennifer Roig-Francolí is The Art of Freedom® Coach for musicians and creatives, and Author of the #1 Amazon Bestseller 'Make Great Music with Ease! The Secret to Smarter Practice, Confident Performance, and Living a Happier Life'.   Jennifer Roig-Francolí is a prize-winning violinist and Alexander Technique teacher helping musicians and creatives online to break through pain, performance anxiety, and mindset obstacles to personal freedom and artistic success. She has a special interest in supporting women to thrive in their everyday and musical lives.   As the creator of The Art of Freedom® Method for conscious living and masterful artistry, Jennifer combines her extensive professional experience with a lifelong love of meditation and perennial wisdom. Her unique holistic approach to self-integration and joyful music-making is based on the five Life-Pillars of Purpose, Mind, Body, Spirit, and Artistry and the practice of touch-free Primal Alexander™ Technique.   Honored as a “Rising Star” by TIME magazine, Jennifer's career as a violinist has taken her to concert halls around the world from a young age, including solo performances at Carnegie Hall and collaborations with esteemed orchestras like the Pittsburgh Symphony Orchestra and Berlin Symphony Orchestra. She has won international competitions and held leadership positions in various ensembles, including the Grammy Award-winning ensemble Apollo's Fire. She can be heard on recordings with Apollo's Fire and as a soloist on most digital streaming platforms.   A dedicated educator, Jennifer has taught the Alexander Technique on the faculties of the University of Cincinnati College-Conservatory of Music and Xavier University. In Ohio, she established two professional associations for Alexander Technique teachers, providing a platform for growth and collaboration within the community. In 2010, her groundbreaking research study on the integration of Alexander Technique into laparoscopic surgery for surgeons at Cincinnati Children's Hospital Medical Center resulted in a prize-winning paper presented at the American Academy of Pediatrics and publication in the Journal of Urology.   Jennifer studied violin with Nathan Milstein in Switzerland, Dr. Shinichi Suzuki in Japan, David Cerone at the Cleveland Institute of Music, and both Josef Gingold and Stanley Ritchie at Indiana University. A dual citizen of the USA and Switzerland, Jennifer lives in Cincinnati, Ohio, and enjoys traveling to far-off places such as Switzerland, Spain, and India. Some of her favorite things to do include playing Big Boggle with her grownup kids, swimming in the Mediterranean Sea, curling up by the living room fire, and taking walks in nature.   Her BOOK is available on Amazon at https://amzn.to/4kxRupu  (affiliate link) Website: https://www.ArtofFreedom.me Email: Jennifer@ArtofFreedom.me YouTube channel https://www.youtube.com/@JenniferRoigFrancoli    Make sure you SUBSCRIBE to Crushing Classical, and maybe even leave a nice review!  Thanks for joining me on Crushing Classical!  Theme music by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!  

Interpreten: Maria & Nathalia Milstein Label: Mirare EAN: 3760127227397 Die russisch-französischen Schwestern Maria und Nathalia Milstein tragen einen berühmten Namen, sind allerdings mit der Geigenlegende vergangener Tage, Nathan Milstein, nicht verwandt. Auf ihrer jüngsten CD sind sie mit dem Gesamtwerk für Violine und Klavier von Franz Schubert zu erleben. Erfrischend jung und spielerisch, wie Michael Gmasz findet. Die Geigenkammermusik von Franz Schubert wird oft ein wenig belächelt, hat er selbst doch die meisten dieser Werke „nur“ als Sonatinen und nicht einmal selbst als Sonaten bezeichnet. Dass es sich dabei jedoch um wahre Juwelen der Geigenliteratur handelt. Steht heute außer Zweifel. Die drei Sonatinen, die, auch wirklich so genannte, Sonate in A-Dur sowie das Rondo Brillant und die C-Dur Fantasie sind nun von den ausgesprochen musikalischen Schwestern Maria und Nathalia Milstein eingespielt worden. Nathalia Milstein hat sich für diese Aufnahme auf die Suche nach einem besonderen Flügel begeben und ist bei einem 1857er Blüthner in der Sammlung Andriessen in den Niederlanden fündig geworden. Der zarte Klang dieses Hammerflügel passt wunderbar zum leichten Geigenton ihrer Schwester Maria. Die Kombination wiederum ergibt für uns ein Klangbild, wie es vielleicht zu Schuberts Zeit zu erleben war. Herrlich leicht klingt da das bekannte Allegro vivace aus der 1 Sonatine in D-Dur, dynamisch abwechslungsreich und akzentuiert knackig der ebenso letzte Satz aus der Violinsonate in A-Dur. Für mich aber absolutes Highlight dieser Doppel-CD, das Rondo brillant in h-Moll D 895, bei dem sowohl Maria an der Violine als auch Nathalia am Klavier all ihre Stärken ausspielen können. Da ist von intimer, introvertierter, ja fast zerbrechlicher Musik bis hin zu kräftigen und gewaltigen Ausbrüchen, virtuoser Technik und leichter Spielweise alles dabei, was man sich für die Musik Schuberts erwartet. Schön, dass sic zwei so großartige Musikerinnen wie Maria und Nathalia Milstein auf so ansprechende Weise mit Schubert und seiner Violinkammermusik beschäftigen! (mg)

Clayton Haslop's journey as a violinist has been nothing short of extraordinary. At just 18, he joined the Los Angeles Chamber Orchestra and rose to become its concertmaster. Over the years, he also served as concertmaster for the Los Angeles Opera Orchestra and contributed his talents to numerous iconic film scores, including Titanic, The Matrix, and many others. But Clayton's path wasn't always smooth. In his forties, he faced a daunting challenge when he was diagnosed with Focal Dystonia in his left hand. Despite years of struggle and bouts of depression, Clayton made a remarkable comeback by relearning to play the violin using only two fingers on his left hand. I'm especially honored to have this conversation with Clayton, as we were roommates in Santa Monica in the early 1980s. Although I was ten years his senior, I learned so much from him during those years. Speaking with him on this podcast is truly a privilege.In Part 1 of our conversation, we delve into what it's like to be a concertmaster for some of the top studio orchestras, the experience of working on blockbuster films like Titanic and The Matrix, and collaborating with renowned film composers, each with their unique personalities and approaches to recording sessions. We also explore Clayton's early years, including his studies with the legendary violinist Nathan Milstein, and discuss the beginnings of his career along with some key concepts from his Violin Mastery Course.In Part 2 [Subscriber Content], Clayton delves into the profound challenges he faced after being diagnosed with Focal Dystonia. Drawing inspiration from the legendary guitarist Django Reinhardt, who famously played with only two fingers on his left hand, Clayton reimagined his own technique to continue playing the violin at an exceptional level. He shares the physical and mental strategies that enabled him to overcome this seemingly insurmountable obstacle. Beyond the technical adjustments, Clayton talks about his deep musical connection with the members of an assisted living community.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

durée : 01:33:50 - Relax ! du vendredi 21 juin 2024 - par : Lionel Esparza - C'est un concert de Jascha Heifetz, 11 ans, qui a inspiré les parents à faire de Milstein un violoniste.

Author of the book, 'Make Great Music with Ease! The Secret to Smarter Practice, Confident Performance, and Living a Happier Life', Jennifer Roig-Francolí is an international award-winning violinist, double-certified Alexander Technique teacher, and creator of The Art of Freedom® Method for conscious living and masterful artistry.  Jennifer's inspiring online coaching programs for musicians combine her professional experience with a life-long love of meditation and perennial wisdom, providing her students with powerful tools to overcome pain, performance anxiety, and skills limitations.   Honored by TIME Magazine as a "Rising Star", Jennifer has performed as soloist in many of the world's most prestigious concert halls, including multiple solo appearances at Carnegie Hall and with orchestras such as the Pittsburgh and Berlin Symphony Orchestras. She has been the Concertmaster and Associate Concertmaster of multiple ensembles, including the Cincinnati Chamber Orchestra and Apollo's Fire, the Grammy-Award winning Cleveland Baroque Orchestra.   Jennifer has taught the Alexander Technique on the faculty of the Cincinnati College-Conservatory of Music and Xavier University, conducted and published prize-winning medical research on the Alexander Technique for laparoscopic surgeons, and founded two professional associations for Alexander Technique teachers in Ohio. In 2009, she designed and implemented a successful research study for surgeons using laparoscopy and AT at Cincinnati Children's Hospital and Medical Center which resulted in a prize-winning paper presented at the American Academy of Pediatrics and published by the Journal of Urology.  As a student, Jennifer studied with Dr. Shinichi Suzuki in Japan, Nathan Milstein in Switzerland, David Cerone at the Cleveland Institute of Music, and Josef Gingold at Indiana University. -- Your support is appreciated! If you are enjoying The Orchestra Teacher Podcast, please consider becoming a supporter for as little as 99 cents per month. I am working hard to bring on some amazing educators who will share ideas, tell their story, and offer some support for all of you. I have invested a lot of time in putting it all together and money purchase equipment that will help provide the best possible listening experience. Here is the link: https://podcasters.spotify.com/pod/show/orchestrateacher/support Thank you for your continued support! If you have suggestions for podcast guests, please let me know by providing a name and contact information. Subscribe to The Orchestra Teacher Website, YouTube Channel, and Podcast! Website: http://www.orchestrateacher.net YouTube Channel: http://youtube.com/theorchestrateacher Podcast on Anchor.fm: https://anchor.fm/orchestrateacher Podcast on Spotify: https://open.spotify.com/show/5pvAWs3uftZ5FJ2KyZYU0z Podcast on Google: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9mNjU1ZWEwL3BvZGNhc3QvcnNz Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-orchestra-teacher-podcast/id1489358262 --- Support this podcast: https://podcasters.spotify.com/pod/show/orchestrateacher/support

This month, we had the immense pleasure of speaking with violinist and Alexander technique practitioner Jennifer Roig-Francoli. This episode delves into the unique way Jennifer utilizes the Alexander Technique to help musicians overcome obstacles and find ease and joy in their music-making experience. By the end, you will want a session with her! Bio: Bestselling author of the book, 'Make Great Music with Ease! The Secret to Smarter Practice, Confident Performance, and Living a Happier Life', Jennifer Roig-Francolí is an international award-winning violinist, double-certified Alexander Technique teacher, and creator of The Art of Freedom® Method for conscious living and masterful artistry. Jennifer's inspiring online coaching programs for musicians combine her professional experience with a life-long love of meditation and perennial wisdom, providing her students with powerful tools to overcome pain, performance anxiety, and skills limitations.   Honored by TIME Magazine as a "Rising Star", Jennifer has performed as soloist in many of the world's most prestigious concert halls, including multiple solo appearances at Carnegie Hall and with orchestras such as the Pittsburgh and Berlin Symphony Orchestras. She has been the Concertmaster and Associate Concertmaster of multiple ensembles, including the Cincinnati Chamber Orchestra and Apollo's Fire, the Grammy-Award winning Cleveland Baroque Orchestra.   Jennifer has taught the Alexander Technique on the faculty of the Cincinnati College-Conservatory of Music and Xavier University, conducted and published prize-winning medical research on the Alexander Technique for laparoscopic surgeons, and founded two professional associations for Alexander Technique teachers in Ohio. In 2009, she designed and implemented a successful research study for surgeons using laparoscopy and AT at Cincinnati Children's Hospital and Medical Center which resulted in a prize-winning paper presented at the American Academy of Pediatrics and published by the Journal of Urology. As a student, Jennifer studied with Dr. Shinichi Suzuki in Japan, Nathan Milstein in Switzerland,    David Cerone at the Cleveland Institute of Music, and Josef Gingold at Indiana University. Show Notes: Awareness For Musicians The Cycle - Video  Make Great Music with Ease! : The Secret to Smarter Practice, Confident Performance, and Living a Happier Life by Jennifer Roig-Francoli https://artoffreedom.me/meet-jennifer/  Pain Free Performer   

Welcome to Season 4 of Conversations with Musicians, with Leah Roseman. For this first episode in 2024, I welcome the violinist, author and coach Jennifer Roig-Francoli. We talk about her newly released  book, Make Great Music with Ease!: The Secret to Smarter Practice, Confident Performance, and Living a Happier Life, and  her Art of Freedom Method which incorporates the mind-body skills of the Alexander Technique. This episode also features excerpts from her solo violin album, Solo Con Spirito, with music of Kreisler, Enescu and Bach.  Jennifer had the opportunity to study with Nathan Milstein, Josef Gingold and Stanley Ritchie  and has had an interesting career as a performer, including with Appollo's Fire. We talk about performing barefoot at Carnegie Hall, travels to India, and in Jennifer's words” how you do one thing is how you do everything”. I myself have been very influenced by different mind-body practices like the Alexander Technique,  and the power of thought to help me address habitual tensions in my own life has really helped me, and I trust this inspiring and helpful episode will be of help to you, both musical performers and not, because the content of this discussion addresses universal challenges for all of us.  This conversation is punctuated by some excerpts from Jennifer's solo album, and I hope you'll listen to the whole album which you'll find both on streaming services, or better yet for purchase on her website: https://artoffreedom.me/meet-jennifer/ Like all my episodes, you can watch this on my YouTube channel or listen to the podcast, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/jennifer-roig-francoli Here you can sign up for my weekly newsletter to get access to Sneak Peeks for upcoming episodes: https://mailchi.mp/ebed4a237788/podcast-newsletter I have had several interviews talking about some of the same issues as this episode. My interviews with  Julie Lyonn-Lieberman, Madeline Bruser, Stephen Nachmanovitch, Derek Gripper and Daniel Ramjattan will be good places  to start if you missed any of those.  Finally, I'm an independant podcaster, and I truly need the help of my listeners to keep this project going: https://ko-fi.com/leahroseman photo of Jennifer Roig-Francoli: Tina Gutierrez Timestamps:  (00:00) Intro (04:16) album Solo con Spirito! Celebrating 50 (05:27) excerpt from Kreisler's Recitativo and Scherzo-Caprice (07:07) excerpt from Enescu's Sarabande (07:47) Stanley Ritchie  (10:03) Jennifer's studies at Indiana University, learning baroque violin (12:58) Apollo's Fire (15:11) studies with Nathan Milstein (18:43) Alexander Technique and Primal Alexander touch-free approach (32:58) please support this series! Thanks.  (33:15) the importance of transitions and mindset, performance anxiety, The Art of Freedom Method (41:43) music education, pressure from teachers, competitiveness in the music industry (46:36) excerpt from Ysaye's Ballade (46:34) challenges in parenting for musicians (52:44) music education, letting go of the focus on goals (58:41) excerpt from Bach's Chaconne (01:00:12) performing barefoot (01:02:56) decisions around pitch and more for Solo con Spirito (01:07:25) How you do one thing is how you do everything (01:11:32) India meditation retreat Amma's ashram (01:16:31) connections made through Art of Freedom online coaching --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Synopsis On today's date in 1948 at New York's Waldorf-Astoria Hotel there was a press demonstration of a new kind of phonograph record.  Edward Wallerstein of Columbia Records stood between a big stack of heavy, shellac, 78-rpm albums, the standard for recorded music in those days, and a noticeably slimmer stack of vinyl discs, a new format which Wallerstein had dubbed “LPs” – “long playing” records that spun at 33 & 1/3 revolutions per minute. Before 1948, if you wanted to buy a recording of a complete symphony or concerto, it meant the purchase of up to a dozen 78s, each playing only four minutes a side. In developing its new LP-record, Columbia's goal was to fit complete classical works onto a SINGLE disc. Columbia's first LP release was a recording of the Mendelssohn Violin Concerto, with Nathan Milstein the soloist and the New York Philharmonic conducted by Bruno Walter. The following year, Columbia struck pay dirt with its original cast album of a brand-new Broadway musical by Richard Rodgers. The 1949 Columbia LP of Mary Martin and Ezio Pinza singing the hit tunes from “South Pacific” became a best-seller, and by 1951 the LP-record had become the industry standard. Music Played in Today's Program Felix Mendelssohn (1809 - 1847) Violin Concerto in e Nathan Milstein, violin; New York Philharmonic; Bruno Walter, conductor. Sony 64459 Rodgers and Hammerstein South Pacific Ezio Pinza and Mary Martin; orchestra; Lehman Engel, conductor. Sony 53327

durée : 00:22:06 - Disques de légende du jeudi 08 juin 2023 - Le concerto pour violon de Mendelssohn, l'un des chevaux de bataille de Nathan Milstein

durée : 01:58:13 - Relax ! du jeudi 08 juin 2023 - par : Lionel Esparza - A la une du magazine Classica le pianiste Arcadi Volodos. Disque de légende : Le concerto de Mendelssohn par Nathan Milstein dirigé par Claudio Abbado.

Welcome to December 13, 2022 on the National Day Calendar. Today we celebrate fancy fiddles and the convenience of cocoa.  Antonio Stradivari crafted about 1,100 stringed instruments during his lifetime. Today, they are amongst the most rare and valuable but none more so than The Messiah. This violin built in 1716 has the quality of being nearly new, though perhaps it's because no one is allowed to play it. Valued at over 20 million dollars, The Messiah was reportedly played in a London shop by Nathan Milstein in the 19th century. He described it as an unforgettable experience. Today the instrument resides in the Ashmolean Museum in Oxford as a shining example for repairing other Strads. Though the jury is out on which instruments produce the sweetest sound, celebrate National Violin Day, with your own appreciation of the classics.  Thousands of years ago the process of making hot chocolate was long and tedious. Aztecs roasted the fruit of the cacao tree and ground it with water, chilies and sometimes corn. The drink was prized for its effects and soldiers even drank several cups before battle. Though the recipe changed over the years, the tradition carried on and hot cocoa was even given to troops during the Revolutionary War as medicine and wages. Thanks to a Dutch chemist who separated out the cocoa butter, the powder could be mixed for a handy, packable drink. On National Hot Cocoa Day, celebrate this cold weather fix with some whipped cream or marshmallows.  I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

Edward Leonard conducts the Chamber Orchestra of Pittsburgh with Jennifer Roig Francoli playing Vivaldi's Four Seasons plus Grieg and Hugo Wolf's Italian Serenade at Rodef Shalom's Levy Hall Saturday June 4th at 7pm. Executive Director Andrew Swenson joins Jennifer and Maestro Leonard to talk with Jim Cunningham about her teachers Josef Gingold and Nathan Milstein and introduce her new cd with music by Bach, Enesco, and Fritz Kreisler.

It's the series four finale so it's time for a big bad story - join us round the fire for a rendition of the one, the only, Little Red Riding Hood (aka Little Red Cap)! A young girl heads out from home to her grandmother's - but en route she meets a wolf in the deep of the woods. After engaging in some polite small talk, the wolf weaves a dastardly plan to capture girl and granny alike. Will it end in delicious victory for the wolf? Or will Little Red Cap emerge triumphant in the end? After the tale, we take a wild wild through “the story of the story” where we discover Red Riding Hood's origins, and how the meaning of the tale changed over time. From werewolves to sausages to medieval fashion - this episode explores new, disturbing terrain as we grapple with the strange history of the famous little red girl. This episode is Certified Grimm for adult themes and one use of offensive language and may not be suitable for all listeners. Twitter Facebook Instagram Patreon   grimmreadingpodcast@gmail.com Theme music: Bicycle Waltz by Goodbye Kumiko Other Music: Mendelssohn's Violin Concerto In E minor, Op. 64 (Nathan Milstein, violin; Vienna Philharmonic, Claudio Abbado, cond. ) // Chopin's Preludes, Op. 28, in C major (performed by Géza Anda) // Tchaikovsky's The Sleeping Beauty, Op. 66: Act III - No. 26: Pas de caractère. Le Petit Chaperon rouge et le Loup (performed by the Russian National Orchestra; Mikhail Pletnev) // Debussy's La Fille Aux Cheveux De Lin (performed by Janos Starker and Shigeo Neriki)

durée : 00:25:19 - Augustin Dumay (2/5) - par : Judith Chaine - Une jeunesse après-guerre et la fureur de vivre ! Les concerts qui marquent, comme ceux de Nathan Milstein, les voyages en France et en Europe, à la recherche de tout ce qui donne une idée de la beauté, comme par exemple la nature, l'architecture, et enfin le violon. - réalisé par : Gilles Blanchard

durée : 00:25:16 - Augustin Dumay (3/5) - par : Judith Chaine - Augustin Dumay, dans ce troisième épisode, se souvient de ses leçons avec Nathan Milstein puis Arthur Grumiaux. Le travail du son, du style, du répertoire. L'écoute, le geste, l'analyse... Tout cela le passionne. - réalisé par : Gilles Blanchard

Nick Lane is a scientist who peers down microscopes at incredibly small cells in order to ask really big questions. How did life on Earth begin? Why is life the way it is? Why do we have sex? Why do we die? He is Professor of Evolutionary Biochemistry at University College London and the Co-Director of UCL's Centre for Life's Origins and Evolution. He is also the award-winning author of five books, and his next – Transformer: The Deep Chemistry of Life and Death – is due out in May. Nick Lane tells Michael Berkeley about his youthful ambition to be a violinist and how he funded his biochemistry studies by busking on the streets of London. He explains how his passion for the music of Janacek helped win him a place to study for his PhD, and how he unwound each evening to the sound of the early-twentieth-century American folk and blues musician Lead Belly. Nick Lane still plays the fiddle with his band in pubs and now also busks with his teenage son. He chooses folk music inspired by Handel; Bach played by his hero, the violinist Nathan Milstein; and music by Peter Maxwell Davies that brings back an unforgettable jamming session in a pub in Orkney. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3

Gregory Harrington: Glass Hour; with Mark Shapiro and the Janáček Philharmonic (Estile Records) Jump to CD giveaway form One thing we can all agree on is that the pandemic has impacted how we perceive the passage of time. The days seem to go slow, while the year goes by quickly. Maybe you feel as if you’ve been stuck in a Ground Hog Day scenario. Violinist Gregory Harrington decided to explore the concept of time through two works by Philip Glass on his new recording, Glass Hour. Harrington, with conductor Mark Shapiro, traveled to the Czech Republic to make the recording with the Janáček Philharmonic. Can you talk about the conception of this project? Harrington: “I had heard The American Four Seasons a number of years ago, and there are two beautiful recordings. That work really spoke to me and I said, ‘I can actually bring something completely unique to this. Something that hasn't been recorded or that hasn't been said. It doesn't really matter if people like it or not. This recording is purely me.’ That was the first thing. The second part was that this was a 40- to 45-minute concerto. How do we round out the disc? “I've loved making transcriptions. I've been making them for the last 10 years, whether it's solo Bach, Johnny Cash or Nine Inch Nails. Having heard The Hours, you always feel a tremendous emotional connection with the work. I decided that the best thing was to create a new work based on The Hours, a concert suite for violin and orchestra, very much in the vein with violinists Nathan Milstein and Jascha Heifetz’s transcriptions from decades ago. I was fortunate enough to have worked with Eric Friedman. I studied with him for a number of years, and he was a pupil of Heifetz and Milstein.” Can you talk about how Glass’ exploration of time offers you freedom as the performer of his piece The American Four Seasons? Harrington: “When Glass recorded and premiered this with violinist Robert McDuffie, they had different ideas of what movements represented which seasons. Glass left this up for the audience to decide for themselves what movement correlates to which season. “I know Mark and I have spoken about this a little bit — I had very strong feelings about the second movement being ‘my’ winter. I just thought that feeling of starkness represented winter. “The fourth movement is definitely summer, and it has a hustle-and-bustle-virtuoso-nonstop flow to it. It is different for everyone, but I think it's lovely that it's put up to the audience to make their own opinions and conclusions.” How is it that the Janáček Philharmonic is so well suited to perform the music of Philip Glass? Shapiro: “They had so many intuitions about how they wanted to play and sound. There was one moment where we were trying to elicit a certain mood of tenderness. I looked at the cellist, who was a bit grumpy-looking, and I asked the interpreter what the Czech word was for lullaby. The cellist recognized the word and he just melted. The next time he played it it had such humanity.”  To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now You must be 13 or older to submit any information to American Public Media. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Note: Due to the coronavirus quarantines, we cannot send physical product at this time. Winners will be notified at the conclusion of the giveaway and will receive their prize as soon as possible after the crisis abates. Resources Gregory Harrington: Glass Hour; with Mark Shapiro and the Janáček Philharmonic (Amazon) Gregory Harrington (Official site) Mark Shapiro (Official site) Janáček Philharmonic Ostrava (Official site)

Musik bestimmt das Leben von Christoph Poppen. Als Geiger gründete er schon als Jugendlicher sein erstes Streichquartett, aus dem später das höchst erfolgreiche Cherubini-Quartett erwuchs. Der Meisterschüler von Nathan Milstein entdeckte bald ein weiteres faszinierendes Feld: das Dirigieren. Heute wird Christoph Poppen 65 Jahre alt. (Wdh. vom 05.02.2018)

Clayton Haslop might not be a name that is familiar to all of you, but I bet you anything that you've heard his playing. He has appeared as concertmaster on over 1000 TV Shows and Movies, such as Titanic, A Beautiful Mind, The Matrix, Ratatouille, Star Trek, The incredibles, UP, and others. His story took on an extra resonance when he began suffering from Focal Dystonia. Taking a cue from the guitarist Django Reinhardt, Haslop relearned the violin with just two fingers. In this conversation, we talk about studying with Nathan Milstein, Neville Marriner, and Haslop's journey back to playing.

Today in 1948, about 50 members of the press were invited to New York's Waldorf-Astoria Hotel for a demonstration of a new kind of phonograph record. A Columbia Records employee named Edward Wallerstein stood between a big stack of heavy, shellac, 78-rpm albums, the standard for recorded music in those days, and a noticeably slimmer stack of vinyl discs, a new format which Wallerstein had dubbed "LPs"—"long playing" records that spun at 33 and 1/3 revolutions per minute. Before 1948, if you wanted to buy a recording of a complete symphony or concerto, it meant the purchase of up to a dozen separate 78s, each playing only four minutes a side. In developing its new LP-record, Columbia's goal was to fit complete classical works onto a SINGLE disc. "I timed I don't know how many works in the classical repertory," recalled Wallerstein, "and came up with a figure of seventeen minutes to a side. This would enable about 90% of all classical music to be put on two sides of one record." Columbia's first LP release was a recording of the Mendelssohn Violin Concerto, with Nathan Milstein the soloist and the New York Philharmonic conducted by Bruno Walter. The following year, Columbia struck pay dirt when it released the original cast album of a brand-new Broadway musical by Richard Rodgers. The 1949 Columbia LP of Mary Martin and Ezio Pinza singing the hit tunes from "South Pacific" became a best-seller, and by 1951 the LP-record had won: No one was making 78s anymore.

Today in 1948, about 50 members of the press were invited to New York's Waldorf-Astoria Hotel for a demonstration of a new kind of phonograph record. A Columbia Records employee named Edward Wallerstein stood between a big stack of heavy, shellac, 78-rpm albums, the standard for recorded music in those days, and a noticeably slimmer stack of vinyl discs, a new format which Wallerstein had dubbed "LPs"—"long playing" records that spun at 33 and 1/3 revolutions per minute. Before 1948, if you wanted to buy a recording of a complete symphony or concerto, it meant the purchase of up to a dozen separate 78s, each playing only four minutes a side. In developing its new LP-record, Columbia's goal was to fit complete classical works onto a SINGLE disc. "I timed I don't know how many works in the classical repertory," recalled Wallerstein, "and came up with a figure of seventeen minutes to a side. This would enable about 90% of all classical music to be put on two sides of one record." Columbia's first LP release was a recording of the Mendelssohn Violin Concerto, with Nathan Milstein the soloist and the New York Philharmonic conducted by Bruno Walter. The following year, Columbia struck pay dirt when it released the original cast album of a brand-new Broadway musical by Richard Rodgers. The 1949 Columbia LP of Mary Martin and Ezio Pinza singing the hit tunes from "South Pacific" became a best-seller, and by 1951 the LP-record had won: No one was making 78s anymore.

durée : 00:28:18 - William Steinberg, chef d'orchestre (3/5) - Nous passons toute cette semaine avec le chef allemand William Steinberg, fondateur notamment de l'orchestre philharmonique d’Israël. Aujourd'hui, ses enregistrements en concerto avec de prestigieux solistes, tels que Nathan Milstein.

durée : 01:15:29 - Disques de légende du jeudi 28 mai 2020 - Unique ! Immenses musiciens et amis de toute une vie, le violoniste Nathan Milstein et le pianiste Vladimir Horowitz n'ont pourtant gravé qu'un seul disque ensemble : la sonate pour violon n° 3 de Johannes Brahms, en 1951.

durée : 01:59:12 - Relax ! du jeudi 28 mai 2020 - par : Lionel Esparza - On dresse le portrait du violiste belge Philippe Pierlot, également fondateur du Ricercar Consort. Et notre légende du jour est le l'enregistrement mythique de la Sonate pour violon n° 3 de Brahms par Vladmir Horowitz et Nathan Milstein. - réalisé par : Antoine Courtin

收听提示 1、美国为什么会有人给自己注射消毒液？ 2、什么叫做年轻地球创造论？ 3、反智主义是如何流行起来的？ 4、大众的情绪上瘾是无知造成的吗？ 本集相关 美国多州市民滥用消毒剂抗疫，特朗普：我不负责 来源：人民日报海外版 年轻地球创造论 爱尔兰总主教詹姆士·阿舍尔 (1581–1656年) "年轻地球创造论"（英语：Young Earth creationism）是创造论的一个分支。该理论认为，地球和其上的生命仅在不超过1万年前被上帝的直接作为创造出来。坚持这种理论的人普遍认为，《希伯来圣经·创世纪》里面提到的创世七天描述的是自有时间开始准确不差的七个24小时。在相信这种理论的人眼中，对整个《圣经》的完全来自字面的解释才是与历史和真相相符合的，对地球存在时间的计算也只能以此为准。持此观点的一部分人还认为，他们在创造论的框架里的观点应该比自然科学占有更高地位，或者起码有与之平等的地位。 智慧设计论 时代周刊杂志封面，2005年8月15日 智能设计论（英语：intelligent design，简称智设论、ID）是对神的存在的宗教性逻辑论证。尽管支持者认为智能设计论是一个"关于生命起源的科学理论"，但其已遭主流科学界视为伪科学。理论支持者宣称："与像自然选择般无方向性进程相比，';某种超自然的智能设计了宇宙和生物的某些特征';此一解释明显较佳。"教育工作者、哲学家和科学界已证明智能设计论是创造论的一种形式、缺乏经验证据支持，并且其假设没一样是能证验或是正确的。 《专家之死》 汤姆·尼科尔斯（Tom Nichols）在2017年出版的非虚构类书籍《反对已建立的知识及其重要性的运动》。它是《联邦党人文集》（The Federalist）2014年文章的扩展。 本书作者指出，反对专家运动的发生有很多原因，包括网络的开放性，高等教育中的"顾客至上"思维，以及新闻产业的娱乐化。诡异的是，信息的民主传播，而非受教育大众的培养，反而开始产生一批一知半解的、愤怒的公民，他们公开指责智识的完善。这与美国历史上由来已久的反智主义思潮不谋而合。 反智主义 反智主义（英语：anti-intellectualism），又称作反智论、反智识主义或知识无用论，是一种存在于文化或思想中的态度，而不是一套思想理论。反智主义可分为两大类：一是对于智性（intellect）、知识的反对或怀疑，认为智性或知识对于人生有害而无益。另一种则是对于知识分子的怀疑和鄙视。 《美国生活中的反智主义》 这本书是研究美国反智问题以及美国共识的一本典范著作。在这本书里面，作者认为，美国有4大力量在塑造了美国最足以让他们自豪的核心价值的同时，却很奇异地推动着这种反智心态。 本集音乐 Nathan Milstein演奏巴赫 ：《无伴奏小提琴组曲 》之《D小调第二组曲 》BWV 1004 之《夏康舞曲》(Chaconne ) 本集推荐 焦元溥《一听就懂的古典音乐史》 上集回顾 什么是真正的社会主义国家？ 《八分》每周三、周五晚8点更新 欢迎留言和我们互动

收听提示 1、美国为什么会有人给自己注射消毒液？ 2、什么叫做年轻地球创造论？ 3、反智主义是如何流行起来的？ 4、大众的情绪上瘾是无知造成的吗？ 本集相关 美国多州市民滥用消毒剂抗疫，特朗普：我不负责 来源：人民日报海外版 年轻地球创造论 爱尔兰总主教詹姆士·阿舍尔 (1581–1656年) "年轻地球创造论"（英语：Young Earth creationism）是创造论的一个分支。该理论认为，地球和其上的生命仅在不超过1万年前被上帝的直接作为创造出来。坚持这种理论的人普遍认为，《希伯来圣经·创世纪》里面提到的创世七天描述的是自有时间开始准确不差的七个24小时。在相信这种理论的人眼中，对整个《圣经》的完全来自字面的解释才是与历史和真相相符合的，对地球存在时间的计算也只能以此为准。持此观点的一部分人还认为，他们在创造论的框架里的观点应该比自然科学占有更高地位，或者起码有与之平等的地位。 智慧设计论 时代周刊杂志封面，2005年8月15日 智能设计论（英语：intelligent design，简称智设论、ID）是对神的存在的宗教性逻辑论证。尽管支持者认为智能设计论是一个"关于生命起源的科学理论"，但其已遭主流科学界视为伪科学。理论支持者宣称："与像自然选择般无方向性进程相比，';某种超自然的智能设计了宇宙和生物的某些特征';此一解释明显较佳。"教育工作者、哲学家和科学界已证明智能设计论是创造论的一种形式、缺乏经验证据支持，并且其假设没一样是能证验或是正确的。 《专家之死》 汤姆·尼科尔斯（Tom Nichols）在2017年出版的非虚构类书籍《反对已建立的知识及其重要性的运动》。它是《联邦党人文集》（The Federalist）2014年文章的扩展。 本书作者指出，反对专家运动的发生有很多原因，包括网络的开放性，高等教育中的"顾客至上"思维，以及新闻产业的娱乐化。诡异的是，信息的民主传播，而非受教育大众的培养，反而开始产生一批一知半解的、愤怒的公民，他们公开指责智识的完善。这与美国历史上由来已久的反智主义思潮不谋而合。 反智主义 反智主义（英语：anti-intellectualism），又称作反智论、反智识主义或知识无用论，是一种存在于文化或思想中的态度，而不是一套思想理论。反智主义可分为两大类：一是对于智性（intellect）、知识的反对或怀疑，认为智性或知识对于人生有害而无益。另一种则是对于知识分子的怀疑和鄙视。 《美国生活中的反智主义》 这本书是研究美国反智问题以及美国共识的一本典范著作。在这本书里面，作者认为，美国有4大力量在塑造了美国最足以让他们自豪的核心价值的同时，却很奇异地推动着这种反智心态。 本集音乐 Nathan Milstein演奏巴赫 ：《无伴奏小提琴组曲 》之《D小调第二组曲 》BWV 1004 之《夏康舞曲》(Chaconne ) 本集推荐 焦元溥《一听就懂的古典音乐史》 上集回顾 什么是真正的社会主义国家？ 《八分》每周三、周五晚8点更新 欢迎留言和我们互动

durée : 00:29:45 - Claudio Abbado et l'Orchestre Philharmonique de Vienne (4/5) - Le portrait de la semaine est consacré au chef italien à l'occasion de la sortie d'une intégrale de 58 disques réunissant tous ses enregistrements à la tête de L'Orchestre philharmonique de Vienne, incluant ses nombreuses collaborations : Maurizio Pollini, Nathan Milstein, Friedrich Gulda...

durée : 00:27:09 - Claudio Abbado et l'Orchestre Philharmonique de Vienne (3/5) - Le portrait de la semaine est consacré au chef italien à l'occasion de la sortie d'une intégrale de 58 disques réunissant tous ses enregistrements à la tête de L'Orchestre philharmonique de Vienne, incluant ses nombreuses collaborations : Maurizio Pollini, Nathan Milstein, Friedrich Gulda...

durée : 00:26:39 - Claudio Abbado et l'Orchestre Philharmonique de Vienne (2/5) - Le portrait de la semaine est consacré au chef italien à l'occasion de la sortie d'une intégrale de 58 disques réunissant tous ses enregistrements à la tête de L'Orchestre philharmonique de Vienne, incluant ses nombreuses collaborations : Maurizio Pollini, Nathan Milstein, Friedrich Gulda...

durée : 00:28:21 - Claudio Abbado et l'Orchestre Philharmonique de Vienne (1/5) - Le portrait de la semaine est consacré au chef italien à l'occasion de la sortie d'une intégrale de 58 disques réunissant tous ses enregistrements à la tête de L'Orchestre philharmonique de Vienne, incluant ses nombreuses collaborations : Maurizio Pollini, Nathan Milstein, Friedrich Gulda...

durée : 00:13:51 - Disques de légende du vendredi 13 décembre 2019 - Musique = Clapping de Steve Reich Voix = Coco Bonnier

durée : 01:58:24 - Portrait de Jon Vickers - par : Lionel Esparza - Portrait du célèbre ténor canadien Jon Vickers disparu en 2015, et dont le talent et la voix exceptionnelle ont marqué l'histoire de l'opéra. Et notre légende du jour est la version du Concerto de Mendelssohn par Nathan Milstein et Bruno Walter, premier 33 tours de l'histoire à être commercialisé ! - réalisé par : Antoine Courtin

durée : 00:24:02 - Nathan Milstein joue le Concerto pour violon n° 2 de Felix Mendelssohn - Le premier vinyle de l'histoire ! Cette célèbre version du Concerto pour violon de Mendelssohn est enregistrée en 1945 au Carnegie Hall par le violoniste Nathan Milstein, avec l'Orchestre philharmonique de New York placé sous la direction de Bruno Walter. Elle est d'abord gravée au format 78 tours.

【主持】程衍樑（微博：@GrenadierGuard2）杨一（微博：@杨一1）【嘉宾】StormXu徐风暴，通用汽车前工程师，「喜剧联合国」创始人（微博：@StormXu徐风暴）●[02:45]Storm改名徐风暴事件始末●[05:30]“脱口秀”一词在中国电视出现得很早●[07:50]2014年程衍樑在一则CNN报道中首次得知StormXu●[09:30]周立波不承认自己的作品是单口喜剧●[12:20]中式喜剧的南北之别●[16:15]Storm矢志做单口喜剧界的大咕咕咕鸡●[16:45]方言笑话的生命力非常旺盛●[17:15]现场录制被一阵电钻声打断了●[23:05]巩汉林老师成功地让全国人民接受了错误的上海形象●[25:05]杨浦喜剧一哥败走深圳往事●[31:40]小剧场、大剧场和电视●[34:50]辛辣的观众和高笑点●[35:40]很多中文笑话说起来其实没有读起来有意思●[42:45]杨浦喜剧一哥再次败走《相声有新人》【推荐播客】伐要去管它|Storm带你解读生活https://www.ximalaya.com/yule/11776250/【音乐】 "Partita for Violin Solo No. 2 in D Minor, BWV 1004: 5. Chaconne"（Nathan Milstein·Bach: Sonatas and Partitas for Solo Violin·1998·Deutsche Grammophon）"给我一个吻"（张露·给我一个吻·1954·百代唱片）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【本节目由JustPod出品】【互动方式】微博：@忽左忽右leftright微信公众号：播客一下

【主持】程衍樑（微博：@GrenadierGuard2）杨一（微博：@杨一1）【嘉宾】StormXu徐风暴，通用汽车前工程师，「喜剧联合国」创始人（微博：@StormXu徐风暴）●[02:45]Storm改名徐风暴事件始末●[05:30]“脱口秀”一词在中国电视出现得很早●[07:50]2014年程衍樑在一则CNN报道中首次得知StormXu●[09:30]周立波不承认自己的作品是单口喜剧●[12:20]中式喜剧的南北之别●[16:15]Storm矢志做单口喜剧界的大咕咕咕鸡●[16:45]方言笑话的生命力非常旺盛●[17:15]现场录制被一阵电钻声打断了●[23:05]巩汉林老师成功地让全国人民接受了错误的上海形象●[25:05]杨浦喜剧一哥败走深圳往事●[31:40]小剧场、大剧场和电视●[34:50]辛辣的观众和高笑点●[35:40]很多中文笑话说起来其实没有读起来有意思●[42:45]杨浦喜剧一哥再次败走《相声有新人》【推荐播客】伐要去管它|Storm带你解读生活https://www.ximalaya.com/yule/11776250/【音乐】 "Partita for Violin Solo No. 2 in D Minor, BWV 1004: 5. Chaconne"（Nathan Milstein·Bach: Sonatas and Partitas for Solo Violin·1998·Deutsche Grammophon）"给我一个吻"（张露·给我一个吻·1954·百代唱片）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【本节目由JustPod出品】【互动方式】微博：@忽左忽右leftright微信公众号：播客一下

【主持】程衍樑（微博：@GrenadierGuard2）杨一（微博：@杨一1）【嘉宾】StormXu徐风暴，通用汽车前工程师，「喜剧联合国」创始人（微博：@StormXu徐风暴）●[02:45]Storm改名徐风暴事件始末●[05:30]“脱口秀”一词在中国电视出现得很早●[07:50]2014年程衍樑在一则CNN报道中首次得知StormXu●[09:30]周立波不承认自己的作品是单口喜剧●[12:20]中式喜剧的南北之别●[16:15]Storm矢志做单口喜剧界的大咕咕咕鸡●[16:45]方言笑话的生命力非常旺盛●[17:15]现场录制被一阵电钻声打断了●[23:05]巩汉林老师成功地让全国人民接受了错误的上海形象●[25:05]杨浦喜剧一哥败走深圳往事●[31:40]小剧场、大剧场和电视●[34:50]辛辣的观众和高笑点●[35:40]很多中文笑话说起来其实没有读起来有意思●[42:45]杨浦喜剧一哥再次败走《相声有新人》【推荐播客】伐要去管它|Storm带你解读生活https://www.ximalaya.com/yule/11776250/【音乐】 "Partita for Violin Solo No. 2 in D Minor, BWV 1004: 5. Chaconne"（Nathan Milstein·Bach: Sonatas and Partitas for Solo Violin·1998·Deutsche Grammophon）"给我一个吻"（张露·给我一个吻·1954·百代唱片）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【本节目由JustPod出品】【互动方式】微博：@忽左忽右leftright微信公众号：播客一下

【主持】程衍樑（微博：@GrenadierGuard2）杨一（微博：@杨一1）【嘉宾】StormXu徐风暴，通用汽车前工程师，「喜剧联合国」创始人（微博：@StormXu徐风暴）●[02:45]Storm改名徐风暴事件始末●[05:30]“脱口秀”一词在中国电视出现得很早●[07:50]2014年程衍樑在一则CNN报道中首次得知StormXu●[09:30]周立波不承认自己的作品是单口喜剧●[12:20]中式喜剧的南北之别●[16:15]Storm矢志做单口喜剧界的大咕咕咕鸡●[16:45]方言笑话的生命力非常旺盛●[17:15]现场录制被一阵电钻声打断了●[23:05]巩汉林老师成功地让全国人民接受了错误的上海形象●[25:05]杨浦喜剧一哥败走深圳往事●[31:40]小剧场、大剧场和电视●[34:50]辛辣的观众和高笑点●[35:40]很多中文笑话说起来其实没有读起来有意思●[42:45]杨浦喜剧一哥再次败走《相声有新人》【推荐播客】伐要去管它|Storm带你解读生活https://www.ximalaya.com/yule/11776250/【音乐】 "Partita for Violin Solo No. 2 in D Minor, BWV 1004: 5. Chaconne"（Nathan Milstein·Bach: Sonatas and Partitas for Solo Violin·1998·Deutsche Grammophon）"给我一个吻"（张露·给我一个吻·1954·百代唱片）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【本节目由JustPod出品】【互动方式】微博：@忽左忽右leftright微信公众号：播客一下

durée : 01:59:35 - Musique matin - Pablo Casals, Sergiu Celibidache, Georges Enesco, Alfred Cortot, Jacques Thibaud, Nathan Milstein, Yehudi Menuhin ou encore Ennio Morricone y ont enseigné... Poussons les portes du Palazzo Chigi-Saracini de Sienne qui héberge une académie d'été unique.

Discussion on the altercation between individual and law enforcement officer. Remember, viewing the video, what is visible in the video and excluding all else, what do you observe?VideoExpertise DiscussionDeliberate practice involves two kinds of learning: improving the skills you already have and extending the reach and range of your skills."How can you tell when you're dealing with a genuine expert? Real expertise must pass three tests. First, it must lead to performance that is consistently superior to that of the expert's peers. Second, real expertise produces concrete results. Brain surgeons, for example, not only must be skillful with their scalpels but also must have successful outcomes with their patients. A chess player must be able to win matches in tournaments. Finally, true expertise can be replicated and measured in the lab. As the British scientist Lod Kelvin stated, "If you can not measure it, you can not improve it." Things to Look Out for When Judging ExpertiseIndividual accounts of expertise are often unreliable.Anecdotes, selective recall, and one-off events all can present insufficient, often misleading, examples of expertise. There is a huge body of literature on false memories, self-serving biases, and recollections altered as a result of current beliefs or the passage of time. Reporting is not the same as research.Many people are wrongly believed to possess expertise.Bear in mind that true expertise is demonstrated by measurable, consistently superior performance. Some supposed experts are superior only when it comes to explaining why they made errors. After the 1976 Judgment of Paris, for example, when California wines bested French wines in a blind tasting, the French wine "experts" argued that the results were an aberration and that the California res in particular would never age as well as the famous French reds. (In 2006, the tasting of the reds was reenacted, and California came out on top again.) Had it not been for the objective results from the blind tastings, the French wine experts may never have been convinced of the quality of the American wines.Intuition can lead you down the garden path.The idea that you can improve your performance by relaxing and "just trusting your gut" is popular. While it may be true that intuition is valuable in routine or familiar situations, informed intuition is the result of deliberate practice. You cannot consistently improve your ability to make decisions (or your intuition) without considerable practice, reflection, and analysis.You don't need a different putter.Many managers hope that they will suddenly improve performance by adopting new and better methods--just as golf players may think they can lower their scores with a new and better club. But changing to a different putter may increase the variability of a golfer's shot and thus hinder his or her ability to play well. In reality, the key to improving expertise is consistency and carefully controlled efforts.Expertise is not captured by knowledge management systems.Knowledge management systems rarely, if ever, deal with what psychologists call knowledge. They are repositories of images, documents, and routines: external data that people can view and interpret as they try to solve a problem or make a decision. There are no shortcuts to gaining true expertise. How to Practice DeliberatelyTo people who have never reached a national or international level of competition, it may appear that excellence is simply the result of practicing daily for years or even decades. However, living in a cave does not make you a geologist. Not all practice makes perfect. You need a particular kind of practice--deliberate practice--to develop expertise. When most people practice, they focus on the things they already know how to do. Deliberate practice is different. It entails considerable, specific, and sustained efforts to do something you can't do well--or even at all. Research across all domains shows that it is only by working at what you can't do that you turn into the expert you want to become. To illustrate this point, let’s imagine you are learning to play golf for the first time. In the early phases, you try to understand the basic strokes and focus on avoiding gross mistakes (like driving the ball into another player). You practice on the putting green, hit balls at a driving range, and play rounds with others who are most likely novices like you. In a surprisingly short time (perhaps 50 hours), you will develop better control and your game will improve. From then on, you will work on your skills by driving and putting more balls and engaging in more games, until your strokes become automatic: You’ll think less about each shot and play more from intuition. Your golf game now is a social outing, in which you occasionally concentrate on your shot. From this point on, additional time on the course will not substantially improve your performance, which may remain at the same level for decades.  Why does this happen? You don’t improve because when you are playing a game, you get only a single chance to make a shot from any given location. You don’t get to figure out how you can correct mistakes. If you were allowed to take five to ten shots from the exact same location on the course, you would get more feedback on your technique and start to adjust your playing style to improve your control. In fact, professionals often take multiple shots from the same location when they train and when they check out a course before a tournament.  This kind of deliberate practice can be adapted to developing business and leadership expertise. The classic example is the case method taught by many business schools, which presents students with real-life situations that require action. Because the eventual outcomes of those situations are known, the students can immediately judge the merits of their proposed solutions. In this way, they can practice making decisions ten to 20 times a week. War games serve a similar training function at military academies. Officers can analyze the trainees’ responses in simulated combat and provide an instant evaluation. Such mock military operations sharpen leadership skills with deliberate practice that lets trainees explore uncharted areas.  Let’s take a closer look at how deliberate practice might work for leadership. You often hear that a key element of leadership and management is charisma, which is true. Being a leader frequently requires standing in front of your employees, your peers, or your board of directors and attempting to convince them of one thing or another, especially in times of crisis. A surprising number of executives believe that charisma is innate and cannot be learned. Yet if they were acting in a play with the help of a director and a coach, most of them would be able to come across as considerably more charismatic, especially over time. In fact, working with a leading drama school, we have developed a set of acting exercises for managers and leaders that are designed to increase their powers of charm and persuasion. Executives who do these exercises have shown remarkable improvement. So charisma can be learned through deliberate practice. Bear in mind that even Winston Churchill, one of the most charismatic figures of the twentieth century, practiced his oratory style in front of a mirror.  Genuine experts not only practice deliberately but also think deliberately. The golfer Ben Hogan once explained, “While I am practicing I am also trying to develop my powers of concentration. I never just walk up and hit the ball.” Hogan would decide in advance where he wanted the ball to go and how to get it there. We actually track this kind of thought process in our research. We present expert performers with a scenario and ask them to think aloud as they work their way through it. Chess players, for example, will describe how they spend five to ten minutes exploring all the possibilities for their next move, thinking through the consequences of each and planning out the sequence of moves that might follow it. We’ve observed that when a course of action doesn’t work out as expected, the expert players will go back to their prior analysis to assess where they went wrong and how to avoid future errors. They continually work to eliminate their weaknesses.  Deliberate practice involves two kinds of learning: improving the skills you already have and extending the reach and range of your skills. The enormous concentration required to undertake these twin tasks limits the amount of time you can spend doing them. The famous violinist Nathan Milstein wrote: “Practice as much as you feel you can accomplish with concentration. Once when I became concerned because others around me practiced all day long, I asked [my mentor] Professor Auer how many hours I should practice, and he said, ‘It really doesn’t matter how long. If you practice with your fingers, no amount is enough. If you practice with your head, two hours is plenty.’”  Please take a moment to rate (5-stars, please) review (written reviews expose the podcast to a wider audience), subscribe (subscriptions are part of Apple's ranking algorithm which helps with expanding our audience), share (share the podcast with friends, family, and colleagues who seek self-improvement or professional development), engage (send your thoughts, questions, and feedback to Ben@DistrictCombatives.com). Thank you for your continued support!

Atterbergs orkesterverk med GSO och Jonas Kaufmann i Nessun Dorma, det är innehållet på två av veckans skivor. Dessutom tipsar Johan om en riktig mastodont-Stravinskybox. I veckans panel sitter Boel Adler, Evabritt Selén och Måns Tengnér som tillsammans med programledaren Johan Korssell betygsätter följande skivor:GRAZYNA BACEWICZ Konsert för stråkorkester, Symfoni för stråkorkester, Pianokvintett nr 1 Ewa Kupiec, piano, Capella Bydgostiensis kammarorkester Mariusz Smolij, dirigent Naxos 8.573229NESSUN DORMA The Puccini Album Jonas Kaufmann, tenor Orkester och kör från Santa Cecilia-akademin, Rom Antonio Pappano, dirigent Sony 88875092492 6J S BACH Sonater och partitor för soloviolin BWV 1001-1006 Gil Shaham, violin Canary Classics CC 14KURT ATTERBERG Orkesterverk (Vol 3) Göteborgs symfoniker, Neeme Järvi, dirigent Chandos CHSA 5154Johans val Johan Korssell spelar valda delar ur Stravinsky-boxen: The Complete Columbia Album Collection.  Johans svepJohan sveper över Billy the Kid och Rodéo ur det nyutkomna albumet med Aaron Coplands balettmusik framförd av Colorados symfoniorkester dirigerad av Andrew Litton.Andra nämnda inspelningar- J S Bachs sonater och partitor för soloviolin med Rachel Podger på Channel Classics; Nathan Milstein på EMI och DG;  Mats Zetterqvist på Kultan records samt med Isabelle Faust på Harmonia Mundi. - Atterbergs femte symfoni med Stockholms filharmoniska orkester ledd av Stig Westerberg på Musica Sveciae samt alla Atterbergs 9 symfonier med Ari Rasilainen på CPO. - Puccini-arior med Placido Domingo. 

  Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Audio production by Todd “Toddy Ruxpin” Hulslander, with kind of creepy hovering during the editing process by Dacia Clay. Music in this episode: – “Life Carries On” from Dismal Times, by Earthen Grave – Brahm’s Violin Concerto, Rachel Barton Pine with Chicago Symphony Orchestra. Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions. – “Ice Cream Man” from Van Halen by Van Halen. – Mendelssohn’s Violin Concerto in E Minor as performed (not necessarily in this order) by: — Rachel Barton Pine with Gottinger Symphonie Orchester. Christoph-Mathias Mueller conducting. — Joshua Bell with Camerata Salzburg. Roger Norrington conducting. — Fritz Kreisler with Berlin State Opera Orchestra. Leo Blech conducting. — Jascha Heifetz with Boston Symphony Orchestra. Sir Thomas Beecham conducting. — Maxim Vengerov with Leipzig Gewandhaus Orchestra. Kurt Masur conducting. — Isaac Stern with Philadelphia Orchestra. Eugene Ormandy conducting. — Henryk Szeryng with London Symphony Orchestra. Antal Dorati conducting. — Nathan Milstein with New York Philharmonic. Bruno Walter conducting. — Anne-Sophie Mutter with Berlin Philharmonic. Herbert von Karajan conducting.  — Itzhak Perlman by London Symphony Orchestra. Andre Previn conducting. — Maud Powell For more information about Classical Classroom: www.houstonpublicmedia.org/classroom For more information about Rachel Barton Pine: www.rachelbartonpine.com But wait! There’s more! In this short Classical Classroom, she talks about the most important thing her two musical loves share in common: emotional power. Audio production by Todd “Goes to 11” Hulslander with lighters in the air by Dacia Clay. Music in this episode: – “Death Is Another Word” from Earthen Grave, by Earthen Grave – Brahm’s Violin Concerto, Chicago Symphony Orchestra, Carlos Kalmar conducting. – “Rock You Like a Hurricane” from Love at First Sting by the Scorpions – “Ice Cream Man” from Van Halen by Van Halen – “Arpeggios from Hell” by Yngwie Malmsteen – Tchaikovsky’s Violin Concerto in D major, Vadim Repin with Kirov Orchestra. Valery Gergiev conducting. – Sibelius’ Violin Concerto in D minor, Salvatore Accardo with London Symphony Orchestra. Sir Colin Davis conducting. – “Wasted Years” from Somewhere in Time by Iron Maiden – “Ozzy/ Black Sabbath Medley” by Rachel Barton Pine