Podcasts about ninth symphony

Ludwig van Beethoven's legacy goes far beyond his music—it's a powerful testament to the strength of the human spirit. Though he began to lose his hearing in his late 20s, Beethoven refused to let disability define him. Instead, he found new ways to compose, using vibration, intuition, and innovation to craft some of the most iconic works in classical music history. In this inspiring video, we explore how Beethoven overcame his profound hearing loss to create masterpieces like the Ninth Symphony, whose Ode to Joy remains a global symbol of hope and unity. Beethoven's life proves that genius and creativity are not limited by physical ability. His story continues to inspire millions, showing us that true greatness lies in perseverance, passion, and the refusal to be silenced.

For 200 years, Beethoven's Ninth Symphony (including 'Ode To Joy') has offered a message around the world of the shared humanity of all people.  On this episode, Barry interviews Jon Goldberg, Music Director/Conductor of the Main Street Chamber Orchestra.  On April 26th at 4 p.m., the Orchestra will present a 'Concert For Hope And Unity' at the Johnson Williams Middle School in Berryville.  Details:  www.mainstreetchamberorchestra.org  

As we approach this week's Spring Statement we join The London Standard's chief political correspondent Rachael Burford, who explains the government's plans to cut civil service running costs.Chancellor Rachel Reeves is now facing a war with unions amid claims as many as 50,000 people would lose their jobs.In part two we speak to historian Dr Leanne Langley as March 21st marked 200 years since Beethoven's Ninth Symphony first premiered in the UK.The first performance took place at a popular music venue on London's Regent Street called the Argyll Rooms.We chat about the history behind Beethoven's Ninth Symphony premiere, the composer's ties to the London Philharmonic Society, plus the significance of the Argyll Rooms at that time. Hosted on Acast. See acast.com/privacy for more information.

On this episode of One Symphony, Devin Patrick Hughes sat down with Peter Drew, a symphonist and jazz composer, to discuss his diverse life journey and his debut symphony, Reminiscence. Drew, born in Europe and later a refugee in the United States, recounted his early musical awakenings. He was first intrigued by the sound of the harmonica his stepbrother gave him. However, his musical trajectory truly shifted when, around the age of eleven, he heard Toscanini conducting Beethoven's Ninth Symphony on the radio. This experience deeply resonated with him, particularly the Ode to Joy, which became the first tune he learned on the harmonica, despite not being able to read music. Although initially captivated by classical music and Beethoven, Drew's path to becoming a composer was far from traditional. He pursued various careers, including working in film distribution, catering, teaching film studies, and being a social studies teacher. Throughout these experiences, music remained a constant presence in his life; he would often "noodle around" on the clarinet. It wasn't until later in life that he began to seriously study music, taking lessons from clarinet players and exploring jazz. He eventually started arranging music and studying composers like Sibelius. When the conversation turned to his symphony, "Reminiscence," Drew emphasized the amalgamation of his varied musical tastes and life experiences. He described his influences as a "mélange" or "stew" ranging from the American Songbook to Carl Orff, Villa-Lobos, Beethoven, Brahms, Artie Shaw, and even global music like Songs of the Auvergne, Tuvan throat singing, and Raga. He explained that his compositional process often begins with a melody he likes, perhaps played on his clarinet. He then develops this initial phrase, ensuring a natural flow between musical ideas without dissonance, remaining within the realm of Romantic Classical music. Hughes inquired about the technical aspects of translating these diverse elements into a cohesive symphony, including orchestration. Drew admitted that while he can conceive melodies, he needed assistance with the intricate instrumentation for a large symphony orchestra. He collaborated with an orchestrator to achieve the desired sonic textures, ensuring that all the instrumental parts complemented each other. Regarding the upcoming performance and recording of Reminiscence by the Boulder Symphony, Drew expressed his hope that listeners would simply "enjoy yourself" and "have fun". He doesn't expect the audience to be intimately familiar with all his diverse musical influences, but rather to connect with the music on an emotional level in the same way he was first drawn to Beethoven. Drew believes that if the music sounds and feels good, it will be enjoyable to listen to. When asked about his late entry into composing a symphony, Drew, who is approaching 90, reflected that all his life experiences, both musical and non-musical, have informed his writing. He feels that composing, rather than performing, is his true strength and passion, representing an accomplishment after a lifetime of diverse pursuits. He finds satisfaction in creating music that others enjoy listening to and playing. When pressed for a favorite movement, Drew chose the third movement for its energy and the way all the musical elements come together. While acknowledging the profound impact of Beethoven on his early musical life, he noted that Reminiscence incorporates a wider range of influences, creating a unique sonic landscape.   Thank you for joining us on One Symphony. Special thanks to Peter Drew for sharing his music and story. Musical selections from today's episode:   “Hard Driver” from the album And What's More composed and arranged by Peter Drew. “Midnight Sun” from the album And What's More. Composed by Lionel Hampton, Sonny Burke, and Johnny Mercer. Arranged by Peter Drew, featuring Sachal Vasandani. Symphony No. 1 “Reminiscence” II. Pictures at an Album. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” I. Journey. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. “Slow Burn Blues” from the album And What's More composed by Peter Drew and featuring Wendy Gilles.  Symphony No. 1 “Reminiscence” IV. The Return. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” II. Bach to Back. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender.   For more information on Peter, see https://www.peterdrewmusic.com You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Special thanks to Parma Recordings for making this episode possible. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

Cycles devoted to Beethoven's Symphonies transcribed by Franz Liszt is the topic of today's episode.Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenLink to Cyprien Katsaris playing the finale from the Beethoven/Liszt Symphony No. 3: https://www.youtube.com/watch?app=desktop&v=VoIu9l8F1g0&t=0sLink to the Tessa Uys and Ben Schoeman Piano Duo performing Beethoven's Ninth Symphony four hands: https://www.youtube.com/watch?v=HNXt-6WDPzw

Series: Signs & GloryTitle: Why every Christian should live zealously for the LordScripture: John 2:12-251 Cor 3:16-17; 6:18-20; 1 Peter 2:4-8; Romans 12:9-11Bottom line: Every Christian should live zealously for the Lord and his kingdom mission.INTRODUCTIONCONTEXTSERMON OUTLINECONCLUSIONNOTESOUTLINESQUESTIONS TO CONSIDER DISCUSSION QUESTIONSMAIN REFERENCES USEDMy opening prayer: Lord God, help us grow to be and do like Jesus, while abiding in him and leading others to do the same. INTRODUCTION"Another day in paradise," January 13, 2025, Bill Murphy, Jr."Honest to God, I just could not stop thinking of wonderful things that have happened to me and blessings that I've had, so it was lovely. It was lovely. And I got to a point of grace with about two minutes to spare when I found out it wasn't actually happening.— Jim CarreySeek immediate shelterIt was a beautiful morning. But aren't they all in Hawaii? A little below 80 degrees at the weather station in Oahu, with nearly no cloud cover: the kind of day that people on the mainland sometimes wish they had (but almost never get) at the beginning of January. • Honeymooners were waking up in each others' arms in their hotel rooms. A woman named Lydia Warren and her husband were vacationing on the beach. • A college student named Makena was showing her visiting boyfriend the Pearl Harbor memorial. (It's open at 7 a.m.; who knew?) Her father, a TV news producer named David Patterson, was on the freeway, about to dial into a conference call. • Oh, and here's a quirky one: Actor and comedian Jim Carrey was up early, working on writing a memoir.Then: panic. At 8:08 a.m., Hawaii's civil defense and emergency agency sent an alarming text to every single person in the state with a cell phone. It read, in all caps: "BALLISTIC MISSILE THREAT INBOUND TO HAWAII. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL."Local T.V. put a chyron message on the screen as well, against the backdrop of things like a college basketball game between Ole Miss and Florida, or else a Premier League soccer game from London between Tottenham Hotspur and Everton:The U.S. Pacific Command has detected a missile threat to Hawaii. A missile may impact on land or sea within minutes. THIS IS NOT A DRILL. If you are indoors, stay indoors. If you are outdoors, seek immediate shelter in a building. Remain indoors well away from windows. If you are driving, pull safely to the side of the road and seek shelter in a building or lay on the floor. We will announce when the threat has ended. THIS IS NOT A DRILL. Take immediate action measures.Can you even imagine? Of course, you probably remember this -- along with the fact that in the end, there was no inbound missile. By the way, the date was January 13, 2018, so seven years ago today.In fact, officials at the civil defense agency realized this was a mistake pretty quickly, but it took them 38 minutes to confirm that and then figure out how to send a second message telling people that the first alert was in error.There's a lot about this story - but the biggest part that has stayed with me is how people spent those 38 minutes when they thought they and everyone around them was going to die.Lydia Warren and her husband raced back to their hotel -- not so much because they thought it would be safer, but because they thought that their bodies might be more easily identified someday if they were found near where they were staying.David Patterson called his daughter and learned where she was. He told her to use her phone to record video of Pearl Harbor visitors processing the possibility of an imminent attack. She later said this calmed her down, as she figured her father wouldn't tell her to spend what could be her last minutes videoing if he wasn't pretty sure the alert was a mistake.My favorite reaction is probably Jim Carrey's. He was engrossed in work and missed the initial alert, but his assistant called to tell him they had 10 minutes to live. He tried calling his daughter and some other family, wondering if there was any way to get off the island, and finally realizing everything was out of his control.He explained all of this on an episode of The Tonight Show two years later (video here):Jim Carrey: And we had to say goodbye. And I sat on the lanai and looked out at the ocean, and at that point, I started going, "Okay. Well, what can I do with this last moment of time?" And I just decided to go through a list of gratitudes, and honest to God, I just could not stop thinking of wonderful things that have happened to me and blessings that I've had, so it was lovely. It was lovely. And I got to a point of grace with about two minutes to spare when I found out it wasn't actually happening. And all I was planning to do was close my eyes an be thankful, 'cause it's been a good ride.'Jimmy Fallon: What did you do when you found out that it was a fake missile test?Carrey: Then I got pissed off, and heads rolled!The front page headline in the Star-Advertiser newspaper the next day read, in giant type: OOPS! (And in smaller type: "'Wrong button' sends out false missile alert.")Later, officials said that wasn't right; it was instead an employee who was absolute, 100 percent convinced that a missile was en route, and who sent the alert -- but was simply wrong.I guess I've mentioned this theme a few times recently -- but isn't it funny that even being told you are going to die within a few minutes can turn out to be a gift? At least that's what I take away from Carrey's account. Sometimes, I suppose you value things most when you're suddenly about to lose them.As for everyone affected that day, I feel for them. It must have been hard.Then again, after it was all over, they were still in Hawaii.Jesus is AngryJesus is angry. How can Jesus be angry? If God is love, how can Jesus-who is God-get angry? Genuine love is compatible with anger.In fact, genuine love is sometimes demonstrated by anger. At times anger proves love is authentic. Let me give you an example: a friend of mine is passionate about ending modern-day slavery and human trafficking.He writes and speaks about it. He's visited Washington to meet with politicians. He has traveled to foreign countries to learn more about stopping it. He's worked hard to bring it to people's attention. I don't doubt his commitment to ending trafficking. I don't doubt his love for those in slavery. But I would doubt a claim that he never got angry about it. I know his love for the abused is real because he gets angry when he sees the abuse.Jesus gets angry about how the Jews have turned his house of prayer and mission into a house of corrupt commerce. The Court of GentilesThe court of the Gentiles was the one place on the Temple Mount where anyone could engage with the God of Israel formally. But it was clogged with commercial enterprise instead of prayer, worship and evangelism.Matt Carter writes, "Jesus levels a charge, but the charge is not unethical practices. They have twisted the purpose of the temple. Jesus is denouncing impure worship."I would add they've forgotten the purpose of the outer temple court: mission to the nations.We do that too when we make our Sunday worship experience all about our wants and needs. When we see the Lord as he truly is, we are transformed to live on mission with him 24/7.CONTEXTLast week, Ken showed us how Jesus first displayed his power at a wedding in Cana, not far from Nazareth and Capernaum. He discreetly turns water to wine demonstrating his power as Messiah to his disciples and mother. This was part of his first week of public ministry. John called it the first of his "signs," or, miracles that point to who he is and why he's come. From Capernaum, Jesus leads his family and disciples to the temple in Jerusalem to celebrate the Passover together. It's about to get dramatic.We pick it up with Jesus and his disciples in the temple in Jerusalem. This is the only temple of the Jews. It was the symbol of the nation and religion of Israel. It was the icon of their identity and the place where they 1) Met with God, and 2) atoned for their sins. SERMON Every Christian should live zealously for the Lord and his kingdom mission.Why? The answer is the message I'm about to give:It's because of his power, his passion and his promise.I. His power. (2:1-11) We saw last week how he powerfully transformed water to wine. He demonstrated this discreetly to reveal his power to his family and disciples; to help them believe he could powerfully transform our lives too.II. His passion. (2:12-17) We see his passion and zeal for his father's house. In fact, his zeal consumes him. We see this in the cross.Story by Kent Hughes, commentary on John, p. 47"One evening the great conductor Arturo Toscanini conducted Beethoven's Ninth Symphony. It was a brilliant performance, at the end of which the audience went absolutely wild! They clapped, whistled, and stamped their feet, absolutely caught up in the greatness of that performance. As Toscanini stood there, he bowed and bowed and bowed, then acknowledged his orchestra.When the ovation finally began to subside, Toscanini turned and looked intently at his musicians. He was almost out of control as he whispered,"Gentlemen! Gentlemen!" The orchestra leaned forward to listen. In a fiercely enunciated whisper Toscanini said, "Gentlemen, I am nothing." That was an extraordinary admission since Toscanini was blessed with an enormous ego.He added, "Gentlemen, you are nothing." They had heard that same message before the rehearsal. "But Beethoven," said Toscanini in a tone of adoration,"is everything, everything, everything!" This is the attitude we need toward ourselves and toward the Lord Jesus Christ. I am nothing, you are nothing, but he is everything! That was John's attitude, and it is the attitude of every authentic messenger of Christ."III. He promise. (2:18-22) We will see his promise fulfilled in our resurrection one day based on his resurrection 2,000 years ago.CONCLUSIONApplication: When we're tempted to doubt or find ourselves lacking zeal, REMEMBER THE RESURRECTION!From Tim Keller, The Songs of Jesus, p. 153"MISUNDERSTOOD. David is being scorned for his zealous devotion to God (verse 9). When he prays and repents, he is laughed at (verses 10-11). His world is not so different from ours. Even when Christianity was taken for granted by Western society, the most devoted believers were silently laughed at.Today they are also despised. The world does not understand the Gospel of grace, in which holy living is the result of humble, grateful joy, not a way to earn heaven. The world therefore sees all righteous living as self-righteousness and bigotry. We should not be surprised at this (2 Timothy 3:12), but we should also undermine this false narrative by living lives of humility, forgiveness, and sacrificial service to others."Bottom line: Every Christian should live zealously for the Lord and his kingdom mission.What about you?Peter puts it all in perspective in his first sermon:““Therefore let all Israel be assured of this: God has made this Jesus, whom you crucified, both Lord and Messiah.” When the people heard this, they were cut to the heart and said to Peter and the other apostles, “Brothers, what shall we do?” Peter replied, “Repent and be baptized, every one of you, in the name of Jesus Christ for the forgiveness of your sins. And you will receive the gift of the Holy Spirit. The promise is for you and your children and for all who are far off—for all whom the Lord our God will call.”” ‭‭Acts‬ ‭2‬:‭36‬-‭39‬ ‭NIV‬‬InvitationHow do we respond? Answer 2 questions:Take out a card or piece of paper right now. Write down the answer to these questions: What is God saying to me right now?What am I going to do about it? Write this down on a sheet of paper. What I hear you saying, Lord, is ___________________.[my name] is going to believe/do __________________________________________________ as a result.Finally, share this with your Home or Mission group this week when you gather as a testimony about what God is doing in your life. You don't have to get too specific to give him praise.Lord's Supper, 1 Cor 11:23-26 is good passage.Also, say something like, "Christ has died, Christ is risen, Christ will come again." (past, present, and future)PrayNOTESMany today want to use this to say we shouldn't sell things in church lobbies because we tend to think of the church building as a house of prayer and mission too. And it is to the degree that it is filled with true believers. But I'd take it further. As a part of the better, spiritual temple of God, I must make sure I don't approach my time of worship as a transactional exchange with God where I show up, maybe serve a little bit, give a little bit, pray a little bit, and then expect God to bless me because I earned it.OUTLINESOutline from Willmington's Outline Bible N/AQUESTIONS TO CONSIDERWhat do I want them to know? Why do I want them to know it?What do I want them to do?Why do I want them to do it?How do they do this?DISCUSSION QUESTIONSDiscovery Bible Study process: https://www.dbsguide.org/Read the passage together.Retell the story in your own words.Discovery the storyWhat does this story tell me about God?What does this story tell me about people?If this is really true, what should I do?What is God saying to you right now? (Write this down)What are you going to do about it? (Write this down)Who am I going to tell about this?Find our sermons, podcasts, discussion questions and notes at https://www.gracetoday.net/podcastAlternate Discussion Questions (by Jeff Vanderstelt): Based on this passage:Who is God?What has he done/is he doing/is he going to do?Who am I? (In light of 1 & 2)What do I do? (In light of who I am)How do I do it?Final Questions (Write this down)What is God saying to you right now? What are you going to do about it?MAIN REFERENCES USED“John,” by R. Kent Hughes, Preaching the Word Commentary, Edited by Kent HughesExalting Jesus in John, by Matt Carter & Josh Wredberg“Look at the Book” by John Piper (LATB)“The Bible Knowledge Commentary” by Walvoord, Zuck (BKC)“The Bible Exposition Commentary” by Warren Wiersbe (BEC)Outline Bible, D Willmington (OB)Willmington's Bible Handbook, D Willmington (WBH)NIV Study Bible (NIVSB) https://www.biblica.com/resources/scholar-notes/niv-study-bible/Chronological Life Application Study Bible (NLT)ESV Study Bible (ESVSB) https://www.esv.orgThe Bible Project https://bibleproject.com“The Bible in One Year 2023 with Nicky Gumbel” bible reading plan on YouVersion app (BIOY)Claude.aiChatGPT 3.5

References Neuropharmacology. 2014. 79, April : 1-9 Alcoholism: Clinical and Experimental Research 2007. 31.12. Cancer Epidemiol Biomarkers Prev. 2014 Oct 3;23(12):2943–2953. Alcohol Research. Current Reviews. 2017.38.2: 55-76. Alcohol Clin Exp Res. 2011 Feb;35(2):235-9. Neuropsychopharmacol Rep. 2021 Sep;41(3):352-361. Bracken, J. 1972. "Steppin Out". Live Cream Vol II. https://youtu.be/XAB6K-5XWU4?si=wURdUuCQpssf8tUA Betts, D. 1972 "Blue Sky" Allman Brothers on Eat a Peach lp. https://youtu.be/JSMubgZoL58?si=QGYWPPywXkV8Qk0D Tchaikovsky,P.I. 1878. Violin Concerto D. Major. Op. 35 https://youtu.be/2Q_DzWUvcL8?si=iSqyBV2Fpy2BWOfW Beethoven. LV. 1824.Ninth Symphony. D Minor Op. 125. Chicago Philharmonic .Muti. https://youtu.be/rOjHhS5MtvA?si=r-zvj5jYQ6uQVLs5 --- Support this podcast: https://podcasters.spotify.com/pod/show/dr-daniel-j-guerra/support

What is the greatest piece of music ever written? If you said Beethoven's Ninth Symphony, you'll get no argument here. But how to describe a documentary about the Ninth which includes Russia's immoral war against Ukraine, Hamas' terrorist attack on Israel a year ago, and the cartoonist who created Charlie Brown? Complicated? You bet. Here are the director, writer, and narrator Larry Weinstein; and one of the producers Liam Romalis.See omnystudio.com/listener for privacy information.

Welcome to the DMF. Where I try to find out what motivates people behind the scenes in the world of acting and entertainment. Today on the podcast I am talking to film composers: Michelle Birsky and Kevin Henthorn. They just scored the new Netflix series' Terminator: Zero. We talk spoilers and creating themes for characters. Spoilers are talked about in this episode. As always you can reach me on Twitter, Instagram, and Facebook with my name Justin Younts. Thank you for listening and sit back and enjoy. Welcome to the DMF. I'm Justin Younts. This is part two. Now you guys did the scoring process in Air Studios, right? Just for the choir. Just for the choir. Yeah, so we flew out to London to record there. That was maybe one of the best experiences I think we've had recording. It was very, very special and cool. But yeah, it was just a small choir. And so everything had already been written. So it's just about going in there, getting rid of our MIDI choir, any of our temp choir, making it sound more human. Other than that, everything was done here. How did you guys go about choosing the themes for the characters? How did that process go? And was that something that you could really only... Before you got hired, were you... Because you did the first episode and that was kind of like your test. And I was like, yeah, you guys are hired. But were you privy at that point of kind of where the story was going so that you could know? Madsen gave us... We had access to everything. We were very close with Madsen, so we were able to get in from that side. So when we started doing character work early on, pretty much around when we were scoring the first episode, we knew where all the characters were going. So we had a very clear picture of their arc, which helped a lot. OK. All right. So I think now we're going to get into spoilers here. So this is going to be hard to talk about the music without talking about spoilers. So let's let's do it. Doing spoilers now. Click off if you don't want to hear any more. I love the idea in this story, you know, that we find out at the end that Aiko is really Malcolm Lee's mother and that the Oracle sends back his mother to save him. I just thought that was such a great twist. It didn't come out of nowhere. You can tell they protected the twist, you know, when they're on the bridge, you know, never sees her. Was that something that you got when you guys... Did that influence you guys when you knew that was kind of where it was going or is that something you guys found later? I think it influenced us a little bit. We the two themes for, I guess, like Malcolm's theme and Aiko's theme do have some similarities. And I think that was intentional. We never wanted it to be blatant, but I think having just like a it's a little bit similar. Like you hear his stuff and then you hear hers, but hers is in the future and dressed completely differently. But, yeah, there was some similarities between the two. And I think we used we knew it was going to happen. So it was we started thinking about that in the beginning. And then there was a really small, like vocal line, a female vocal line over. I forget which episode it is. I think it's episode it's when Malcolm's talking about his origins, his origin story. And, you know, during the birth moment, we have this vocal sample come in. Then again, we have it come in when he's talking to Aiko in episode eight as all this action is coming around. And then we have it again. Can I do big spoilers? Yeah, yeah. We have this vocal line that's kind of threaded through and it's subtle, but it's like we were very aware of when to thread it in. Was that something when you guys were looking at the script? We're like, oh, wow, this is really interesting where they're where they're going with this. Yeah. I mean, it was pretty fun. And there were other characters, too, that like really. But like those are spoils for other seasons. So I can't really. A lot of the kids, they have they're just starting their arc, you know. But it was really helpful knowing the clear picture of everything so that we could really create themes that would last. The theme that I feel like kind of defines the show is it will never be the same. That's kind of like we keep hearing that kind of this is that you guys talked about how you wanted to play it. If you can play it simply. I'm paraphrasing exactly what you guys said in the interview. But you said play it simply or sing it simply like just so that's something you just came up with on the on the on the piano or something. And then just for like, we'll just build on that. Yeah, well, it took time to figure out how I mean, so that was an early demo. So that was like, it'll never be the same was was from the demos way back when. So that was probably the biggest one that stuck and now and run. Yeah, the opening sequence of episode one. But Madsen kept being like, if I had it my way, it'll never be the same would be the theme of the show. And we were just like, it's not like, it's not it's really sad. It's like all everything about it feels like you're just kind of like, falling back. And we were struggling to find a way to create a theme for that ending of episode one. We had like, so many different ideas, it was a week was horrible. And then we were toward the end of it. And again, having that just ring in our head that Madsen was like, if this could just be it. We took it'll never be the same, put the chords on guitar. And I feel like it's a good songwriting trick. Anytime I get stuck with songs, or you get too caught up with production, it's like, can you play it on guitar and sing it? And does it hold up? And if it doesn't, then maybe you got too many tricks going. And you know, you're relying on production too much, like, is it solid or not? So instead of, you know, playing it on piano, I just started palm muting the chords. And then we just started singing. And naturally, we sang it in a different way. It's like it's it's very similar melody lines, but it's swung in a more anthemic driving way. It's less sad. And then that just like opened it up. They're like, Oh, right, you can just play it'll never be the same like this. And then it feels like it has more agency and it feels like a theme. It kind of comes back in the end of the world. And underground. Those are the two times where I like really noticed that being replayed. And it's laced throughout as well. But like, those are the most distinctive moments specifically into the world. That's like when we were like, okay, now let's play it as sad as possible. That's an example of just like, it was completely low hanging fruit for so long, but it took us a while to see it. And then see it that just everything unlocks. Because with Run, which is, I believe that's the first song we hear that, you know, when she's, you know, trying to get away from the, you know, the Terminator, and it's kind of, you know, gets us all going. Like right into it, you got that little distorted voice that that comes in. Was that the voice you guys are talking about with the... It almost signifies that, you know, the Terminator is coming. Is that kind of what you guys were doing with that theme? Yeah. And specifically with the beginning of Run, we wanted to take acoustic instruments and distort them to hell. So I think a big one of that was violin samples and make them sound robotic. And we kind of like made them into like a scary melody line. And it wasn't... I think the piece of Run that we wrote to the demo, like was the demo, was once things pick up. Once you get the four on the floor action part, we had written that as a demo. So it was about like, we had that piece, but then we had to kind of build it a bit because it was like... And the scene was super long. Five or six minutes. So it was a lot more to do. Yeah, because you talked in previous interviews that you didn't want the Terminator to have like its own theme. You just kind of wanted like a sound cue for when he's coming. And I think for that, it was like this like two note bass line, like duh, duh, was one of the... There's a few different signifiers for like he's coming. And then there are the metal hits that we use whenever he's sort of like attacking. And then there's like a three note horn line that we use a few times when he's like really in action. But we wanted to keep it because he is not human. And the other characters, for the most part, are at least have human tendencies. Like he didn't... He didn't... He didn't deserve a human theme because he said he needed a, you know, a more robotic. Very atonal. Atonal. Yeah. But I like that, that you guys came in for that. Because the audience might not know that, you know, but subconsciously, they'll pick up on the fact that, you know, that that's happening there. One of the themes I really like that I don't think it's talked enough about is the traveling in time theme, where you've just got like this, it almost sounds like a bell or taking like a fork and you're just hearing this. Oh, there it is. Is this what it is? That's what it is. Top of a candle holder. I thought something like that. Yeah, it's like, and the other also have this bell that we use. These are just like tongue bells. Wow. So a lot of that. Yeah. A lot of sampling those running them through like a crystallizer. Yeah, found twice crystallizer, which made it much more swirly and washed out. Yeah, a great reference that Madsen brought up was the score to brick. I don't know if you remember that. Yeah, yeah, I know. Love that. And it has a ton of melodic bells. And that was a big inspiration. It does. And it was like, this felt like a moment where we could really do something different. Because a lot of the score, it can be really moody. It can feel like it's everything's really weighing on you. And this just kind of lifts us up. And it, it became a really good sonic palette for any time they're talking about time travel. There are other moments in the film or in the in the series where time travel comes up. And a lot of times where it was appropriate. You can hear a little swell of these bells. And yeah, exactly. I so what made you guys decide on on using bells to come up with that? I think it highlights everything because now she's alone. She's just witnessed her friends, supposedly all dead. And now she's in a new time period as she's erased the clock. And you're hearing just this distorted, you know, it just is like, all I kept feeling is like alone. It's distorted. What made you decide on bells or, you know, the candle holder? I think I think that that's, you know, a testament to direction for Matson of just like, Oh, check out brick. I think this this like scene from Rick, like kind of the vibe that could be cool. And then just, you know, a late night experimenting with bells and, yeah, and piano and other things. And, yeah, you know, just like trying something out. But it was nice to use. I like we still affected it quite a bit, but it was nice to use bells in a slightly more organic way. Because a lot of Kokoro, a lot of scenes with Kokoro have I use those tongue bells on a lot of that and filtered heavily with different pedals and distortion stuff. So like you have two versions of the bells, the AI version. Yeah, this was an opportunity to bring it back, but in a more natural way. Yeah, because I don't know that one just stands out so much to me because it's such a change from what we've heard in the series. That's what I really like about this score is it's like, it's not just relying on the same thing. It's you're going for something that I mean, it's bold. I mean, you could have just gone for this, you know, very determined score thing. But that's what really stands out to me is just the complexity of the music and just those different sounds. Talk a little bit about Choose and how you guys came to that. God. I've been talking a lot. No, but this sort of started with you. Well, so back when we were doing episode one, they were like, and you kind of even gotten the kick, but they were like, can you? Can you create like, a bunch of other music that we can like sprinkle in later for temp music later or something? They were starting episode, they were working on episodes like two and three, and we were still on one. And they were like, we would love you to write us some temp music so that we can animate to it. And we were like, Okay, hope we get the gig. Funny enough, they never got temp music since it was all this stuff. They probably worked on it, though. Maybe. But so we had this whole other group of songs, a lot of the character themes came from, from this, this push, and it was this, this was a potential Terminator theme. When we first wrote it, we thought that this could maybe be like the theme. It wasn't, and it wouldn't have been good for it. But we had this idea that was like half-baked, but it had like all the elements that you hear in Choose. And we were working on the last episode, and we're like, wow, we still haven't used this one idea. And we were watching this scene, the death scene. And, you know, oftentimes, sometimes you get lucky when you just throw things in. And we were like, okay, let's use this theme. And then it can be a theme that we can carry out through other seasons. And we just dropped it in and it just like, just took off. And we obviously changed it and made it way cooler. And we brought in the choir element, which was like really awesome. That was one of my favorite choir moments. Yeah. I think I have a video of us in the, at Air Studios, like that happening and us all listening to it. And it was one of those moments that like, you know, we'd written these choir parts and, you know, I usually will sing them in as my voice. So it's like a bunch of my voice stacked. And they were really dissonant and they were weird, but like getting in and hearing it with the choir, like it's like this pulsing, dissonant, crazy chords that hit really, really hard. And it was like a very intense experience to just be in this like iconic studio and hear them, like this like wall of sound coming out of just eight singers. Yeah. Very cool. And then- Just a real moment, you know? Yeah. Like probably what Beethoven felt when he discovered the Ninth Symphony. You know, just like, wow. Exactly that. Exactly. Bliss of God. Please like, share and subscribe. Thank you for watching. 00:00:00 - Introduction 00:00:05 - Scoring Process and Character Themes 00:01:40 - Spoilers and Character Development 00:01:55 - Musical Themes and Influences 00:04:31 - Creating the Theme 'It Will Never Be The Same' 00:07:43 - Creating the Theme 'Run' 00:10:13 - Creating the 'Traveling in Time' Theme 00:13:58 - Creating the Theme 'Choose' 00:17:00 - Conclusion

Music to your ears?Ludwig van Beethoven is recognized as one of the greatest composers of all time. But did you know that he wrote five sonatas and his famous Ninth Symphony while completely deaf? The secret to his success was his passion for music. That and a whole bunch of hard work and dedication.As parents, we may not have the musical genius of Beethoven, but we can still create wonderful harmony within our homes. Begin by providing your son a consistent tempo of training, and a steady melody of encouragement. Add to that an upbeat rhythm of physical fun, and the vibrato of adventure. The resulting chords of growth will prepare your son to perform his own creative solo. And in doing this, his life will be a lasting crescendo that brings glory to God.For more encouragement and parenting advice, visit Trail Life USA or RaisingGodlyBoys.com.

A very special episode this week, completely free for all listeners. The world-famous philosopher Charles Taylor joins Wisdom of Crowds editors Samuel Kimbriel and Santiago Ramos for a conversation about his new book, Cosmic Connections: Poetry in the Age of Disenchantment. Professor Taylor has spent a long and fruitful career trying to understand the basic questions of modern life. What does it mean to be a modern person? How do we form our sense of identity? How do we relate to the sacred? What does it mean to be secular? What happened to religion? In Cosmic Connections, he tells the story of how the Romantic poets of the nineteenth century sought to reconnect with nature through art, after the rise of modern science and the industrial revolution left many people wondering about man's place in the universe. Appropriately enough, Sam called in from a log cabin somewhere in the Rocky Mountains, and he enthusiastically supported Professor Taylor's thesis that a connection with nature is an essential component of a healthy society. The more city-bound Santiago took a more skeptical approach, at least at first. He questioned Professor Taylor's claim that a connection with nature entails a connection with a transcendent, spiritual reality. Along with these heady topics, the conversation touched upon Beethoven's symphonies, A.I. “friends,” and the idea of progress. Required Reading (and Listening):* Charles Taylor, Cosmic Connections: Poetry in the Age of Disenchantment (Amazon). * Charles Taylor, A Secular Age (Amazon). * Charles Taylor, Sources of the Self: The Making of the Modern Identity (Amazon). * Damir Marusic, “Beauty and Niceness in an Accidental World” (WoC). * Romanticism (School of Life). * Henry David Thoreau (Stanford Encyclopedia of Philosophy).* Beethoven, Ninth Symphony, Fourth Movement (YouTube). * Beethoven, Sixth Symphony “Pastoral” (YouTube). * “Wear This A.I. Friend Around Your Neck” (Wired). * Joni Mitchell (Official YouTube Page). * Leonard Cohen (Official YouTube Page). This post is part of our collaboration with the University of Pittsburgh's Center for Governance and Markets.Wisdom of Crowds is a platform challenging premises and understanding first principles on politics and culture. Join us! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit wisdomofcrowds.live/subscribe

IN THIS EPISODE: A teenager suddenly begins seeing disturbing visions when at home. (A Visitor In The House) *** The Snallygaster was labeled as a fictional story created over a century ago to terrorize citizens in Maryland. But now it appears the creature might actually have been real. (Could The Snallygaster Be a Real Creature?) *** The mystery of what happened in room 1046 of the Hotel President remains unsolved to this day, despite endless files of evidence. (What Happened In Room 1046?) *** It is considered one of, if not the most terrifying film of all time. But is the film itself, “The Exorcist” cursed? (Was ‘The Exorcist' Cursed?) *** It's been described as part kangaroo, part horse, part bat, part bird, part reptile… what exactly is the Jersey Devil? (Unmasking The Jersey Devil) *** Why have so many classical composers died upon composing their ninth symphony? (The Curse of the Ninth Symphony) *** The RMS Queen Mary is now retired – but it appears some of its passengers and crew never got the message. (Ghosts Of The Queen Mary) *** Could the imaginary friend of a brother and sister not be their imagination? (My Great Grandparents' Home) *** Zombies are everywhere in pop culture – films, television, gaming, memes, etc. It's all obviously make-believe, but is it possible for an actual zombie apocalypse to take place in the real world? (Could a Zombie Apocalypse Really Happen?)SOURCES AND REFERENCES FROM THE EPISODE…“Was The Exorcist Cursed?” by Troy Taylor: http://bit.ly/35SwjHB (Theme from “The Exorcist” written by Mike Oldfield, performed by Midnight Reapers from the album, “The Best of Halloween”.)“A Visitor In The House”: http://bit.ly/2OIpDGo“What Happened In Room 1046?” by Katie Serena: http://bit.ly/37Vyk7P“Could The Snallygaster Be a Real Creature?” by Steve Pearse: http://bit.ly/2OH9XTs“Could A Zombie Apocalypse Really Happen?” by Brent Swancer: http://bit.ly/34Imo7h“Unmasking The Jersey Devil” by Steve Pearse: http://bit.ly/2Pjndx1“My Great Grandparents' Home” submitted to WeirdDarkness.com by Amanda R.: http://bit.ly/35WOtYO“Ghosts of the Queen Mary”: (link no longer available)“The Curse of the Ninth Symphony”: http://bit.ly/2Li3V9TWeird Darkness theme by Alibi Music Library= = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: August 09, 2018CUSTOM LANDING PAGE: https://weirddarkness.com/exorcistcursed/

IN THIS EPISODE: Zombies are everywhere in pop culture – films, television, gaming, memes, etc. It's all obviously make-believe, but is it possible for an actual zombie apocalypse to take place in the real world? (Could a Zombie Apocalypse Really Happen?) *** Did our ancestors fight and survive an ancient zombie apocalypse? Can a zombie apocalypse really happen, and if it does, what are our chances of survival? (Zombie Apocalypse in Ancient And Modern Times) *** The idea of a zombie apocalypse has been a fascinating topic of horror films, television, and print ever since George Romero's “Night of the Living Dead” in 1968. But it's complete fiction, of course. Right? If so, why does the Pentagon have a plan for it, just in case? (CONOP 8888: The Pentagon's Plan For a Zombie Apocalypse) *** He appears as a man or skeleton or described as a shadow, often atop a cart for collecting the dead. Other versions have it that he is the first dead person of the year, charged with collecting the others' souls before he can go to the afterlife. He is said to drive a large, black coach pulled by four black horses; accompanied by two ghostly figures on foot. He is known as Ankou. (Ankou: Deliverer Of Souls To The Underworld) *** They were described as flat-nosed with wide nostrils; thick eyebrows and sunken eyes.  Their mouths were of ‘prodigious width' with thick lips and prominent jaws.  The Australian Aborigines regarded them as another people entirely – they called them the Yowies. (The Australian Yowie) *** Shadow people seem to be a growing phenomenon. But what are they, what do they want? And most importantly – how do you get away from one? (What You Should Know About Shadow People) *** A little girl's imaginary friend appears to her mother as shadows in the basement. (My Imaginary Friend) *** The story of the Detroit “Occult Murders” is one of the strangest in American crime. It's a story of black magic, murder, and a clever and enterprising man who came to Detroit with a strange dream. (The Detroit Occult Murders) *** It's been described as part kangaroo, part horse, part bat, part bird, part reptile… what exactly is the Jersey Devil? (Unmasking The Jersey Devil) *** Why have so many classical composers died upon composing their ninth symphony? (The Curse of the Ninth Symphony) *** The RMS Queen Mary is now retired – but it appears some of its passengers and crew never got the message. (Ghosts Of The Queen Mary) *** Could the imaginary friend of a brother and sister not be their imagination? (My Great Grandparents' Home) *** In the 1600's, a witchfinder was given whatever he asked for, for fear of him declaring those who refused a witch. But how he chose to test one woman for witchcraft is enough to make your stomach turn. *** A young couple discover a radio… with a mind of its own. *** A strange ball of light enters the room of a young man, with no explanation to be found. *** Sheldwich is typical of the small rural hamlets which litter Kent, but in some ways, is far more unique and strange, one could almost say, weird.SOURCES AND REFERENCES FROM THE EPISODE…“Zombie Apocalypse In Ancient And Modern Times – How Realistic Is An Infectious Disease Outbreak?”: http://ow.ly/lGOV30a5tLr and “Mysterious Skulls Linked To An Ancient Zombie Apocalypse”:http://ow.ly/C08v30a5uR7“Could A Zombie Apocalypse Really Happen?” by Brent Swancer: https://mysteriousuniverse.org/2018/05/could-a-zombie-apocalypse-really-happen/“CONOP 8888: The Pentagon's Plan For a Zombie Apocalypse” by Wyatt Redd: https://allthatsinteresting.com/conop-8888“What You Should Know About The Shadow People”: http://alien-ufo-sightings.com/2018/08/what-you-should-know-about-shadow-people/“Ankou: Deliverer Of Souls To The Underworld” by A. Sutherland: http://www.ancientpages.com/2018/08/08/ankou-frightening-spirit-who-delivers-souls-to-the-underworld/“The Australian Yowie” by Bryan Hill: https://www.ancient-origins.net/unexplained-phenomena/australian-yowie-mysterious-legends-tribe-hairy-people-003605“The Detroit Occult Murders” by Troy Taylor: https://www.facebook.com/authortt/posts/1764234730340172“My Imaginary Friend” by Annie Louise: https://www.yourghoststories.com/real-ghost-story.php?story=25538“Unmasking The Jersey Devil” by Steve Pearse: https://www.ancient-origins.net/myths-legends-americas/jersey-devil-0010495“My Great Grandparents' Home” submitted to WeirdDarkness.com by Amanda R.:https://www.myhauntedlifetoo.com/2018/07/16/my-great-grandparents-home/“Ghosts of the Queen Mary”: http://ghostsnghouls.com/2017/09/25/queen-mary-haunted-ship/“The Curse of the Ninth Symphony”: http://www.ancientpages.com/2018/08/03/what-is-the-curse-of-the-ninth-symphony/“Sheldwich Kent: Ghosts, Ghouls, and Pagan Gods” Written by G. Michael Vasey: http://bit.ly/2qxYFrI“The Haunted Radio” Submitted by Seth Isaacs: http://bit.ly/37Cbuld“The Green Orb” Submitted by James Geeson: http://bit.ly/2L55w2X“The Witchfinder and His Weird Wooden Box” Submitted by Ken DaSilva-Hill: http://bit.ly/2qFx080Weird Darkness theme by Alibi Music Library= = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: August, 2018CUSTOM LANDING PAGE: https://weirddarkness.com/pentagonzombieplan/

It's said that Beethoven's death was like a biblical scene — he shook his fist at the heavens and a clap of thunder roared across Vienna as he left this world. His contemporary, Mahler, would become obsessed with his death because of another strange coincidence surrounding it: he died composing his tenth symphony, making Beethoven one of a long line of composers to die after completing their ninth symphony. Mahler would call this the curse of the ninth. Is there some strange supernatural power that limits earthly musicians to nine symphonies like a cat has nine lives? Or have these composers made a deal with the devil? Time for Rory and Kit to put on their powdered wigs and investigate!Follow us on Twitter, Instagram, and YouTubeJoin our Secret Society Facebook CommunitySupport us on Patreon.com/ThisParanormalLife to get access to weekly bonus episodes!Buy Official TPL Merch! - thisparanormallife.com/storeIntro music by www.purple-planet.comEdited by Philip Shacklady Hosted on Acast. See acast.com/privacy for more information.

Last week, the 7th of May 2024, marked the 200th anniversary of the premiere of Ludwig van Beethoven's Symphony No. 9. Today then, I want to talk with you about the hope which runs through that Ode to Joy. The recordings of Beethoven's Ninth Symphony heard in this episode came from the 1956 album by the ProMusica Symphony Orchestra and Chorus under the direction of Jascha Horenstein and are free to use under the Public Domain Mark 1.0 Universal label and can be found in full at archive.org. --- Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane --- Support this podcast: https://podcasters.spotify.com/pod/show/sean-thomas-kane/support

To mark the 200th anniversary of the premiere of Beethoven's Ninth Symphony in Vienna, which took place on May 7, 1824, Gramophone's podcast this week focuses on the work. Antonello Manacorda has just completed a cycle of the nine symphonies with Akademie Potsdam for Sony Classical, including a brand-new Ninth. James Jolly went to visit him at the Royal Opera House, Covent Garden , where he was conducting a run of Bizet's Carmen. This Gramophone Podcast is produced in association with Wigmore Hall.

On Legal Docket, a case about public camping and the Eighth Amendment; on the Monday Moneybeat, antitrust lawsuits against Big Tech companies; and on the World History Book, Beethoven's Ninth Symphony. Plus, the Monday morning news Support The World and Everything in It today at wng.org/donate.Additional support comes from Ambassadors Impact Network. Inviting entrepreneurs with a mission to connect with faith-based investors who share their vision. More at ambassadorsimpact.comFrom Cedarville University, offering in-person and online undergraduate, graduate, and dual enrollment programs, taught with academic excellence and a biblical worldview. cedarville.edu/WORLD.And from the audio drama I Witness: The Lazarus Project, a surprising take on a familiar story. On your favorite podcast platform or online at the letter “i”-witness-pod [pause] iwitnesspod.com

This Day in Legal History: Racist Restrictive Covenants Struck DownOn May 3, 1948, a significant legal decision was rendered by the United States Supreme Court, fundamentally altering the landscape of civil rights and property law. The case, Shelley v. Kraemer, addressed the pernicious practice of racially-restrictive covenants in real estate. These covenants were agreements embedded in the deeds of properties that prohibited the sale of these properties to individuals of certain races, most commonly African Americans.The Supreme Court's decision in Shelley v. Kraemer struck down the legal enforcement of these covenants, ruling that while private parties may enter into whatever agreements they choose, they cannot seek judicial enforcement of covenants that violated constitutional principles of equality. The Court held that such enforcement by state courts constituted state action and therefore was subject to the Equal Protection Clause of the Fourteenth Amendment.The background of the case involved an African American family, the Shelleys, who purchased a home in a neighborhood in St. Louis, Missouri. This neighborhood had an existing covenant that barred African Americans from owning property. When the Shelleys moved in, several of their white neighbors sought to enforce the covenant to prevent them from taking ownership.The Missouri Supreme Court had originally sided with the neighbors, ruling that the covenant was enforceable. However, the U.S. Supreme Court's decision reversed this ruling. Justice Fred M. Vinson, writing for the majority, emphasized that the enforcement of racially restrictive covenants by state courts amounted to a state action that denied equal protection of the laws.This landmark decision was a crucial step forward in the fight against institutionalized racism, particularly in housing. It reflected the growing judicial recognition of civil rights issues and set a precedent for future rulings related to racial discrimination. Moreover, Shelley v. Kraemer highlighted the judiciary's role in upholding constitutional rights against socially entrenched racial discrimination.The ruling did not, however, eliminate racially restrictive covenants overnight. Many neighborhoods continued to observe such agreements informally, and it wasn't until later legislative efforts, such as the Fair Housing Act of 1968, that such practices were comprehensively outlawed. Nevertheless, the Shelley v. Kraemer decision remains a pivotal moment in American legal history, celebrated for its affirmation of the principles of equality and justice enshrined in the U.S. Constitution.The Biden administration is set to implement a rule that will allow undocumented immigrants who arrived in the U.S. as children and are covered under the Deferred Action for Childhood Arrivals (DACA) program to receive subsidized health insurance through Obamacare. This rule, scheduled for release by the Department of Health and Human Services (HHS), will redefine "lawfully present" individuals to include DACA recipients, enabling them to access premium tax credits and cost-sharing reductions when purchasing plans from federal and state marketplaces beginning November 1, 2024.HHS Secretary Xavier Becerra emphasized the importance of this change, noting that over a third of DACA recipients currently lack health insurance. The inclusion of DACA recipients is expected to improve not only their health and wellbeing but also contribute positively to the overall economy. Additionally, the rule will permit these individuals to enroll in basic health programs similar to Medicaid in certain states, provided they earn no more than 200% of the poverty level.The Centers for Medicare & Medicaid Services anticipate that this adjustment could result in 100,000 previously uninsured DACA recipients gaining health coverage. This decision marks a significant shift from previous policies where DACA recipients were excluded from being considered "lawfully present" for insurance purposes due to the original rationale behind the DACA policy, which did not address eligibility for insurance affordability programs.The significant development in this story is the modification of the definition of "lawfully present" by the HHS to include DACA recipients. This change is crucial as it directly impacts the eligibility of these individuals for health insurance subsidies under Obamacare, a shift in policy that broadens access to healthcare for a previously marginalized group.DACA Immigrants Win Access to Obamacare Subsidies in HHS RuleIn a groundbreaking trial in Chicago, attorneys for Angela Valadez, an 89-year-old woman who developed colon cancer, argued that pharmaceutical companies GSK and Boehringer Ingelheim were aware that the heartburn medication Zantac could become carcinogenic under certain conditions but failed to alert the public. The lawyers contended that Zantac's active ingredient, ranitidine, could transform into a cancer-causing substance called NDMA if it aged or was subjected to high temperatures, and accused the companies of covering up the degradation of the pills by altering their appearance.GSK and Boehringer Ingelheim, the only defendants in this trial after other companies reached settlements, defended their product. They insisted that Zantac has been proven safe and effective through numerous studies and that no direct evidence links Zantac to Valadez's cancer, citing her other risk factors for the disease. The U.S. Food and Drug Administration had removed Zantac and its generic versions from the market in 2020 after detecting NDMA in some samples. Despite this, a significant legal victory came for the companies in 2022 when a judge dismissed about 50,000 claims, questioning the scientific backing of the assertion that Zantac could cause cancer. However, with more than 70,000 cases still pending, largely in Delaware, the issue remains a significant legal and public health concern. A newer version of Zantac with a different active ingredient is currently on the market, which does not contain ranitidine.GSK knew about Zantac cancer risk, attorneys tell jury in first trial | ReutersIn the ongoing criminal trial of former U.S. President Donald Trump in New York, a new defensive angle emerged as Trump's lawyer portrayed the hush money payment at the center of the trial as potentially extortive. The payment in question involved Stormy Daniels, real name Stephanie Clifford, who was reportedly paid to keep quiet about an alleged encounter with Trump prior to the 2016 presidential election.During the proceedings, defense attorney Emil Bove questioned Keith Davidson, Daniels' former lawyer, about his history with negotiating cash-for-dirt agreements with celebrities, hinting that Davidson's actions bordered on extortion. Trump's legal team appears to be focusing on undermining the credibility of prosecution witnesses like Daniels and Michael Cohen, Trump's former lawyer and fixer, who arranged the controversial $130,000 payment. Trump has denied any encounter with Daniels and pleaded not guilty to the charges of falsifying business records to conceal the payment.This trial aspect dovetails with previous testimony regarding Cohen's disappointment over not receiving a major governmental post after Trump's election victory. Cohen, who later disassociated from Trump and criticized him publicly, is expected to be a key witness. He has already served prison time for his role in the payment scheme.Moreover, the trial has seen further complications due to Trump's conduct outside the courtroom. Justice Juan Merchan has had to address violations of a gag order by Trump, who has been fined and could potentially face jail for continuing infractions. Trump has criticized the trial publicly, claiming it is an attempt to prevent his political comeback and alleging conflicts of interest by those involved in the trial.Trump's various legal troubles include other serious charges, such as attempting to overturn the 2020 election results and mishandling classified documents, adding layers of complexity to his current legal battles as he campaigns for the 2024 presidential election. These developments suggest a trial fraught with legal and political ramifications, with Trump's defense pushing back against what they suggest are questionable prosecutorial tactics and witness credibility.Trump trial hears Michael Cohen was 'despondent' he was denied a government post | ReutersTrump lawyer suggests hush money payment was extortion | ReutersThis week's closing theme is by Johannes Brahms.Johannes Brahms, born on May 7, 1833, in Hamburg, Germany, is one of the most revered figures in the history of classical music. His compositions span a wide range of genres, including chamber works, symphonies, and choral compositions. Brahms was known for his perfectionist approach, often taking years to refine his works to his satisfaction.Among his most celebrated creations is Symphony No. 1 in C minor, Op. 68. This symphony, which took Brahms about 14 years to complete, is frequently dubbed "Beethoven's Tenth" due to its stylistic similarities to Ludwig van Beethoven's symphonic work, especially the Ninth Symphony. Brahms's dedication to living up to Beethoven's legacy is evident in the meticulous structure and emotional depth of the piece.Symphony No. 1 was first performed in 1876, and since then, it has become a staple in the orchestral repertoire. It is particularly noted for its profound depth and complexity. The symphony unfolds over four movements, beginning with a dramatic and tense first movement that features a memorable timpani motif, which sets a somber and introspective mood. This is followed by a gentle and lyrical second movement, offering a stark contrast to the dramatic opening. The third movement, often considered the heart of the symphony, showcases Brahms's skill in thematic development and orchestral color. The finale is a triumphant resolution to the symphony's earlier tensions, culminating in a powerful and uplifting theme that echoes Beethoven's own symphonic climaxes.This week's closing theme features this masterful work by Brahms, inviting listeners to explore the depths of his musical genius. Symphony No. 1 stands not just as a nod to Beethoven's influence but as a significant original contribution to the symphonic form, marking Brahms's triumphant emergence as a composer of the first order in the orchestral domain.Without further ado, Brahm's Symphony No. 1 in C Minor, Op. 68 - III. Un poco allegretto e grazioso, enjoy. Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

Mark David conducts Beethoven's Ninth Symphony for his final Masterworks concert with the Newfoundland Symphony Orchestra.... along with tenor soloist David Pomeroy. They both drop by the On The Go studio to talk about why Friday's concert will be so special. (Jamie Fitzpatrick with Mark David and David Pomeroy)

The Symphony No. 8 in F major, Op. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as "my little Symphony in F", distinguishing it from his Sixth Symphony, a longer work also in F.[1] The Eighth Symphony is generally light-hearted, though not lightweight, and in many places loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes.[2] As with various other Beethoven works such as the Opus 27 piano sonatas and the later Ninth Symphony, the symphony deviates from Classical tradition in making the last movement the weightiest of the four. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicspeaks-podcast/support

With his Ninth Symphony, Shostakovich delivered a tragicomic work with nods to Haydn and circus tunes. Uzbek pianist Behzod Abduraimov makes his debut with the Chicago Symphony Orchestra in Tchaikovsky's thrilling First Piano Concerto. Mussorgsky's radiant Khovanshchina prelude and Saariaho's ethereal Winter Sky round out the program. Learn more: cso.org/performances/23-24/cso-classical/tchaikovsky-and-shostakovich

The Missa solemnis in D major, Op. 123, is a Solemn Mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.  It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period. Written around the same time as his Ninth Symphony, it is Beethoven's second setting of the Mass, after his Mass in C major, Op. 86. The work was dedicated to Archduke Rudolf of Austria, archbishop of Olmütz, Beethoven's foremost patron as well as pupil and friend. The copy presented to Rudolf was inscribed "Von Herzen—Möge es wieder—Zu Herzen gehn!" ("From the heart – may it return to the heart!") Conducted by Joana Filipe MartinezPerformed by the CMD Grand Opera Company of Barcelona Purchase this recording at: Beethoven: Missa solemnis in D major, Op. 123 (classicalmusicdiscoveries.store)

Thanks for watching. Have a great week ahead learning to play this beautiful melody with two chords from Beethoven's Ninth Symphony. Add more chords over time and enjoy this popular classical composition with Easy Play sheet music by Hal Leonard Publishing.

Today's episode is the second half of my conversation with a long-time friend, Kevin Fitzgerald, current Associate Conductor of the Jacksonville Symphony.Last week we spoke about preparing for job applications and auditions, and today we will continue the conversation and hear all the behind the scene stories of navigating the business.As 2021 Tanglewood Music Center Conducting Fellow and four-time recipient of Career Assistance Grants from The Solti Foundation U.S., Kevin Fitzgerald is at the forefront of the next generation of conductors. Recently, Kevin was invited as one of the twenty conductors to participate live in the 2023 Mahler Competition with the Bamberg Symphony.In addition to his post as Associate Conductor of the Jacksonville Symphony, Fitzgerald has recently guest conducted the Rochester Philharmonic, North Carolina Symphony and the Chamber Orchestra of Pittsburgh. In his commitment to uplifting communities through music, Fitzgerald conducted Beethoven's Ninth Symphony in 2017 with musicians from the Detroit, Lansing and Grand Rapids Symphonies to raise over $10,000 for the International Rescue Committee and Freedom House Detroit. In 2016, he also co-organized and conducted an impromptu performance called “Requiem for Orlando,” which featured over 400 volunteer musicians in a dedicated performance for victims of the Pulse Nightclub shooting in Orlando, Florida.Since then, he has participated in masterclasses with Michael Tilson Thomas and the New World Symphony, Andris Nelsons and Alan Gilbert at Tanglewood among many others. Kevin is based in Raleigh, NC, with his husband, violist Kurt Tseng, and their two dogs Bennie and Chipper. Kevin also teaches and coaches conductors privately online and in person.All About Chaowen Ting & The Conductor's Podcast (Website)

In today's episode, you will hear the first half of my conversation with a long-time friend, Kevin Fitzgerald, current Associate Conductor of the Jacksonville Symphony. We went way back to my years at the Eastman School of Music, and it's such a pleasure to speak with him on the topic of preparing for job applications and auditions.As 2021 Tanglewood Music Center Conducting Fellow and four-time recipient of Career Assistance Grants from The Solti Foundation U.S., Kevin Fitzgerald is at the forefront of the next generation of conductors. Recently, Kevin was invited as one of the twenty conductors to participate live in the 2023 Mahler Competition with the Bamberg Symphony.In addition to his post as Associate Conductor of the Jacksonville Symphony, Fitzgerald has recently guest conducted the Rochester Philharmonic, North Carolina Symphony and the Chamber Orchestra of Pittsburgh. In his commitment to uplifting communities through music, Fitzgerald conducted Beethoven's Ninth Symphony in 2017 with musicians from the Detroit, Lansing and Grand Rapids Symphonies to raise over $10,000 for the International Rescue Committee and Freedom House Detroit. In 2016, he also co-organized and conducted an impromptu performance called “Requiem for Orlando,” which featured over 400 volunteer musicians in a dedicated performance for victims of the Pulse Nightclub shooting in Orlando, Florida.Since then, he has participated in masterclasses with Michael Tilson Thomas and the New World Symphony, Andris Nelsons and Alan Gilbert at Tanglewood among many others. Kevin is based in Raleigh, NC, with his husband, violist Kurt Tseng, and their two dogs Bennie and Chipper. Kevin also teaches and coaches conductors privately online and in person.All About Chaowen Ting & The Conductor's Podcast (Website)

As an advocate of historically marginalized composers, musicologist Douglas Shadle is a leading voice in public discussions about the role of symphony orchestras and orchestral music in American life. His first book, Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford, 2016), explores the volatile relationships between composers, performers, critics, and audiences throughout the 19th century and demonstrates why American composers rarely find a home on concert programs today.   Shadle is also a highly-regarded expert on fellow Little Rock native Florence Price, the first African American woman to win international acclaim as a composer. His research on Price has been featured in The New Yorker, New York Times, and NewMusicBox. Shadle's second book recontextualizes Antonín Dvořák's iconic New World Symphony within the complex landscape of American culture at the end of the nineteenth century.   Shadle's publications have won two ASCAP Deems/Taylor Virgil Thomson Awards, the Society for American Music Irving Lowens Article Award, the inaugural American Musicological Society H. Robert Cohen/RIPM Award, and the Vanderbilt Chancellor's Award for Research. Shadle joined the Blair School faculty in 2014 and has served as the chair of the Department of Musicology and Ethnomusicology since 2019.   Thank you for joining us on One Symphony. Thanks to Douglas Shadle for sharing his knowledge and insights, you can find Antonin Dvorak's New World Symphony where you get your books. Works on the show today included Dvorak's American String Quartet performed by the Prague Quartet and his Ninth Symphony with Charles Mackerras and the London Philharmonic, Myun-Wun Chung and the Vienna Philharmonic, and Paavo Jarvi and the Cincinnati Symphony.   You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music! https://www.pricefest.org/about/douglas-shadle https://devinpatrickhughes.com onesymphony.org    

"In this small community, they're going to hear Beethoven's 9th Symphony in their backyard. The festival has the intention to broaden the horizons of this community through music. That's why we do what we do: to learn and grow and teach and support each other." - Shelby Laird"I've always been in love with the choral rehearsal. It is so methodical and engaging. Every step is planned out, but there's always room for flexibility and growth. That kind of stuff that is so streamlined and normal in the choral classroom is something we can really learn from in the instrumental world." - Micah LairdShelby Laird is from Hays, Kansas and has grown up entrenched in the choral world. Throughout her education she has had the privilege to work and learn from some inspiring and brilliant conductions including Dr. Judy Bowers, Dr. Anton Armstrong, Simon Carrington, Helmuth Rilling, Kim Ritzer, and Dr. Edith Copley. She was a Young Artist for the Ad Astra Music Festival in Russell, KS, in 2015 and now serves as their Festival Manager and sings on select projects. Shelby graduated from Northern Arizona University in December 2018 with a degree in choral music education. While at NAU, she performed with Shrine of the Ages Choir, High Altitude, Handbell Choir, and Women's Chorale, and student conducted University Singers. Additionally, Shelby served as NAU's Student Chapter President of ACDA and planned the Student Symposium for the state of Arizona in 2017. She was awarded the Outstanding Future Choral Educator of the Year for the state of Arizona in 2018 and has sung with the Sedona Academy Chamber Singers for numerous exciting projects including recording GRAMMY nominated composer Michael Hoppé's Requiem and singing backup for Josh Groban. Shelby taught choir in the Independence School District at William Chrisman High School for three years outside of Kansas City. Currently, Shelby is pursuing a master's degree in choral conducting at the University of Oregon and working with Dr. Sharon Paul. In her first year, she sang with the UO Chamber Choir and conducted the Repertoire Singers ensemble. Shelby joined the Eugene Symphony Chorus for a performance of Beethoven's Ninth Symphony and then served as Eugene Symphony Chorus Manager for Ravel's Daphnis et Chloe. This summer Shelby is singing with the University of Oregon's Chamber Choir as a part of the renowned Oregon Bach Festival. Micah Laird is a graduate of Northern Arizona University where he obtained a degree in Instrumental Music Education as the Outstanding Senior in the School of Music. During his time at NAU, Micah was an active member of the School of Music, performing with numerous instrumental and vocal ensembles including the Flagstaff Symphony Orchestra. While in college, Micah also toured the country with the World Champion Blue Devils Drum and Bugle Corps in 2015 and 2016. Micah lived and taught in Blue Springs, Missouri, where he was the assistant director of bands at Brittany Hill Middle School and an associate director of bands for the Golden Regiment Marching Band from Blue Springs High School. In addition to his public-school teaching, he was on the instructional staff for the Academy Drum and Bugle Corps and the Blue Devils Drum and Bugle Corps for the 2022 season. Micah is also a part of the administrative staff for the Ad Astra Music Festival based out of Russell, Kansas. This is his first year at the University of Oregon working towards a graduate degree in Wind Conducting, studying under Dr. Dennis Llinás.To get in touch with Shelby and Micah, you can find them on Instagram: @shelbylaird19 and @micahtlaird.Choir Fam wants to hear from you! Check out the Minisode Intro Part 2 episode from May 22, 2023, to hear how to share your story with us. Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Mahler “peacefully bids farewell to the world” is how the composer's protégé Bruno Walter described the finale to his Ninth Symphony. This valedictory score contains the many hallmarks of Mahler's symphonies — their grand scale, profound emotions and folk dance themes — capped by an ethereal finale that achieves a sense of transcendent rapture. Learn more: cso.org/performances/22-23/cso-classical/hrusa-conducts-mahler-9

Synopsis This is the Composers Datebook for May 13th. I'm John Birge. On today's date in 1875, American conductor Theodore Thomas, a passionate advocate for both old and new music, led the Cincinnati May Festival in the first American performance of J.S. Bach's Magnificat. Bach composed this work in 1723, originally for Christmas use in Leipzig, then revised the score in 1733. The American premiere, 142 years after that, was also revised, since the original instrumentation was expanded for large 19th century orchestra and Bach probably would have been astonished at the size of the Cincinnati chorus. Bach's Magnificat served as the opener for a Festival performance of Beethoven's Ninth Symphony. The Beethoven was a huge success, and Cincinnati newspapers reported that “Ninth Symphomania” was breaking out in their city. The newspapers were less impressed with Bach's Magnificat. The Cincinnati Commercial Review opined: “The work is difficult in the extreme... most of the chorus abounds with rambling sub-divisions. We considering the ‘Magnificat' the weakest thing the chorus has undertaken... possessing no dramatic character and incapable of conveying the magnitude of the labor that has been expended upon its inconsequential intricacies.” Well, whatever they thought in 1875, we suspect American audiences and performers have a gotten a little more used to Bach's “inconsequential intricacies” since then. Music Played in Today's Program J.S. Bach (1685-1750) Magnificat, S. 243

Synopsis At London's St. James's Hall on today's date in 1885, the Czech composer Antonin Dvorak conducted the London Philharmonic Society's orchestra in the premiere of his Seventh Symphony, a work they had commissioned. The Society had also commissioned Beethoven's Ninth Symphony decades earlier, a fact of which Dvorak was quite aware, and just before starting work Dvorak heard and was bowled over by the brand-new Third Symphony by his friend and mentor Johannes Brahms.  In other words… “No pressure!”Dvorak felt he must do his very best, and, judging by the warm reception at its London premiere, the new work was a success, with one reviewer calling it “one of the greatest works of its class produced in the present generation.”But not all reviews were glowing. Another wrote, “the entire work is painted grey on grey: it lacks sweetness of melody and lightness of style.” And Dvorak's German publisher complained that big symphonies were not profitable and advised Dvorak write only shorter piano pieces that had a ready market.But subsequent performances helped establish the new symphony as the masterwork it is, and although not as often-played as his “New World” Symphony, today Dvorak's Seventh ranks among his finest creations. Music Played in Today's Program Antonin Dvorak (1841-1904) Scherzo (3rd mvt), from Symphony No. 7 in d, Op. 70 Berlin Philharmonic; Rafael Kubelik, conductor. DG 463158-2

In this episode of Someone Get Me, we delve into joyful living and provide six steps to achieve it. Her six steps are not complicated but take a lot of practice. Joy is our natural inner state and our essence. It is an animated state behind us. Joy is who we are.    Anything like stress, strife, anger, and fear are altered in her mind. However, we have been trained to listen to our reptilian brain, causing us to be disconnected from our essence.    For many generations, we have been paying the price of being disconnected from our essence, which is joy. Joy is about the amazing flow of life, and it is not the same as happiness. Joy is like a thermostat, while happiness is like a thermometer.    Some people have a low set point for joy because they don't realize it can feel joyful or think it's a sin. Everyone's essence is joy, even those who do despicable things, and their despicable actions come from lies and deception they say to themselves and think.   We encourage listeners to peel away the lies we tell ourselves, eliminating the ways of being that separate us from who we are. Consider Beethoven's Ninth Symphony, Ode to Joy. Just like an orchestra with all the different instruments playing their role and bringing together this beauty, this joy, that's how we are.    Our work is to get all our instruments and parts of us to play, cooperate, and work together for that joyful experience in the face of contemplation, stress, and all different things.   Remember that Beethoven never heard his music. Meaning he did not let external validation or feedback affect his creative process. Find joy in living, not just in the outcome. When we connect with our essence, we can stand in our sovereignty as a unique being and live more joyfully.   Here are the six steps to have more joy in your life.    1. Jettison - anything that is not serving your highest good. Anything that is in the way needs to be released. Bringing the past into the future gets in the way of joy.  2. Omit worry - Worry is focusing our mind on what can go wrong. When we worry about tomorrow, we waste today.  3. Yield - to our higher knowingness. There is perfect timing for everything.  4. Focus on excellence - Excellence and perfection are different. Excellence means I'm open-minded, always willing to learn, and know there's always more. Perfectionism often stems from fear. 5. Use your talents to serve - Sometimes, our angst or separation is because we are not serving. We often think that serving is the same as giving. There is different consciousness because you can throw money at something or give away your stuff, but service means I'm doing it with that inner presence of unconditional love.  6. Laugh - We raise our field when we laugh and play. Laughter helps us bring more joy to the world. It helps us let that part of us out.   Remember that joy and joyful living lives in like the eternal present moment. That's how we maintain joy, always living in the present moment.   How to Connect with Dianne A. Allen You have a vision inside to create something bigger than you. What you need are a community and a mentor. The Someone Gets Me Experience could be the perfect solution to bringing your heart's desire into reality. You will grow, transform and connect. https://msdianneallen.com/someone-gets-me-experience/ Join our Facebook Group: https://www.facebook.com/groups/someonegetsme. Follow Dianne's Facebook Page: https://www.facebook.com/msdianneallen. Email contact: dianne@visionsapplied.com

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

Tahu Matheson has worked for Opera Australia since 2007. He became Head of Music for the company in 2017. He studied piano with Kalle Randalu in Germany, and with Oleg Stepanov and Natasha Vlassenko at the Queensland Conservatorium, where he completed his Master of Music. He is a frequent accompanist for international artists including Teddy Tahu Rhodes, Anthony Dean Griffey, Yvonne Kenny and Emma Matthews. His Opera Australia repertoire includes - Conductor of Tosca, L'elisir d'amore, The Magic Flute and The Pearlfishers at Sydney Opera House; Aida on the Beach and tours of Don Giovanni. Tahu was Assistant Conductor of the Ring Cycle, Bliss, Falstaff, Otello, Rigoletto, Carmen, Capriccio, Of Mice and Men, The Barber of Seville, Lucia di Lammermoor, Werther, The Magic Flute, La Bohème, La Traviata, Madama Butterfly, La sonnambula, Orpheus in the Underworld, A Streetcar Named Desire, Billy Budd and Don Giovanni. For other companies Tahu has conducted Kurt Weill's The Seven Deadly Sins for Victorian Opera. This work was paired with the premiere of a new work by four Australian Composers, of the same name, but with updated subject matter and music. Tahu has conducted many concerts including a concert performance of a new opera, Nelson, by Stuart Greenbaum in London, and a performance of Beethoven's Ninth Symphony for 4MBS Radio in Brisbane. He recently made his debut with the Queensland Symphony Orchestra. Tahu performed the Rachmaninov Preludes Op 23 and the world premiere of Ten Concert Studies for Piano, written for him by Edwin Carr (New Zealand International Festival of the Arts – recorded on CD for international release by Kiwi Pacific Records). Tahu has been a soloist in the major concert venues throughout Australia and New Zealand, toured for Musica Viva and Chamber Music New Zealand, and been broadcast on New Zealand and Australian radio and television. Through November and December Tahu Matheson conducts Opera Australia's brand new, Sydney-exclusive open-air event, Opera on Cockatoo Island, with a gritty new production of Bizet's much-loved Carmen, giving visitors a thrilling opportunity to experience world-class opera under the stars with stunning harbour views. STAGES caught up with Tahu at his place of work - Opera Australia - to discover what's in store for audiences attending Carmen, and the gateway through which he discovered his passion for telling big stories on the Operatic stage. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Stanley Kubrick's cinematic treatise on violence and free will, A CLOCKWORK ORANGE (1971), gets the Bad Dads treatment as we tackle the story of Alex DeLarge (Malcolm McDowell), leading his gang of droogs and getting ready for a bit of the old ultra-violence accompanied by the bliss and heaven of Beethoven's Ninth Symphony. Controversial, sexually violent and disturbing and that's just our review.We love to hear from our listeners! By which I mean we tolerate it. Try us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

Synopsis If you had arrived early for the gala reopening celebration of Vienna's Josephstadt Theater on today's date in 1822, you might have heard the theater orchestra frantically rehearing a new overture by Beethoven. They had just received the score, and so at the last minute were getting their first look at the new piece they would perform that evening. Beethoven's “Consecration of the House” Overture was a last-minute commission and interrupted Beethoven's work on two bigger projects: his “Missa Solemnis” and the Ninth Symphony. This overture begins with a series of solemn chords, continues with a stately march, and closes with a fugue – a tribute to Handel, whose music was much on Beethoven's mind at the time. One hundred forty-six years later to the day, another festive occasion was observed with new music, when, on October 3rd, 1968, the New York Philharmonic, as part of its 125th anniversary celebrations, premiered a new orchestral work by the American composer William Schuman. Leonard Bernstein conducted. Schuman's piece was entitled “To Thee Old Cause,” and was scored for solo oboe and orchestra. Originally, Schumann planned an upbeat, celebratory work, but the 1968 assassinations of Dr. Martin Luther King Jr. and Robert Kennedy changed all that and more somber music, dedicated to their memory, was the result. Music Played in Today's Program Ludwig van Beethoven (1770-1827): Consecration of the House Overture –Berlin Philharmonic; Bernhard Klee, cond. (DG 453 713) Willliam Schuman (1910-1992): To Thee Old Cause –New York Philharmonic; Leonard Bernstein, cond. (Sony 63088)

Music to your ears?Ludwig van Beethoven is recognized as one of the greatest composers of all time. But did you know that he wrote five sonatas and his famous Ninth Symphony while completely deaf? The secret to his success was his passion for music. That and a whole bunch of hard work and dedication.As parents, we may not have the musical genius of Beethoven, but we can still create wonderful harmony within our homes. Begin by providing your son a consistent tempo of training, and a steady melody of encouragement. Add to that an upbeat rhythm of physical fun, and the vibrato of adventure. The resulting chords of growth will prepare your son to perform his own creative solo. And in doing this, his life will be a lasting crescendo that brings glory to God.For more encouragement and parenting advice, visit Trail Life USA or RaisingGodlyBoys.com.

From a Turkish march to Ode to Joy, learn about one of the most famous symphonies of all time!

Welcome back to the Dogtrack, Greyhounds! In this episode Marisa, Christian, and Brett have part two of a two-part conversation about part Season 2, Episode 8: Man City.If you haven't already listened to part one of this series, go back and get caught up before continuing.In this episode, Christian gives us a ton of background on the soccer in this episode. We discuss the importance of football matches played at Wembley Stadium and appreciate the accuracy with which the Man City fans were represented.We notice that Ted has begun to take Dr. Sharon's advice, process THAT SCENE with Jamie and his father, and talk about the ways that various traumas are informing the ways our beloved characters move through the world.There's also a pretty lengthy discussion of Rodgers and Hart's "Blue Moon," and we reveal a secret connection between the Ted Lasso universe and Antonín Dvořák's Ninth Symphony.Full show notes and transcript will available at https://www.tedlassopod.com/ted-lasso-episode-02-08-man-city-part-2Richmond Til We Die is a conversation about the Apple TV+ show Ted Lasso, where we explore the characters, their relationships to each other, and how they're able to make us laugh until we can hardly breathe one moment and then feel with the deepest parts of our hearts the next. When you're here, you're a Greyhound!

Lk 24, 46-53: The account of the ascension: Then he led them out as far as Bethany, and lifting up his hands he blessed them. While he blessed them, he parted from them and was carried up into heaven. And they worshiped him, and returned to Jerusalem with great joy, and were continually in the temple blessing God. St John Chrysostom says. “The cloud was a sure sign that Jesus had already entered heaven; it was not a whirlwind or a chariot of fire, as in the case of the prophet Elijah (cf. 2 Kings 2:11), but a cloud, which was a symbol of heaven itself. Jesus is in heaven, as our mediator, he is hidden from view, but is active and present as our saviour. This must bring us joy, to sing with Beethoven who was deaf when he composed his Ninth Symphony (1824) using the Ode to Joy, written by his friend Friedrich Schiller. A meditation preached by Fr. Eric Nicolai on May 29, 2022, solemnity of the Ascension. Music: Ludwig Beethoven - Symphony No. 9 in D minor, Op. 125 - IV. Presto - Allegro Assai from European archive in Museopen.org.

Synopsis It was on today's date in 1913 that Igor Stravinsky's ballet “The Rite of Spring” premiered at the Théâtre des Champs-Élysées in Paris, provoking catcalls and fisticuffs from some in the audience. Most scholars suggest it was the ungainly, deliberately primitive choreography of Vaslav Nijinsky, more than Stravinsky's score, that provoked the most negative response. Pierre Monteux's concert performance—without the dancing—at the Casino de Paris the following Spring marked the start of the score's success as pure music. On that occasion, Stravinsky was carried in triumph from the hall on the shoulders of his admirers. Shortly before his death in 1929, Sergei Diaghilev, who had commissioned Stravinsky's score, was enthusiastically quoting a review in the London Times that suggested (perhaps ironically) that the “Rite of Spring” would be for the 20th century what Beethoven's Ninth Symphony was for the 19th. Well, that has rather turned out to be the case, in fact, and by 2013, a piece of orchestral music that in 1913 was considered almost unplayable is routinely programmed as a classic orchestral showpiece. One New York Times critic even wrote “… now everybody knows “The Rite.” [It's] an audition piece that every music student practices, so that now any conservatory orchestra can give a fleet and spiffy performance of what used to stump their elders, and professional orchestras can play it in their sleep, and often do…” Music Played in Today's Program Igor Stravinsky — The Rite of Spring (Cleveland Orchestra; Pierre Boulez, cond.) DG 435 769 On This Day Births 1860 - Spanish composer Isaac Albéniz, in Camprodón; 1873 - Estonian composer Rudolf Tobias, in Kaina on Haiiumaa Island; 1897 - Austrian composer Eric Wolfgang Korngold, in Brno; 1922 - Greek composer Iannis Xenakis, in Braila, Roumania; 1948 - English composer Michael Berkley, in London; He is the son of English composer, Sir Lennox Berkeley (1903-89); Deaths 1910 - Russian composer Mily Balakirev, age 73, in St. Petersburg (Julian date: May 16); 1911 - British lyricist Sir William S. Gilbert (of "Gilbert & Sullivan" fame), age 74, from a heart attack after rescuing a drowning woman, at Harrow Weald, England; 1935 - Czech composer Josef Suk, age 61, in Benesov; 1951 - Czech composer Josef Bohuslav Foerster, age 91, in Vestec, near Stará Boleslav; Premieres 1901 - Paderewski: "Manru," in Dresden; Also staged at the Metropolitan Opera in 1902; 1905 - Scriabin: Symphony No. 3 ("'Divine Poem"), in Paris, Arthur Nikisch conducting; 1913 - Stravinsky: "Le Sacre du printemps" (The Rite of Spring), in Paris, by Diaghilev's Ballet Russe, Pierre Monteux conducting; 1954 - Cowell: Symphony No. 11 ("Seven Rituals"), by the Louisville Orchestra, Robert S. Whitney conducting; 1970 - Rautavaara: Piano Concerto, in Helsinki, with composer as soloist, and the Finnish Radio Symphony, Paavo Berglund conducting; Others 1873 - American premiere of Brahms's Serenade No. 1 in D, at Steinway Hall, by the New York Symphony, Theodore Thomas conducting; 1963 - The New York Philharmonic "Promenade" concert series is inaugurated. Links and Resources On Igor Stravinsky More on "The Rite of Spring" Video of recreated original 1913 choreography for "The Rite of Spring"

History repeats itself this week with an episode from the HISTORY This Week archives: May 7, 1824. One of the great musical icons in history, Ludwig Van Beethoven, steps onto stage at the Kärntnertor Theater in Vienna. The audience is electric, buzzing with anticipation for a brand new symphony from the legendary composer. But there's a rumor on their minds, something only a few know for certain... that Beethoven is deaf. He is about to conduct the debut of his Ninth Symphony—featuring the now-famous ‘Ode to Joy'—yet Beethoven can barely hear a thing. How was it possible for him to conduct? And more importantly, how could he have composed one of the greatest works in the history of classical music?Special thanks to Jan Swafford, author of Beethoven: Anguish and Triumph. Audio from Beethoven's Ninth Symphony is provided courtesy of the Chicago Symphony Orchestra and Chorus and Riccardo Muti Music. "Beethoven - Piano Concerto No.3, Op.37 - III. Rondo. Allegro" by Stefano Ligoratti is licensed under CC BY 3.0 (https://bit.ly/35uhbRw). "Beethoven - Symphony No. 9 in D minor, Op. 125 - IV. Presto - Allegro Assai (For Recorder Ensemble and Chorus - Papalin)" by Papalin is licensed under CC BY 3.0 (https://bit.ly/2YukIxM). See acast.com/privacy for privacy and opt-out information.

Eric Eaton is an entomologist and the well known author of Wasps: The Astonishing Diversity of a Misunderstood Insect, and co-author of the Kaufman Field Guide to Insects of North America. Today, we discuss his most recent work, Insectpedia, due out on May 3. Insectpedia promises to be a fascinating and non-traditional look at insects, the people who study them, and their role in history and society.In today's discussion, we spent a few minutes learning about Eric's non-traditional path to entomology and writing, and the lasting impact of one of his kindergarten teachers.And soon enough we get into some amazing entomological facts. For example, do you know what the fly belt is? As a hint, I'll tell you it's not a leather strip used to keep a fly's pants from falling off. Joking aside, you will hear exactly what the fly belt is and how the tsetse fly is filling a preservationist role. You'll also learn about parasitoids - and specifically, the differences between parasites and parasitoids. You'll hear how a wasp targets yellow jacket wasps, but only indirectly through a third party caterpillar. Prepare to have your mind blown.And Eric tells us why aphids are actually really important to our food web. And as frequent listeners know, I love aphids because of those links to the food web.Eric also gives us some perspective on how we, as individuals, can help make societal-level shifts to improve our environment. And stick around to the end - Eric has plenty of fine book recommendations, too (all are listed in the full show notes).You can find Eric @bugeric on Twitter and bug_eric on iNaturalist, and on Facebook. You can also find him on his blog at bugeric.blogspot.com.People, Organizations, WebsitesArthro-pod PodcastBirdability - accessibility in birding and natureBird Names for Birdsbugeric.blogspot.com - Eric's insect blogEric's Interview on the Ologies podcast with Allie WardMike Houck - Portland Audubon SocietyOregon Entomological SocietyPrinceton University Presssenseofmisplaced.blogspot.com - Eric's social commentary blogUnipress BooksBookslinks are affiliate linksInsectpedia, Eric Eaton's latest, due out May 3, 2022.Insects Did It First, by Greg Paulson and Eric EatonLate Night Thoughts on Listening to Mahler's Ninth Symphony, by Lewis ThomasLives of a Cell, by Lewis ThomasMariposa Road, by Robert Michael PyleThunder Tree: Lessons from an Urban Wildland by Robert Michael PyleWasps: The Astonishing Diversity of a Misunderstood Insect, Eric Eaton's ode to the wonders of wasps.What Are People For? by Wendell BerrySupport the show (https://www.patreon.com/naturesarchive)

Gillian Moore compares recordings of Mahler's Ninth Symphony and chooses her favourite. Mahler's final completed symphony is a monumental achievement ranging in emotion from wild passion to deep despair and finally resignation. He wrote it in 1908 and 1909 but did not live to see it performed. Leonard Bernstein said of the last movement: "It is terrifying, and paralyzing, as the strands of sound disintegrate. In ceasing, we lose it all. But in letting go, we have gained everything."

Dedicated to 'dem lieben Gott' (the beloved God), Bruckner's monumental Ninth Symphony in D minor was intended to be the culmination of his life's work. Bruckner began working on the Ninth Symphony in the summer of 1887, immediately after finishing his Eighth, but he died in 1896 before finishing the fourth and final movement. Nonetheless, Bruckner's Ninth Symphony is often performed as a mighty, visionary large-scale three-movement work. Shimmering strings and low brass start the opening movement, Feierlich, misterioso, followed by the Scherzo and an achingly expansive Adagio.

Second episode of the four part mini-series, "Classically Trained Indie Rockers", Jae talks to the indie band, Thee More Shallows's singer and song writer, Dee Kesler, who was originally based in San Francisco, CA, but now residing in Minneapolis, MN with his wife and two boys. 2021's "Dad Jams", which is Thee More Shallows's fourth full-length album, and the first full album Dee has released since 2007's "Book of Bad Breaks". The two chat about what Dee's been doing between the albums, family life and staying creative, while being a parent. Dee begins by sharing his days learning to play the violin through the Suzuki method as a youngster to the trials of touring with TMS, while being on the road. During the segment called "Secrets of Beethoven", the two get into the reason why it became a tradition in Japan, that every orchestra in the country performs Beethoven's Ninth Symphony on New Year's Eve. If you like the episode, please give a Five Star rating and subscribe to the pod! https://theemoreshallows.bandcamp.com/ #BBB #Beethoven #Bad Boy #Jae Cosmos Lee #A Far Cry #Chamber Orchestra #Self Conducted #Cape Symphony #Concertmaster #Classical #Bands #Rock Band #Thee More Shallows #Indie Rock #Indie Pop #Dee Kesler #Dad Jams #Monotreme Records #Anticon Records #Jingles #Suzuki Method #Touring #Tears For Fears #Simple Minds #Depeche Mode #SOB --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/beethovenbadboy/support

When Ludwig van Beethoven died in 1827, he was three years removed from the completion of his Ninth Symphony, a work heralded by many as his magnum opus. He had started work on his 10th Symphony but, due to deteriorating health, wasn't able to make much headway: All he left behind were some musical sketches. Ever since then, Beethoven fans and musicologists have puzzled and lamented over what could have been. His notes teased at some magnificent reward, albeit one that seemed forever out of reach. Now, thanks to the work of a team of music historians, musicologists, composers and computer scientists, Beethoven's vision will come to life. I presided over the artificial intelligence side of the project, leading a group of scientists at the creative AI startup Playform AI that taught a machine both Beethoven's entire body of work and his creative process. A full recording of Beethoven's 10th Symphony is set to be released on Oct. 9, 2021, the same day as the world premiere performance scheduled to take place in Bonn, Germany—the culmination of a two-year-plus effort. Past Attempts Hit a Wall Around 1817, the Royal Philharmonic Society in London commissioned Beethoven to write his ninth and 10th symphonies. Written for an orchestra, symphonies often contain four movements: the first is performed at a fast tempo, the second at a slower one, the third at a medium or fast tempo, and the last at a fast tempo. Beethoven completed his Ninth Symphony in 1824, which concludes with the timeless “Ode to Joy.” But when it came to the 10th Symphony, Beethoven didn't leave much behind, other than some musical notes and a handful of ideas he had jotted down. There have been some past attempts to reconstruct parts of Beethoven's 10th Symphony. Most famously, in 1988, musicologist Barry Cooper ventured to complete the first and second movements. He wove together 250 bars of music from the sketches to create what was, in his view, a production of the first movement that was faithful to Beethoven's vision. Yet the sparseness of Beethoven's sketches made it impossible for symphony experts to go beyond that first movement. Assembling the Team In early 2019, Dr. Matthias Röder, the director of the Karajan Institute, an organization in Salzburg, Austria, that promotes music technology, contacted me. He explained that he was putting together a team to complete Beethoven's 10th Symphony in celebration of the composer's 250th birthday. Aware of my work on AI-generated art, he wanted to know if AI would be able to help fill in the blanks left by Beethoven. The challenge seemed daunting. To pull it off, AI would need to do something it had never done before. But I said I would give it a shot. Röder then compiled a team that included Austrian composer Walter Werzowa. Famous for writing Intel's signature bong jingle, Werzowa was tasked with putting together a new kind of composition that would integrate what Beethoven left behind with what the AI would generate. Mark Gotham, a computational music expert, led the effort to transcribe Beethoven's sketches and process his entire body of work so the AI could be properly trained. The team also included Robert Levin, a musicologist at Harvard University who also happens to be an incredible pianist. Levin had previously finished a number of incomplete 18th-century works by Mozart and Johann Sebastian Bach. The Project Takes Shape In June 2019, the group gathered for a two-day workshop at Harvard's music library. In a large room with a piano, a blackboard and a stack of Beethoven's sketchbooks spanning most of his known works, we talked about how fragments could be turned into a complete piece of music and how AI could help solve this puzzle, while still remaining faithful to Beethoven's process and vision. The music experts in the room were eager to learn more about the sort of music AI had created in the past. I told them how AI had successfully generated music in the style of Bach. However, this was only a harm...

“WAS ‘THE EXORCIST' CURSED?” and 8 More Scary True Paranormal Horror Stories! #WeirdDarknessLike the podcast on Facebook – https://facebook.com/weirddarkness, join the Weirdos Facebook Group – https://facebook.com/groups/marlarhouse, and sign up for the fee email newsletter - https://weirddarkness.com/newsletter! Please SHARE Weird Darkness with someone who loves paranormal stories, true crime, monsters, or unsolved mysteries like you do! Recommending the show to others helps make it possible for me to keep doing the show!IN THIS EPISODE: (Dark Archives pisode with stories from August 09-10, 2018) *** A teenager suddenly begins seeing disturbing visions when at home. (A Visitor In The House) *** The Snallygaster was labeled as a fictional story created over a century ago to terrorize citizens in Maryland. But now it appears the creature might actually have been real. (Could The Snallygaster Be a Real Creature?) *** The mystery of what happened in room 1046 of the Hotel President remains unsolved to this day, despite endless files of evidence. (What Happened In Room 1046?) *** It is considered one of, if not the most terrifying film of all time. But is the film itself, “The Exorcist” cursed? (Was ‘The Exorcist' Cursed?) *** It's been described as part kangaroo, part horse, part bat, part bird, part reptile… what exactly is the Jersey Devil? (Unmasking The Jersey Devil) *** Why have so many classical composers died upon composing their ninth symphony? (The Curse of the Ninth Symphony) *** The RMS Queen Mary is now retired – but it appears some of its passengers and crew never got the message. (Ghosts Of The Queen Mary) *** Could the imaginary friend of a brother and sister not be their imagination? (My Great Grandparents' Home) *** Zombies are everywhere in pop culture – films, television, gaming, memes, etc. It's all obviously make-believe, but is it possible for an actual zombie apocalypse to take place in the real world? (Could a Zombie Apocalypse Really Happen?)SOURCES AND ESSENTIAL WEB LINKS…“Was The Exorcist Cursed?” by Troy Taylor: http://bit.ly/35SwjHB (Theme from “The Exorcist” written by Mike Oldfield, performed by Midnight Reapers from the album, “The Best of Halloween”.)“A Visitor In The House”: http://bit.ly/2OIpDGo “What Happened In Room 1046?” by Katie Serena: http://bit.ly/37Vyk7P “Could The Snallygaster Be a Real Creature?” by Steve Pearse: http://bit.ly/2OH9XTs “Could A Zombie Apocalypse Really Happen?” by Brent Swancer: http://bit.ly/34Imo7h “Unmasking The Jersey Devil” by Steve Pearse: http://bit.ly/2Pjndx1 “My Great Grandparents' Home” submitted to WeirdDarkness.com by Amanda R.: http://bit.ly/35WOtYO “Ghosts of the Queen Mary”: (link no longer available)“The Curse of the Ninth Symphony”: http://bit.ly/2Li3V9T Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music, EpidemicSound and/or AudioBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ), Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and/or Nicolas Gasparini/Myuu (https://tinyurl.com/lnqpfs8) is used with permission. 

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =WANT TO ADVERTISE ON WEIRD DARKNESS?Weird Darkness has partnered with AdvertiseCast to handle our advertising/sponsorship requests. They're great to work with and will help you advertise on the show. Email sales@advertisecast.com or start the process now at https://weirddarkness.com/advertise = = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness WeirdDarkness™ - is a production and trademark of Marlar House Productions. Copyright, 2021.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

Ludwig van Beethoven, (baptized December 17, 1770, Bonn, archbishopric of Cologne [Germany]—died March 26, 1827, Vienna, Austria), German composer, the predominant musical figure in the transitional period between the Classical and Romantic eras.Widely regarded as the greatest composer who ever lived, Ludwig van Beethoven dominates a period of musical history as no one else before or since. Rooted in the Classical traditions of Joseph Haydn and Mozart, his art reaches out to encompass the new spirit of humanism and incipient nationalism expressed in the works of Goethe and Friedrich von Schiller, his elder contemporaries in the world of literature; the stringently redefined moral imperatives of Kant; and the ideals of the French Revolution, with its passionate concern for the freedom and dignity of the individual. He revealed more vividly than any of his predecessors the power of music to convey a philosophy of life without the aid of a spoken text; and in certain of his compositions is to be found the strongest assertion of the human will in all music, if not in all art. Though not himself a Romantic, he became the fountainhead of much that characterized the work of the Romantics who followed him, especially in his ideal of program or illustrative music, which he defined in connection with his Sixth (Pastoral) Symphony as “more an expression of emotion than painting.” In musical form he was a considerable innovator, widening the scope of sonata, symphony, concerto, and quartet, while in the Ninth Symphony he combined the worlds of vocal and instrumental music in a manner never before attempted. His personal life was marked by a heroic struggle against encroaching deafness, and some of his most important works were composed during the last 10 years of his life when he was quite unable to hear. In an age that saw the decline of court and church patronage, he not only maintained himself from the sale and publication of his works but also was the first musician to receive a salary with no duties other than to compose how and when he felt inclined.

In this podcast, I unpack the narrative that forms the opening of the Ninth Symphony's Finale, as Beethoven searches for "joyful sounds," a tune we can all sing – the Ode to Joy.