Podcast appearances and mentions of Pablo Casals

Wenn zwei musikaffine Spanier ihren kleinen Sohn Pablo nennen, dann muss er wahrscheinlich Cellist werden. Pablo nach Pablo Casals. Bei Pablo Ferrández war das so. „Ich bin Pablo und ich spiele Cello – das war für mich das Normalste auf der Welt“, sagt der heute 34-Jährige. Jetzt legt er ein neues Album vor, sein viertes bei Sony, und diesmal ist sein Thema: der Mond.

Luigi Boccherini (1743-1805)La musica notturna delle strade di Madrid Op. 30 n. 6 (G. 324)Quintettino per due violini, viola e due violoncelli in do maggiore 1.       Le campane dell'Ave Maria 2.       Il tamburo dei Soldati 3.       Minuetto dei Ciechi 4.       Il Rosario (Largo assai, allegro, largo come prima) 5.       Passa Calle (Allegro vivo) 6.       Il tamburo 7.       Ritirata (Maestoso)Le Concert des NationsJordi Savall, conductor *****12:38Concerto n. 9 in si bemolle maggiore per violoncello e orchestra, G 4821.       Allegro moderato2.       Adagio non troppo3.       Rondo. Allegro Pablo Casals, violoncello London Symphony OrchestraLandon Ronald, conductor

1. Cautela en el consumidor ante 100 días de Trump. Hoy conversamos sobre los hallazgos de un estudio económico en una entrevista con Francisco Rodríguez-Castro, presidente y Principal Oficial Ejecutivo (CEO, por sus siglas en inglés) de Birling Capital, quien nos presenta su estudio sobre los efectos económicos de los primeros 100 días del presidente Trump.2. Insistente el rumor de que va la esposa de Elías Sánchez y actual secretaria del DACO, Valerie Rodríguez Erazo se va al Dept. de Estado a cambio de que confirmen a Janet Parra a Justicia.3. Verónica Ferraiuoli solicita retiro de su nombramiento como secretaria de Estado, la pregunta es ¿lo hizo porque no tenía los votos, porque mintió, porque el CPA le iba a poner querella o porque va para otra posición?4. Rivera Schatz dice retiro de Ferraiouli valida el compromiso del Senado5. Exgobernador García Padilla dice que “A veces el país prefiere que le mientan”… pero es que el el respeto se gana6. Convención de Psiquiatras preocupados por el aumento en suicidios y la tendencia liberal hacia el uso del cannabis7. Un nuevo Junte Sinfónica cobrará vida en una velada a celebrarse el martes 29 de abril de 2025 a las 7:30 p.m. en la Sala Sinfónica Pablo Casals del Centro de Bellas Artes de Santurce.Estas son algunas de las noticias que tenemos hoy En Blanco y Negro con Sandra.AUDIO: Este es un programa independiente y sindicalizado. Esto significa que se transmite simultáneamente por una serie de emisoras de radio y medios que son los más fuertes en sus respectivas regiones, por sus plataformas digitales, aplicaciones para dispositivos móviles y redes sociales. Estos medios son:1. Cadena WIAC - WYAC 930 AM Cabo Rojo- Mayagüez2. Cadena WIAC – WISA 1390 AM Isabela3. Cadena WIAC – WIAC 740 AM Área norte y zona metropolitana4. WLRP 1460 AM Radio Raíces La voz del Pepino en San Sebastián5. X61 – 610 AM en Patillas6. X61 – 94.3 FM Patillas y todo el sureste7. WPAB 550 AM - Ponce8. ECO 93.1 FM – En todo Puerto Rico9. Mundo Latino PR.comPodcast disponible en Spotify, Soundcloud, Apple Podcasts, Google Podcasts y otras plataformas https://anchor.fm/sandrarodriguezcottoTambién nos pueden seguir en:REDES SOCIALES: Facebook, X (Twitter), Instagram, Threads, LinkedIn, Tumblr, TikTokBLOG: En Blanco y Negro con Sandra http://enblancoynegromedia.blogspot.comSUSCRIPCIÓN: Substack, plataforma de suscripción de prensa independientehttps://substack.com/@sandrarodriguezcottoOTROS MEDIOS DIGITALES: ¡Ey! Boricua, Revista Seguros. Revista Crónicas y otros

On this week's episode of Inside the Music, Derek takes a look at the compositions and transcriptions of composer-performers Ferruccio Busoni, Pablo Casals, and Astor Piazzolla. This episode features live CRC performance by pianists Frederic Chiu, Arnaldo Cohen, and Dubravka Tomsic; Budapest Strings; and the Kremerata Baltica. Bach‐Busoni: Chorale‐Prelude, Wachet auf, ruft uns die stimme, BWV 140Frederic Chiu [11/13/2002 performance]Bach‐Busoni: Chaconne from Partita No. 2 in D Minor, BWV 1004Arnaldo Cohen [1/21/2001 performance]Bach‐Busoni: Prelude and Fugue in D Major, BWV 532Dubravka Tomsic [3/24/2000 performance]Casals: Song of the BirdsBudapest Strings [11/13/2002 performance]Piazzolla: OblivionKremerata Baltica [4/28/2002 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

I've already done a Lententide episode devoted to contraltos singing the music of Bach, but it seemed to me that in the upheaval of today's vengeful and war-hungry world, we could use another contemplative episode to provide us with meditative (and even tuneful!) music to calm our spirits. The tunefulness comes especially from recordings of favorite religious music by Gounod, Franck, and other 19th-century French composers sung by Camille Maurane, Marcel Journet, Richard Verreau, and Françoise Pollet. Also included are a live excerpt from Parsifal with Jon Vickers and Hans Knappertsbusch; the miraculous yet voiceless Hugues Cuénod performing an excerpt from the first of Couperin's Leçons de Ténèbres; the unsung German-British soprano Ilse Wolf in a live performance of the Bach Johannes-Passion conducted by Pablo Casals; Gundula Janowitz in a searing but brief aria from Mendelssohn's Paulus; excerpts from settings of the Stabat Maters of Haydn and Dvorák, sung by Alfreda Hodgson, Sena Jurinac, and Heinz Hoppe; the original version of Hendrik Andriessen's exquisite Miroir de Peine cycle for voice and organ featuring our beloved Elly Ameling; and Jennie Tourel in an excerpt from her ultra-rare recording of Hindemith's Das Marienleben preceded by Lotte Lehmanns's recitation of the same Rilke poem. The episode begins and ends with realizations by Benjamin Britten and Michael Tippett of Baroque masters Henry Purcell and Pelham Humfrey sung, respectively, by Peter Pears and John Shirley-Quirk. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

This Day in Legal History: Selma to Montgomery MarchOn March 21, 1965, Martin Luther King Jr. led the beginning of the third and final Selma to Montgomery march, a pivotal moment in the American civil rights movement. The march was a direct response to the violent suppression of earlier demonstrations and the systemic disenfranchisement of Black voters in the Jim Crow South. Just weeks earlier, peaceful marchers had been brutally attacked by law enforcement on “Bloody Sunday,” as they attempted to cross Selma's Edmund Pettus Bridge. That violence was broadcast nationwide, shocking the conscience of the country and mobilizing public support for voting rights legislation.The march that began on March 21 was federally sanctioned, with U.S. District Judge Frank M. Johnson Jr. ruling that the demonstrators had a constitutional right to march. Protected by federal troops and the National Guard, the marchers traveled 54 miles over five days, arriving at the Alabama State Capitol in Montgomery on March 25. Their numbers swelled to more than 25,000 by the time they reached the steps of the Capitol, where Dr. King delivered his famous "How Long, Not Long" speech, declaring that “the arc of the moral universe is long, but it bends toward justice.”This sustained campaign of nonviolent resistance laid the moral and legal foundation for the Voting Rights Act of 1965, signed into law just five months later. The Act outlawed discriminatory practices like literacy tests and poll taxes and empowered federal oversight of voter registration in areas with histories of discrimination. The Selma marches highlighted the power of constitutional protest and judicial protection of civil rights, reinforcing the essential role of federal courts in safeguarding democratic participation.There was once a towering oak tree that stood firm in the wind and, under it, a reed that bent whenever the wind blew. A tyrant came to the land of the reed and oak, stomping his boot wherever he pleased. The oak resisted and was chopped down. The reed, seeing this, bent deeper–letting the boot press it into the mud day after day. Years passed and the reed, still alive, whispered to the boot: “See? I'm wise – I survived.”The boot replied, “You're not wise. You're soft. The oak was crushed because it defied us. But you? I step on you because I can.” Then the boot ground the reed into the dirt—without another thought. In a move that underscores the growing influence of executive power over traditionally independent legal institutions, President Trump rescinded an executive order targeting Paul Weiss after the firm pledged $40 million in pro bono services aligned with his administration's political goals. The announcement followed a private meeting with firm chairman Brad Karp and was accompanied by a sweeping commitment: no DEI policies, merit-based hiring, and representation of clients across the political spectrum—including those favored by the administration.Trump had previously sanctioned Paul Weiss by revoking its security clearance and threatening client contracts, citing the involvement of former partner Mark Pomerantz in the Manhattan DA's prosecution of Trump. That campaign against Paul Weiss, part of a broader effort targeting over 20 legal entities, seemed aimed at punishing firms perceived as adversarial while promoting loyalty through coercion.Karp's public gratitude for the order's withdrawal—and his reported acknowledgment of “wrongdoing” by Pomerantz—reads less like a principled resolution and more like a compelled confession by a simpering coward. Paul Weiss, a firm with deep Democratic ties, has now aligned itself with a president actively dismantling traditional norms around legal independence, seemingly in exchange for restored access and favor.This capitulation signals more than just a thaw in Trump's icy relationship with Big Law—it may represent a strategic blueprint: punish, pressure, and reward compliance – like with dogs. Legal experts and those with eyes to see warn that this redefinition of executive influence risks turning law firms into instruments of political will rather than defenders from it.Trump Rescinds Paul Weiss Order as Firm Pledges $40 Million (2)Frustrated by constant helicopter and seaplane noise, New York lawmakers are pushing for a first-of-its-kind "noise tax" targeting non-essential flights over the city. The proposal, led by state Sen. Kristen Gonzalez, would charge $50 per seat or $200 per flight for tourist and luxury air travel, while exempting essential services like medical transport, law enforcement, and construction. The revenue—expected to reach $10–15 million annually—would fund the state's Environmental Protection Fund, a move Gonzalez says is critical amid federal environmental funding cuts under President Trump.The bill reflects growing anger among residents across socio-economic lines who say aerial traffic disrupts daily life, especially in parks and along waterfronts. App-based services like Blade have exacerbated the issue by making chartered air travel more accessible to the wealthy, turning the skies into noisy corridors over neighborhoods and landmarks.Supporters, including advocacy group Stop the Chop NY/NJ, hope the tax discourages unnecessary flights by raising costs. However, the helicopter industry, represented by Vertical Aviation International, strongly opposes the bill. They argue that aviation regulation is solely under federal jurisdiction and warn the tax could trigger lawsuits and threaten jobs. The group says it has already taken steps to reduce noise but acknowledges that changing flight paths often just shifts the problem from one area to another.The legislation has passed the state Senate but faces challenges in the Assembly, where it stalled last year. With a budget deadline approaching on April 1, negotiations continue.New Yorkers Sick of Hovering Helicopters Prompt Bid to Tax NoiseA federal judge has ruled that the Social Security Administration (SSA) likely broke privacy laws by giving Elon Musk's anti-fraud team, known as the Department of Government Efficiency (DGE), unrestricted access to sensitive personal data on millions of Americans. Judge Ellen Lipton Hollander of Maryland blocked any further data sharing and criticized the agency for turning over vast amounts of information without proper oversight. The judge described DGE's actions as a "fishing expedition" based more on suspicion than evidence, warning against overreach in the name of rooting out fraud.The data in question comes from the SSA's “Numident” database—its so-called “crown jewels”—which holds Social Security numbers, medical records, banking data, and more, some dating back to the 1930s. SSA officials admitted DGE staff had access to a “massive amount” of records, and privacy advocates said the team was embedded in the agency without vetting or training. The ruling requires DGE to delete any data it accessed.The decision is a significant setback for DGE and comes on the heels of another ruling limiting Musk's authority to shut down USAID, since he lacks Senate confirmation. President Trump's administration has defended DGE's mission, calling it a necessary tool to cut waste, but the court noted a disturbing lack of concern for citizen privacy. SSA's acting head, Leland Dudek, expressed confusion over the order's breadth and said it might require cutting off access for all SSA staff.Meanwhile, labor unions and advocacy groups involved in the lawsuit welcomed the decision, saying it defends Americans' data from unlawful government intrusion. DGE's aggressive tactics have drawn scrutiny across other agencies as well, with courts allowing access in some departments but blocking it in more sensitive areas like the Treasury.Judge stops Musk's team from 'unbridled access' to Social Security private data | ReutersChief Judge Diane Sykes of the 7th U.S. Circuit Court of Appeals will take senior status on October 1, creating the first appellate court vacancy during President Donald Trump's second term. Sykes, appointed by President George W. Bush and once considered a potential Supreme Court nominee under Trump, has served over three decades in both the Wisconsin and federal judiciary. Her transition to semi-retirement allows Trump to nominate a new full-time judge to the influential Chicago-based court, which currently holds a narrow 6–5 Republican-appointed majority.Sykes cited a desire to spend more time with family as her reason for stepping back from active service. She becomes the second federal appellate judge to announce senior status since Trump's return to office, following Judge Sandra Ikuta of the 9th Circuit. While four appellate vacancies remain from President Biden's term, Sykes's departure offers Trump his first direct opportunity to shape the 7th Circuit bench.Sykes has authored notable decisions, including one upholding Wisconsin's voter ID law and a dissent in a landmark 2017 case where the 7th Circuit ruled that LGBTQ employees are protected under Title VII. She criticized the majority in that case for overstepping legislative boundaries—a position later rejected by the Supreme Court in Bostock v. Clayton County (2020).7th Circuit's Sykes to take senior status, creating vacancy for Trump | ReutersThis week's closing theme is by Johann Sebastian Bach.This week, we close with a piece as enduring and elemental as the legal principles we often discuss: Johann Sebastian Bach's Cello Suite No. 1 in G Major, specifically its iconic Prelude. Born on this day, March 21, 1685, Bach remains one of the foundational figures in Western music—a composer whose work balances mathematical precision with deep emotional resonance. Though he wrote for kings and churches, his music speaks to the full range of human experience, from joy to lament, duty to wonder.The Prelude to this suite is among the most recognizable solo cello pieces ever written, opening with a simple G major arpeggio that expands into a flowing, almost improvisational meditation. It's unaccompanied, yet complete—no orchestra, no embellishment, just one instrument revealing infinite depth. Written around 1717–1723 during Bach's time in Köthen, the suites were not published in his lifetime and lay in relative obscurity until cellist Pablo Casals rediscovered them in the 20th century.The piece carries a quiet authority that feels apt for reflection—whether on a ruling, a civil rights march, or a government in turmoil. It's structured, yes, but never rigid; expressive, but never indulgent. The Prelude doesn't declare or argue. It invites, it unfolds. It reminds us, like authority best wielded, that elegance lies in clarity and that restraint can be a form of power.This week, we let the steady resonance of Bach's Prelude accompany us out.Without further ado, Johann Sebastian Bach's Cello Suite No. 1 in G Major, the Prelude. Enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

durée : 01:28:40 - invité : le violoncelliste Christian-Pierre La Marca - par : Aurélie Moreau - Le violoncelliste Christian-Pierre La Marca célèbre les figures emblématiques du violoncelle par une série de 10 podcasts de France Musique. Les premiers parus sont consacrés à Jacqueline du Pré, Pablo Casals, Emanuel Feuermann, Gregor Piatigorsky.

"La musica scaccia l'odio da coloro che sono senza amore. Dà pace a coloro che sono in fermento, consola coloro che piangono".(Pablo Casals)

November 23, 1936 was a good day for recorded music. Two men, an ocean apart, sat before a microphone and began to play. One, Pablo Casals, was a cello prodigy who had performed for the Queen of Spain. The other, Robert Johnson, played guitar and was a regular in the juke joints of the Mississippi Delta. These recordings would change music history.This episode originally aired on NPR in 2011.****Right now is Radiotopia's Annual Fall Fundraiser! If just 1% of our listeners donated, we would hit our goal TODAY. Donate today at radiotopia.fm./donate. Thanks so much for your support.Liked what you heard? Follow us on Instagram, X (formerly Twitter) and Facebook @radiodiaries. To see photos and hear our Casals/Johnson mashup in full, visit us at radiodiaries.org.

"La musica scaccia l'odio da coloro che sono senza amore. Dà pace a coloro che sono in fermento, consola coloro che piangono".(Pablo Casals)

(Aniversario de la Suspensión de la Olimpiada Popular) «Los Juegos de la XI Olimpiada se iban a celebrar en 1936 en Berlín (Alemania), y varios países se plantearon el boicot a los Juegos por las políticas racistas de los nazis. Pero Hitler sabía que debía aprovechar aquel escaparate internacional para vender su nueva Alemania, así que suavizó las medidas (incluso permitió participar a algún deportista de origen judío) para evitar el boicot.... [Sin embargo,] España no cedió, y boicoteó los Juegos. Es más, el gobierno de la Segunda República organizó su propia competición: la Olimpiada Popular. »Para la organización de dicho evento se creó el Comité de la Olimpiada Popular... que fijó como fechas del... 19 al 26 de julio. Para esta Olimpiada se utilizaría la infraestructura creada para la Exposición Internacional de 1929, y el Estadio de Montjuïc sería la sede de las competiciones deportivas. Esta Olimpiada Popular no se iba a quedar en una mera competición deportiva, sino que también programaron otros actos culturales como un festival internacional de folclore. Además, la participación no quedaba [limitada] únicamente a delegaciones nacionales, sino que también podían participar territorios que no constituían un país, como Alsacia, Cataluña, Galicia, Protectorado francés de Marruecos o Marruecos español. Se inscribieron unos seis mil [deportistas], siendo las delegaciones de Estados Unidos, Francia y Países Bajos las más numerosas. Lógicamente, Alemania no envió ningún representante, pero sí se permitió inscribirse a alemanes exiliados del régimen nazi, algunos de ellos judíos. »Barcelona se engalanó, y sus calles se convirtieron en un hervidero de alegría, fiesta y, sobre todo, fraternidad. [Pero] el 18 de julio, un día antes de la inauguración de la Olimpiada y mientras el maestro [Pablo] Casals dirigía los ensayos de la Novena Sinfonía de Beethoven para la ceremonia de apertura, llegó un miembro de la organización... [y anunció:] “Suspendan el ensayo. Tenemos noticias de que esta noche habrá un alzamiento militar en toda España. El concierto y la Olimpiada han sido suspendidos.” »Los vítores a los campeones, la música, el sudor por el esfuerzo y las lágrimas del perdedor dejaron paso a los gritos de dolor, los bombardeos, la sangre de los heridos y las lágrimas por los muertos... la Guerra Civil Española. Algunos [deportistas] nunca llegaron a Barcelona debido al cierre de la frontera francesa, y la mayoría de los que ya estaban escaparon, pero unos pocos, alrededor de doscientos [deportistas], se unieron a las milicias populares para luchar por la República.»1 Así saca a la luz el bloguero español Javier Sanz una de las «Historias de la historia de los Juegos Olímpicos». Hoy más que nunca es urgente que sigamos el ejemplo de aquel gobierno de la Segunda República Española. A la luz de lo que afirma Santiago — que cometemos pecado si sabemos hacer el bien y no lo hacemos—, determinemos practicar lo que nos anima a hacer San Pablo: No nos dejemos vencer por el mal, sino derrotemos el mal con el bien2... ¡cueste lo que cueste! Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Javier Sanz, «Historias de la historia de los Juegos Olímpicos», 2 agosto 2021 En línea 22 octubre 2021. 2 Stg 4:17; Ro 12:21

In Episode 14 Antonia and Kate dig into Ann Sexton's ‘Unknown girl in a maternity ward' with themes of motherhood, delineations of persons and attitudes towards sin. We read from the Gospel of the Visitation (Luke 1:39-45), which though a few weeks ago feels a pertinent contrast to the poem. Lastly we discuss the contentious issue of re-wilding, what is it and does it fit with our position as stewards of the earth? Music: Sarabande from Bach's cello suite no.5 in C minor BWV 1011 played by Pablo Casals. Florilegium is a programme on Radio Maria which seeks to weave together liturgy, literature and  gardening in rambling, hopefully fruitful ways. It is written and presented by Kate Banks and Antonia Shack. About the Creators Antonia leads a patchwork life with jobs including but not limited to mother, book designer, editor, actor and teacher. She and Kate began discussing poetry, liturgy and gardening at the Willibrord Fellowship reading group in London and are delighted to be continuing these conversations on Radio Maria.  Kate is a teacher of Literature, Philosophy and Theology, with a particularly keen regard for the poet and artist David Jones around whom many of her studies and her teaching-subjects have been based. She also briefly worked as a gardener in London, though she now lives with her little boy on the river Exe in Devon. If you enjoyed this programme, please consider making a once off or monthly donation to Radio Maria England by visiting www.RadioMariaEngland.uk or calling 0300 302 1251 during office hours. It is only through the ongoing support of our listeners that we continue to be a Christian voice by your side.

Pe 26 mai, Teodora Brody, prima artistă care a dat voce Rapsodiilor compuse de George Enescu, revine la București cu un concert memorabil! "Unifying World", un eveniment muzical în care muzica clasică întâlneşte jazz-ul. Despre concertul de la Bucureşti, care dă startul unui turneu în Statele Unite, vorbim astăzi în RFI360 cu Teodora Brody.  În 2023, Teodora Brody lansa albumul  'Rhapsody', înregistrat cu London Symphony Orchestra, sub bagheta lui Robert Ziegler. 'Rhapsody' aducea împreună prelucrări vocale în premieră după teme celebre din muzica clasică. Un album ce pornește de la Rapsodia nr.1 a lui George Enescu. ” Teodora Brody a profitat de șansa de a face o mișcare evolutivă în viitorul muzicii. Imaginația și curajul ei sunt admirabile”, au scris americanii de la faimoasă revistă Fanfare, iar spaniolii de la Ritmo au subliniat: ”Cu Bartók și dansurile sale românești, românca este în elementul ei, devenind un punct de întâlnire între trei forțe copleșitoare ale naturii: Bartók, jazzul și Teodora Brody.” Născută în România, în prezent stabilită în Elveția, Teodora Brody s-a pregătit inițial în jazzul clasic și a devenit cunoscută la sfârșitul anilor 1990 și începutul anilor 2000, cântând alături de legendarul pianist de jazz Johnny Răducanu. Teodora a fost pionieră în fuziunea jazzului cu Doina – creație lirică specifică poporului român – și este larg recunoscută pentru introducerea publicului internațional în lumea unică a acestui gen muzical, profund emoționant și personal. Căutând teritorii muzicale de explorat, Teodora a interpretat alături de muzicieni precum Stanley Jordan, Theodosii Spassov, Lars Danielsson, Johnny Răducanu, Les Paul, Curtis Fuller, Eric Legnini, Phillippe Duchemin, Guido Manusardi, Benny Rietveld, Daniele di Bonaventura, Ion Baciu și Al Copley. Pe scena mondială, Teodora a apărut în mod regulat la prestigioase festivaluri europene de jazz, inclusiv Montreux, Lugano și Marciac, iar peste Atlantic a cântat la Biblioteca Congresului din SUA și la Galeria de Artă Corcoran, precum și la cluburi legendare cum ar fi Iridium New York și Blues Alley din Washington D.C.Cu proiecte unice precum „Unifying Worlds”, „From Classical to Jazz” și „Classical Emotion”, Teodora a explorat repertoriul clasic cu o abordare complet nouă, creând și interpratând versiuni vocale originale ale unora dintre capodoperele create de Bach, Beethoven, Enescu, Pachelbel, Vivaldi, Bartók, Pablo Casals.Duminică 26 mai, Teodora Brody prezintă concertul "Unifying World", la București, la Sala Luceafărul.

Welcome to the Instant Trivia podcast episode 1194, where we ask the best trivia on the Internet. Round 1. Category: And The Award Goes To... 1: This nutty comic won a 1996 National Society of Film Critics award for his role as "The Nutty Professor". Eddie Murphy. 2: Barbara Walters' "20/20" co-host, in 1998 he was awarded the Children's Champion Award from UNICEF. Hugh Downs. 3: While president of the Philippines, she received the Martin Luther King, Jr. Nonviolent Peace Prize. Corazon Aquino. 4: Category for which James Tobin, Gary Becker and Milton Friedman all won Nobel Prizes. Economics. 5: This Spanish cellist was among the first recipients of the Presidential Medal of Freedom. Pablo Casals. Round 2. Category: The Old Testament 1: Potiphar's wife tries to seduce this dream translator, who resists and ends up being sent to jail. Joseph. 2: Recipient of God's bad news "Thou shalt see the land before thee; but thou shalt not go thither". Moses. 3: One lie he told was "If they bind me with 7 green withs that were never dried, then shall I be weak". Samson. 4: He interpreted the "handwriting on the wall" for Belshazzar. Daniel. 5: In Exodus 21, 2 of the 4 body parts that follow "Thou shalt give life for life...". (2 of) an eye, a tooth, a hand and a foot. Round 3. Category: 20Th C. Quotes 1: A remark attributed to Eldridge Cleaver states, "You're either part of the solution or part of" this. the problem. 2: In a 1969 speech, he was 1st to refer to "The Great Silent Majority". Richard Nixon. 3: This clergyman wrote from a Birmingham jail, "Injustice anywhere is a threat to justice everywhere". Martin Luther King, Jr.. 4: Establishing scholarships in his will he said, "Educational relations make the strongest tie". Cecil Rhodes. 5: This famed WWII correspondent stated, "I write from the worm's-eye point of view". Ernie Pyle. Round 4. Category: Let'S Go For A Spin. With Spin in quotes 1: "Melrose Place" was one for "Beverly Hills 90210". a spin-off. 2: Here are the rules: if the soda container stops rotating and faces you, it's time to pucker up. spin the bottle. 3: It can be a yarn maker, or a woman who never married. a spinster. 4: It's the rotating skid of a car losing control. a spinout. 5: The bowman on a yacht is there to set this sail. a spinnaker. Round 5. Category: Tools Of The Kitchen 1: Different types of these can remove hot stuff from the oven or catch baseballs. a mitt. 2: A pair of hinged metal griddles with a honeycombed interior make up one of these. a waffle iron. 3: Both a product such as Adolph's and a kitchen tool have this name, referring to what they do to meat. a tenderizer. 4: You'll be draining without straining using a Williams-Sonoma one of these holey items. a colander. 5: The name of this perforated pasta prep bowl is from the Latin for "strain". a colander. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Für viele sind sie der Gipfel der Cello-Literatur überhaupt: Bachs Suiten Violoncello solo. Dabei waren die Stücke rund 200 Jahre nach der Entstehung so gut wie unbekannt. Bis der 13jährige Pablo Casals bei einem Trödelladen in Barcelona zufällig auf die Noten stößt... Von Martin Zingsheim.

Die sechs Solosuiten gelten als Anfang und Ende aller Cello-Musik, seitdem Pablo Casals sie "entdeckt" hat. Manchen gelten sie gar als Bibel des Instruments. BR-KLASSIK hat mit Alban Gerhardt über die sechste Solo-Suite von Bach gesprochen.

This week on Sinica, I'm delighted to welcome Dá Wēi (达巍), one of China's foremost scholars of China's foreign relations and especially relations with the U.S. Da Wei is the director of the Center for International Security and Strategy (CISS) at Tsinghua University in Beijing, and is a professor in the department of International Relations at the School of Social Science at Tsinghua. Before September 2017, Professor Da served as the Director of the Institute of American Studies at the China Institutes of Contemporary International Relations (CICIR), a leading think tank in Beijing. He was at CICIR for more than two decades and directed the Institute of American Studies from 2013 to 2017.We discuss the state of Chinese understanding of the United States: how China's strategic class assesses the state of the relationship, what brought it to this point, and what the future might hold.2:52 – American attitudes toward the U.S.-China relationship5:32 – The focus of academic think tanks and strategic communities in the U.S. versus China 11:13 – The Chinese strategic community's understanding of American domestic politics with respect to the upcoming U.S. presidential election 15:08 – The Chinese strategic community's understanding of why and how the current state of relations developed, and why China changed its trajectory 23:12 – The Chinese strategic community's perspectives on American policy: Do they see a difference between the parties?27:02 – Da Wei's concept of “Sullivanism” 33:41 – The question of mutual misunderstanding 38:37 – The role and influence of China's think tanks in the policymaking process43:29 – The idea of cognitive empathy — aka strageic empathy, or intellectual empathy — and how it could aid mutual understanding and the policymaking process52:30 – The Chinese perspective on Russia and the war in Ukraine 57:37 – The Chinese perspective on China's other international relations and the global context of the U.S.-China relationship 1:04:19 The issue of Taiwan and the question of the “status quo” 1:13:52 The importance of building people-to-people ties 1:16:51 – Da Wei's personal anecdote about an experience that influenced his understanding the U.S.-China relationshipRecommendations:Da Wei: Lust for Life by Irving Stone — a biography of Vincent van Gogh; Pablo Casals's recording of Johann Sebastian Bach's Cello Suites; the films Cinema Paradiso (1988) and Forrest Gump (1994). Kaiser: The Sopranos (1999-2007) TV series and The Sopranos Family Cookbook: As Compiled by Artie Bucco, written by Allen Rucker with recipes by Michele Scicolone. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Johann Sebastian Bach (1685 - 1750) - Suite n. 2 in re minore per violoncello solo, BWV 1008PréludeAllemandeCouranteSarabandeMenuet IMenuet II (sol minore)GiguePablo Casals, cello(Recording from 1936)

Luigi Boccherini (1743-1805)La musica notturna delle strade di Madrid Op. 30 n. 6 (G. 324)Quintettino per due violini, viola e due violoncelli in do maggiore I. Le campane dell'Ave Maria II. Il tamburo dei Soldati III. Minuetto dei Ciechi IV. Il Rosario (Largo assai, allegro, largo come prima) V. Passa Calle (Allegro vivo) VI. Il tamburo VII. Ritirata (Maestoso)Il Concerto delle Nazioni Jordi Savall, direttore*****12:38Concerto n. 9 in si bemolle maggiore per violoncello e orchestra, G 482 1.       Allegro moderato2.      Adagio non troppo3.      Rondò. Allegro Pablo Casals, violoncello London Symphony Orchestra Landon Ronald, direttore More info:https://it.wikipedia.org/wiki/La_musica_notturna_delle_strade_di_Madridhttps://www.flaminioonline.it/Guide/Boccherini/Boccherini-Concerto482.html

Pablo Casals nannte Bachs Suiten für Cello „das Evangelium der Cellisten“. Damit hat er nicht unrecht, meint Manuel Fischer-Dieskau. Für eine Videoproduktion hat der Cellist die Bach-Sonaten im Palais Lichtenau in Potsdam aufgenommen. Besonders ist die Wahl des Instruments: ein Violoncello Piccolo, das eine zusätzliche Saite besitzt.

Tenor saxophonist Sonny Rollins' practise notebooks, pianist Stephen Hough's account of tackling Tchaikovsky's First Piano Concerto, the voice of Fairport Convention's Sandy Denny in the words of Scottish poet Don Paterson, and E. M. Forster's evocation of Beethoven's 5th Symphony in Howard's End: just some of the texts we'll hear on tonight's celebration of writing about music.Ian's joined by four Radio 3 presenters to discuss the challenges of all sorts of music writing, from concert reviews to programme notes, memoirs, poetry, fiction, and scripts for radio. His guests are Essential Classics Georgia Mann who pored over Oasis reviews in the N.M.E. in her teens, Hannah French from The Early Music Show who once read a biography of Pablo Casals in a day, Composer of the Week's Kate Molleson who started out writing concert reviews at University in Montreal, and Corey Mwamba who presents Freeness and immersed himself in jazz books at Southampton library whilst doing his A-Levels. Producer: Ruth Thomson

Celebrating Beethoven's 253rd birthday.  Movements from the Cello Sonata #3 and the String Quartet #7, along with the Leonore Overture #3. Performers include: Pablo Casals, Rudolf Serkin, Karl Bohm and the Vienna Comcethouse Quartet. 

Writer, musician and broadcaster Kate Kennedy takes a personal look at five lost cellos, and what they can tell us of those who played and loved them and how our identities are shaped by the physical, social and psychological impacts of performance. Can a cello hold its player's soul? Jewish-Hungarian Pal Hermann was hailed as 'the next Pablo Casals' in the 1930s. He is now completely forgotten. Kate Kennedy retraces his steps across Europe, with his unique Gagliano cello as he attempted to escape the Nazis, from Berlin to Paris, to Toulouse and finally to Lithuania. Hermann's cello has been lost since 1952, but the key to finding it, she discovers, is an inscription burnt into the side of it. 'I am the soul of music'. She reflects on her quest to find Hermann's soul, his cello, and how near we can get to recovering a great and neglected musician himself.Producer: Adrian Washbourne Technical production by Mike Sherwood Executive Producer: Rami Tzabar A TellTale Industries production for BBC Radio 3

Cellist Philipp Schupelius hat sein Debütalbum "PAU! A Tribute to Pablo Casals" veröffentlicht. Julia Schölzel spricht mit ihm unter anderem darüber, welche Rolle Pablo Casals in seinem Leben spielt.

Sir Patrick Stewart's memoir Making It So looks back over his long and eclectic acting career encompassing stage, film and television and video games. He has played roles in productions as varied as I, Claudius, Shakespeare and Star Trek: the Next Generation. Samira talks to him about his journey from a poor childhood in Yorkshire to Hollywood. The history and culture of the skateboard is the subject of an exhibition at London's Design Museum. Associate curator Tory Turk and film-maker and skateboarder Winstan Whitter discuss its development from a makeshift practice device for Californian surfers in the 1950s to a high-tech worldwide sport. The great cellist, and advocate for peace, Pablo Casals died 50 years ago this week. Steven Isserlis explains his importance in redefining the role of the cello in music. In the Front Row studio Steven demonstrates on his cello the influence of Casals on cellists to this day and performs Song of the Birds one of Casals's own compositions for the instrument.

Pablo Casals revolutioniert das Cellospiel und engagiert sich als Künstler gegen den Faschismus. Am 22.10.1973 stirbt der Spanier in San Juan de Puerto Rico. Von Michael Struck-Schloen.

Vor 50 Jahren ist der katalanische Cellist Pablo (Pau) Casals gestorben, im hohen Alter von 97 Jahren. Er gilt als der «Vater» des modernen Cellospiels, weil er die Spielweise dieses Instrumentes weiterentwickelt hat, aber auch durch seine Interpretationen.  So war er etwa derjenige, der Johann Sebastian Bachs Suiten für Cello solo im Konzertleben etabliert hat. Und Casals hat auch die Rolle des reisenden Solo-Cellisten quasi erfunden. Die Aufnahme der Bach-Suiten von Pablo Casals ist in den 1930er Jahren entstanden, und auch seine anderen Einspielungen strahlen historisches Flair aus. Wie schneiden sie heutzutage ab? Im Vergleich mit anderen Cellistinnen und Cellisten? Wir stellen in dieser Sendung Casals-Aufnahmen von Werken von Bach, Beethoven, Schumann und Chopin (!) auf den Prüfstand. Dazu hat Norbert Graf die Cellistin Martina Schucan und den Cellisten Patrick Demenga ins Studio geladen.

Con la participación de Elías López Sobá q.e.p.d.

We follow up the last few week's ideas on significance in quotes by Oprah Winfrey, Michael Josephson, Ken Blanchard, Jackie Robinson, Nelson Mandela, Sean Michael Norris, and John Maxwell with three new quotes on significance.These quotes talk about a few concepts: where significance comes from, the impact that we have on others, even when we aren't necessarily thinking about it, and the power and importance of caring for others.These quotes also help expand on the concepts of significance that I have been discussing as I build the SlamDunk Significance program that I told you about a couple of months ago. You can check out my new SlamDunk Significance program at slamdunksignificance.com.For more information to help you on your road to becoming your best, check us out at SlamDunkSuccess.com or email me at scott@slamdunksuccess.com.As always, our background music is "Dance in the Sun" by Krisztian Vass.

Maya Beiser – InfInIte Bach: J.S. Bach's Six Cello Suites (Islandia Music Records) Jump to giveaway form New Classical Tracks - Maya Beiser by “I'll never forget. I think I was 10. My father said, ‘Maya, you have to decide: It's Carnegie Hall or Wimbledon,'” cellist Maya Beiser says, “And I remember telling him, ‘I don't think it's going to be Wimbledon, so why don't we do Carnegie Hall?'”Beiser did not disappoint her father. She has performed at Carnegie Hall many times over the years. She admits her father wasn't all that keen on the crazy contemporary music for which she's best known. However, he would have loved her latest recording, which is why she dedicated it to him. It's called Infinite Bach,' and it features the composer's famous cello suites.“The earliest musical memory that I have is of Bach, specifically the Bach cello suites,” she says. “I grew up in the northern part of Israel, in the Galilee, at a time where there was constant threat of war. And we spent actually a lot of time in shelters during my early childhood. I grew up in a commune. It was called a kibbutz.“And my father would always just listen to music. He bought this old recording of Pablo Casals performing the cello suites, and that is the earliest memory of my childhood, is the pleasure of just listening to that music in my parents' little house. It was the sense of safety and the connection that music always had for love.“I never thought I was going to record the Bach suites, because I always felt that there were enough recordings out there. There were wonderful cellists who have already done that, and I felt that I had a different mission. I'm 60 now. So it was kind of a big, momentous moment. For years, I had to juggle being a mother and a partner and all these things, and then the pandemic. During that time, my partner and I found this house in the Berkshires. We just fell in love with that place because it was inspiring. It had this separate converted barn; it just had the most incredible acoustics.“The first day I was there, I just took my cello and I sat in the middle of this empty space and just started to play the Bach suites. I all of a sudden realized that this is what I want to do for the next year. I imagined the cello as this sort of giant organ that takes over, and I wanted to create all these different reverbs and delays, but without any artificial electronics.  I wanted everything to be acoustic.”You say in your liner notes that some believe the suites bear a whisper of Bach's wife. Why did you include this?“All my teachers were men; all my mentors were men. And they always told me, you need to listen to Pablo Casals and Rostropovich and Pierre Fournier. I can give you the list. They were all older men. There was no model of how a woman would think of this music.“There are people who claim that Anna Magdalena, Bach's wife, was actually the one who wrote the suites. And whether it's true or not, the idea intrigued me. So I just liked to think about it as if I'm presenting a feminine Bach.” Maya Beiser: InfInIte Bach (Official Music Video) Water, The Prelude in D minorTo hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts.GiveawayMaya Beiser New Classical Tracks GiveawayYou must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules.ResourcesMaya Beiser – Infinite Bach: J.S. Bach's Six Cello Suites (Islandia Music Records)Maya Beiser – Infinite Bach: J.S. Bach's Six Cello Suites (Amazon)Maya Beiser (official site)

durée : 00:20:41 - Disques de légende du mercredi 28 juin 2023 - Formé dans les années soixante grâce à l'initiative de Pablo Casals, le trio Istomin-Stern-Rose (piano, violon, violoncelle) est constitué de solistes qui ont mené par ailleurs de brillantes carrière

durée : 01:27:19 - Les Concerts Lamoureux, de 1881 à nos jours (4/5) : grands chefs invités - par : François-Xavier Szymczak - A la baguette de l'Orchestre Lamoureux aujourd'hui : Igor Stravinsky, Charles Munch, Jean Fournet, André Jolivet, Pablo Casals, Antal Dorati. Sans oublier des solistes de légende, Magda Tagliaferro, David Oïstrakh, Jean-Pierre Rampal, et même Jacques Brel en récitant de Pierre et le loup !

El proyecto legislativo promovido por Juan Zaragoza para enmendar la Ley 60 que privilegia a los millonarios, el “imán de oportunidades” de PierLUMA, la ausencia de un plan de desarrollo económico, la lista de donantes del Súper PAC de Pierluisi provista por Joey Fuentes, “El Alambradísimo”, el cartel de la tecnología del Depto. de Salud revelado por el Centro de Periodismo Investigativo, la “renovación” del PPD bajo la presidencia de Jesús Manuel Ortiz, la demanda del PIP y MVC a la Comisión Estatal de Elecciones para la viabilidad de las alianzas, las reacciones apocalípticas del bipartidismo a la alianza PIP-MVC, trasfondo histórico de las alianzas políticas en PR, la visita de Juan Dalmau al Congreso de EEUU y la intención de traspasar la obra de Pablo Casals a una entidad privada. Conducido por Néstor Duprey Salgado y Eduardo Lalo. Síguenos en las redes: Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@PalabraLibrePR⁠⁠⁠⁠⁠⁠⁠⁠⁠, Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Palabra Libre PR⁠⁠⁠⁠⁠⁠⁠⁠⁠ Página web: ⁠⁠⁠⁠⁠⁠⁠⁠⁠Palabra Libre – Más allá del bipartidismo (palabralibrepr.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- Colaboradores: Librería El Candil (⁠⁠⁠⁠⁠⁠⁠⁠⁠www.libreriaelcandil.com⁠⁠⁠⁠⁠⁠⁠⁠⁠), Música: Cafêzz (⁠⁠⁠⁠⁠⁠⁠⁠⁠www.cafezzmusic.com⁠⁠⁠⁠⁠⁠⁠⁠⁠) y Bambola Juguetes (⁠⁠⁠⁠⁠⁠⁠⁠⁠bambolajuguetes.com⁠)⁠.

In his newest release, cellist Bion Tsang returns to Glasgow, Scotland for his second recording with the Royal Scottish National Orchestra and conductor Scott Yoo. CANTABILE, available from Universal Music Group on digital platforms tomorrow, April 14, and on CD in May 2023, features two works by Tchaikovsky, Variations on a Rococo Theme (Op. 33) and Andante Cantabile (Op. 11), and Schumann's Cello Concerto, bookended by two renditions of Pablo Casals' “Song of the Birds.”CANTABILEBion Tsang, CelloScott Yoo, ConductorRoyal Scottish National Orchestra           Pablo Casals01       "El cant dels ocells” ("Song of the Birds”), for Cello and String Orchestra  [04:07]            Pyotr Ilyich Tchaikovsky02       Variations on a Rococo Theme, Op. 33, for Cello and Orchestra  [19:25]            Robert Schumann           Concerto in A minor, Op. 129, for Cello and Orchestra03       Nicht zu schnell  [11:19]04       Langsam  [04:01]05       Sehr lebhaft  [08:09]            Pyotr Ilyich Tchaikovsky06       Andante Cantabile, Op. 11, for Cello and String Orchestra  [07:03]            Pablo Casals07       "El cant dels ocells” ("Song of the Birds”), for Solo Cello (arr. Tsang)  [03:49]Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Je dagelijkse portie muzikale verwondering. Welkom in mijn wonderkamer, vol muziek, verhalen en voorwerpen. Een muzikale reis door eeuwen, windstreken en genres. 'Elegie' Hij won in 1908 een gouden medaille roeien op de Olympische Spelen van Londen, daarnaast begeleidde hij oa Pablo Casals aan de piano, en hij werd componist… Frederick Septimus Kelly overleed tijdens de Slag bij Somme in november 1916. Meer zien? Klik hier (https://www.nporadio4.nl/klassiek/podcasts/52c2d0aa-69cb-4ea5-9064-db3b940d5bae/dit-hoor-je-deze-week-in-franks-klassieke-wonderkamer-week-17-24-t-m-28-april) Frederick Septimus Kelly Elegy for Strings (In Memoriam Rupert Brooke) BBC Symphony Orchestra olv David Lloyd-Jones (album: The Spirit of England) Franks Klassieke Wonderkamer is straks niet meer via de Bach van de Dag feed te beluisteren. Niks missen? Abonneer je dan op de podcast Franks Klassieke Wonderkamer.

Compline by Candlelight provides peace and stillness as one week ends and another begins. Set in the tranquility of St. Paul's Chapel, one of the oldest buildings in New York City, guests find a seat and hold a candle, while 30 minutes of improvised music by The Choir of Trinity Wall Street fill the space. There's nothing to do but listen. O vos omnes – Pablo Casals

Today we took a new look at an old question: What does it take to become a really, really good copywriter? I wanted to answer this question by zeroing-in on the path of mastery. I've been learning about the path of mastery for a long time. What I found out goes against what I learned in school and what I see on TV and in the movies. Our culture celebrates achievers but it does NOT respect the path of mastery very much. I'm lucky in that I know a number of copywriters who are well along this path, including a few who are personal friends and a few more who are my mentoring clients. To prepare for this show, I went back to the books I've been reading since 2009 to flesh out my ideas and observations. A few surprises, some new information. But nothing that goes against anything I've noticed and concluded up until now. So what I did was pick some key points from great books about mastery, and weave all that together with some practical, down-to-earth tactics and approaches for getting really, really good at copywriting. The way I see it, in copywriting, the word “mastery” is a term to describe having so many skills and so much knowledge at your fingertips that what you do looks effortless to someone watching you. It's not really effortless, but it's certainly different, when you do something after having prepared yourself to get really good and having done it in a certain way. And there is a known and documented way to get to this place. A better way to say it is: to get on this path. Because mastery, it turns out, is much more a path than a place. It's more a journey than a destination. It's more a way of continuously working on your skills, rather than a badge that you put up on your website. When you're well along the path of mastery, you may be able to solve problems and come up with ideas in a fraction of the time it takes someone with less experience to do the same thing. When you do it, often seems effortless to the person watching. If they knew what was going on under the hood, they would know better. It's not excruciating, but it's not always that easy, either. In copywriting at the highest levels, being able to perform at a high level is important. Why? Because somehow, as copywriters we find ourselves, in situations where we have to fix things or change directions under great time pressure. If you have the ability to go with the flow in situations like that, it can make all the difference in the world. On today's show, we didn't talk that much about the amazing feats of master copywriters. But we took a really good look at how they got there and how you can get there, too. Because when the heat is on, you'll want to be there yourself. When everyone's counting on you, you want them to feel good about how you perform. The advantages are: you have more choices and more opportunities. You end up working with more interesting people on more interesting projects. And, last but not least, you end up getting paid a lot more money. Here are the four parts of today's show: Part 1: Practice Doesn't Make Perfect — But Practice for Mastery Keeps Making You Better and Better What famed cello player Pablo Casals said about practicing. The definition of the kind of practice that makes mastery possible from the leading expert in the field, Anders Ericcson. Plus more from author Daniel Coyle and Robert Greene. Part 2: The Two False Flags On The Path Of Mastery My favorite expert on mastery is the late writer George Leonard. Some important insights from him on what the path is like, along with two misleading signs to watch out for, and why they occur from time to time. Part 3: So What Do You Practice, Anyway? Killer wisdom from martial art great Bruce Lee, as well as a couple other great insights from master teacher of hypnosis Igor Ledochowski and author Robert Greene. Also, a key finding from neuroscience about mastery, from author Daniel Coyle. This part of the show gives you a clearer picture of how practice fits into your journey as a copywriter. Part 4: What Gets You On The Path And Keeps You Going The surprising personal quality that gets and keeps you on a path to mastery. Spoiler alert: It's not innate intelligence or talent. But, according to Robert Greene, it IS genetic. Books mentioned: Mastery, by George Leonard https://www.amazon.com/Mastery-Keys-Success-Long-Term-Fulfillment-ebook/dp/B01ND0X91Y Mastery, by Robert Greene https://www.amazon.com/Mastery-Robert-Greene-ebook/dp/B007V65PBK The Talent Code, by Daniel Coyle https://www.amazon.com/Talent-Code-Greatness-Born-Grown-ebook/dp/B0026OR1UK Peak, by Anders Ericcson and Robert Pool https://www.amazon.com/Peak-Secrets-New-Science-Expertise-ebook/dp/B011H56MKS Download.

As this podcast is released, it is the day before Valentine's Day, and whether you celebrate the day in a special way or not, it's hard to escape the advertisements urging us to buy and send cards, candy and flowers. I think, though, that we harpists have a special role to play, not just on Valentine's Day, but every day.  Music, love and romance are inseparable for most of us. We have our special songs that bind us to those we love. There are certain pieces of music that tug at our hearts and move us to barely expressible joy or tears. In the words of virtuoso cellist Pablo Casals,  “Music is the divine way to tell beautiful, poetic things to the heart.” And what instrument is more appropriate than the harp to be the voice of those beautiful, poetic things? In the Bible, we read how David soothed Saul with his harp music. Folk traditions the world over associate the harp with love. In early  Norse and various Celtic traditions, the harp was a symbol of love, and its strings represented a mystic bridge between heaven and earth by which one could ascend to higher levels of love. The men and women who play the harps in legends from every corner of the world are brave and courageous heroes whose music wins the freedom and the hearts of those they love.  History aside, I imagine you feel as I do, that the harp is the quintessential instrument of romance. Harp music encompasses a wide variety of styles, certainly, but the beauty of its rippling arpeggios, lush chords and warm, liquid tone are undeniably magical. Today our conversation is about romantic music. I'll give you some insights about what music historians mean by the term “Romantic music,” which may not be what you think of as romantic music. We'll also talk about romantic harp music, the composers who wrote it historically and the romantic-feeling music we love to play, no matter when it was written. I'll even play a little for you. Plus I'll share some of the techniques you'll want to use to make your music more flowing, magical and, well, romantic. Links to things I think you might be interested in that were mentioned in the podcast episode:  Join the free Harp Mastery® Hub for harp conversation and inspiration. Related resource Take a Musical Gondola Ride: Play a Barcarolle blog post Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com  LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-091

1. Narcotraficante canadiense será extraditado esta semana. Connor Vincent D'Monte allegado a políticos, asiduo en La Fortaleza y cercano a apicultores lleva 1 año en la cárcel federal de Guaynabo; mucha gente se quiere despegar de este caso. 2. Senadora del PIP María de Lourdes Santiago urge detener medida que entregaría patrimonio de Pablo Casals a entidad privada . 3. Contundente Carta pastoral de la Conferencia Episcopal Puertorriqueña emiten carta pastoral sobre la Salud en Puerto Rico, exigen que pare la fuga de médicos y que se mejoren los servicios, que las aseguradoras paguen justamente y rápido. 4. 7 días para demoler en Aguadilla - Carlos Román González, su socio Juan López Vicenta y su empresa Aguadilla Pier tienen siete días para demoler y remover los escombros del potrero y gazebo que construyeron ilegalmente sin permisos sobre Cueva Las Golondrinas. 5. Confirman conversaciones con 4 aspirantes a la alcaldía de Mayagüez por el PPD al alcalde en funciones de Mayagüez, Jorge Ramos Ruiz, la representante Jocelyne Rodríguez Negrón (PPD/Mayagüez-San Germán), el profesor René Marrero; y el comerciante Robin H. Montes. 6. Policía activa alerta Ashanti tras recibir información adicional en caso de desaparición de mujer. Un grupo especial de agentes de diferentes divisiones de la uniformada fue asignado por el comisionado Antonio López Figueroa desde que se supo que Celivelys Rivera Santiago abandonó su hogar en Canóvanas. 7. Aumento en las armas ilegales. 8. El robo de identidad sigue con tendencia alcista. 9. Estados Unidos pide a sus ciudadanos que abandonen Rusia. 10. Funcionarios estadounidenses derriban un objeto no identificado que volaba sobre el lago Hurón. 11. Terremotos de Turquía y Siria | El terremoto de Turquía es ya el más letal de la región en más de un siglo con 33.000 muertos. 12. Flojo el SuperBowl, decepciona Rhianna en su presentación de medio tiempo. 13. ¿Ponerse vieja o ser Madonna? El debate sobre los estándares de belleza, lo que debe ser toda persona que envejece y la negación de la irreverencia. Éstas y otras noticias, las   presentamos hoy En Blanco y Negro con Sandra. Este es un programa   independiente, sindicalizado, que se transmite por una serie de emisoras, y   por sus respectivas plataformas digitales, y aplicaciones para dispositivos   Apple y Android: 1. Cadena WIAC - WYAC 930 AM: Cabo Rojo-Mayagüez 2. Cadena WIAC – WISA 1390 AM Isabela 3. Cadena WIAC - WIAC 740 AM: Área metropolitana 4. WLRP 1460 AM Radio Raíces: La voz del Pepino en San Sebastián 5. X61 610 AM: Patillas y toda la zona sureste 6. X61 94.3 FM: Patillas-Guayama 7. WPAB 550 AM Ponce 8. ECO 93.1 FM 9. Mi Podcast: Anchor, SoundCloud y demás. https://anchor.fm/sandrarodriguezcotto También nos pueden seguir   en las redes Sociales: · Facebook, Twitter, Instagram, LinkedIn, TikTok, YouTube · En el blog En Blanco y negro con   Sandra: http://enblancoynegromedia.blogspot.com · Y en nuestra   Plataforma en Substack, Sandra Rodríguez Cotto Música por QubeSound --- Support this podcast: https://podcasters.spotify.com/pod/show/sandrarodriguezcotto/support

Grieg schreibt seine einzige Cellosonate 1883 in einer schwierigen Lebensphase: Probenstress im Orchester, die Ehe in der Krise und die Kritiker nörgeln, ihm falle nichts mehr ein. Das hört man dem Werk mit seinen effektvollen Kontrasten nicht an. Von Michael Lohse.

November 23, 1936 was a good day for recorded music. Two men, an ocean apart, sat before a microphone and began to play. One, Pablo Casals, was a cello prodigy who had performed for the Queen of Spain. The other, Robert Johnson, played guitar and was a regular in the juke joints of the Mississippi Delta. These recordings would change music history. This episode originally aired on NPR in 2011.

Synopsis On this date in 1961, cellist Pablo Casals gave a chamber concert at the White House, at the invitation of President John F. Kennedy. The concert was given in honor of Governor Luis Muñoz of Puerto Rico, the home of Pablo Casals. Casals played works of Mendelssohn, Schumann and Couperin, with his own composition, Song of the Birds, as an encore. While eminent guests raved over the performance, the cellist's laconic comment was simply, “It went well.” Casals could afford to be blasé. After all, he had played at the White House before—for President Teddy Roosevelt back in 1904! Aaron Copland was also invited to the November 13th White House concert in 1961. In a diary entry, he noted: “Pierre Salinger and Senator Mike Mansfield were at our table. President Kennedy was in full view the entire time… I was surprised at his reddish-brown hair. No evil in the face, but plenty of ambition there, no doubt. Mrs. K. statuesque… After dinner we were treated to a concert by Pablo Casals. No American music. The next step.” That “next step” came the following spring. In May of 1962, the Kennedys presented Copland's ballet Billy the Kid at the White House for the visiting president of the Ivory Coast Republic, with Copland as guest of honor. Music Played in Today's Program Pablo Casals (1876-1973) Song of the Birds Patrick Demenga, cello; Gerard Wyss, piano Novalis 150117 Aaron Copland (1900-1990) Billy the Kid Ballet Dallas Symphony; Eduardo Mata, cond. Dorian 90170

Day 188 Today's Reading: 2 Thessalonians 1 When the famed cellist Pablo Casals reached ninety-five years old, a young reporter asked, “Why do you still practice six hours a day?” To which Casals answered, “Because I think I'm making progress.” Your goal is to make progress every day of your life. We call it growth. As John Newman said, “Growth is the only evidence of life.” That is true naturally and especially spiritually. The Thessalonian Christians were new Christians and more importantly growing Christians. The Thessalonian church was under heavy persecution, yet continued to grow through it. This is important: they were not just going through it but growing through it. What a lesson for us. That when we are faced with difficult times, we remember that we can grow through them. Growth is not arrival, it's movement. Growth is not perfection but better. The writer of the hymn, “Amazing Grace,” John Newton, said it best: “I am not what I might be, I am not what I ought to be, I am not what I wish to be, I am not what I hope to be; but I thank God I am not what I once was, and I can say with the great apostle, ‘By the grace of God I am what I am.'” Listen to Paul's words of commendation to these young Christians who were not what they used to be but growing: You need to know, friends, that thanking God over and over for you is not only a pleasure; it's a must. We have to do it. Your faith is growing phenomenally; your love for each other is developing wonderfully. Why, it's only right that we give thanks. We're so proud of you; you're so steady and determined in your faith despite all the hard times that have come down on you. We tell everyone we meet in the churches all about you. (2 Thessalonians 1:3-4, MSG) These new believers were growing through hard times. They were growing in two areas: their love for others was developing wonderfully and their faith was growing phenomenally—the New American Standard Bible says, “your faith is greatly enlarged.” And all of it happening in difficulty. He was basically saying, “Your faith is getting supersized.” We know that word supersize because we know McDonald's. Supersize to us means bigger fries and bigger Coke. But it does cost to supersize. Paul was saying, “You paid the extra cost for the supersize of faith and it's evident.” What was the cost? That's the next verse: “Your perseverance and faith in the midst of all your persecutions and afflictions which you endure” (verse 4). Notice it says “persecution and affliction.” Those two words are important. One is about the outside battles. The other is the mental battles. And Paul was commending them by acknowledging, “You are getting hit outside and inside and holding your own, because you are holding on to God.” A family-owned coat store in Nottingham, England, has a sign that hangs for all to see: We have been established for over 100 years and have been pleasing and displeasing customers ever since. We have made money and lost money, suffered the effects of coal nationalization, coat rationing, government control, and bad payers. We have been cussed and discussed, messed about, lied to, held up, robbed and swindled. The only reason we stay in business is we can't wait to see what happens tomorrow. It seems that the Thessalonians should have put that sign on their church. Tomorrow for the Thessalonians was phenomenal faith and developing love. Tomorrow for many is fearful but not for these new Christians. They were growing through their adversity. A daughter complained to her father about how difficult things were for her. “As soon as I solve one problem,” she said, “another one comes up. I'm tired of struggling.” Her father, a chef, took her to the kitchen where he filled three pots with water and placed each on a high fire. Soon the pots came to a boil. In one he placed carrots, in the second, eggs, and in the last, ground coffee beans. He let them sit and boil, without saying a word. The daughter impatiently waited, wondering what he was doing. After a while, he went over and turned off the burners. He fished out the carrots and placed them in a bowl. He pulled the eggs out and placed them in a bowl. He poured the coffee into a bowl. Turning to her he asked, “Daughter, what do you see?” “Carrots, eggs, and coffee,” she replied. He brought her closer and asked her to feel the carrots. She did and noted that they were soft. He then asked her to take an egg and break it. After pulling off the shell, she observed the hard-boiled egg. Finally, he asked her to sip the coffee. She smiled, as she tasted its rich flavor. “What does it mean, Father?” she asked. He explained that each of them had faced the same adversity—boiling water—but each reacted differently. The carrot went in strong, hard, and unrelenting, but after being subjected to the boiling water, it softened and became weak. The egg was fragile. Its thin outer shell had protected its liquid interior, but after sitting through the boiling water, its inside hardened. The ground coffee beans were unique, however. By being in the boiling water, they changed the water. He asked his daughter, “When adversity knocks on your door, which are you?”

Allyson Devenish chooses her favourite recording of Schubert's Piano Trio No 1 in B flat, D.898 Schubert began composing this masterpiece in 1827, the year before his death, at the same time as working on his famous song cycle Die Winterreise. It was a period in his life of illness and melancholy. But this work is brimming with lyricism and life force. Robert Schumann said of it: “One glance at Schubert's Trio in Bb and the troubles of our human existence disappear and all the world is fresh and bright again.” The work has attracted all the great performers of chamber music, from Alfred Cortot, Jacques Thibaud and Pablo Casals to the Beaux Arts Trio to the best musicians of today.

Synopsis On today's date, Wolfgang Mozart completed two of his most famous works: on August 10th, 1787, the Serenade known as "Eine kleine Nachtmusik," and, on the same day exactly one year later, the "Jupiter Symphony" – Mozart's Symphony No. 41 in C Major. Despite the fame of "Eine kleine Nachtmusik" – which translates as "A Little Night Music" – nothing is known for certain about the circumstances of its composition. Since a Serenade is a suite of orchestral movements normally written as background music for some rich patron's patio party, we can assume "Eine kleine" filled such a function some pleasant evening in Vienna. We can only hope the patrons appreciated what they got for their money. Hardly any more is known about the composition of Mozart's final symphony, the "Jupiter," as no relevant letters or documents survive from this period of his life. The "Jupiter" nickname appears to have originated years later in London. In Germany it was just called "the symphony with the fugal finale." There's a classic recording of Mozart's symphony favorites featuring the Marlboro Festival Orchestra with Pablo Casals conducting. The Marlboro Festival is held each summer for seven weeks in a cluster of old farm buildings on a hilltop in the Green Mountains of Vermont. Talented young professional musicians from all over the country gather here, principally to study, secondly to perform, for audiences eager to hear both the emerging and established Marlboro musicians. Music Played in Today's Program Wolfgang Amadeus Mozart (1756-1791) –Eine Kleine Nachtmusik (Academy of St. Martin-in-the-Fields; Sir Neville Marriner, cond.) EMI Classics 65690 Wolfgang Amadeus Mozart (1756-1791) –Symphony No. 41 in C (Jupiter) (Marlboro Festival Orchestra; Pablo Casals, cond.) CBS/Sony 47294

Pablo Casals es una de la figuras cimeras de la música del siglo XX y su vida está íntimamente ligada a Puerto Rico. Maria Jaén acaba de publicar una novela que se enfoca en uno de sus romances más enigmáticos, utilizando fuentes familiares e históricas que revelan aspectos desconocidos. Sobre ese amor y sus repercusiones personales conversamos en este episodio. Pasen, escuchen y disfruten.

Amit Peled — Solus Et Una (CTM Classics) Jump to giveaway form New Classical Tracks - Amit Peled by “The instrument I'm using for this recording helped me to feel more intune with myself because it's a cello that I received during the pandemic. It's a Grancino that was made in 1695,” Israeli-born cellist Amit Peled said. “Just before the pandemic, I had to return Pablo Casals' cello, which I used before. The moment I touched this cello, I felt it. I'm basking in an imaginary hot chocolate bath. I'm not kidding.” Peled calls his new cello, ‘Shoko.' In Hebrew it means, hot chocolate. It brings out a special sense of warmth and comfort in the music on his latest recording, Solus Et Una. “Solus Et Una means alone and together, which basically describes my time during the pandemic,” continued Peled. “I was artistically alone at first and throughout the middle. Towards the end of it I found ways to make music together with others. “We found in the bubble situation we were basically isolating ourselves as a group in the mountains of Montana. This was a place where we could be mask less with no vaccination and do nothing but just walk and make music the way we used to. The nature and the ability to make music together again was a transformative revelation for all of us. Of course, this was inspired by the NBA bubble. My love for basketball showed me the light.” How did this arrangement of Johannes Brahms' Symphony No. 3, II. Andante happen? “I did what I usually do when I want to get inspiration. I stop thinking and I went for a walk. This Brahms symphony came to my mind while I was walking, which I love. I am also a conductor, and he is my favorite composer. I started hearing it in my mind. When I got back from the walk, I put it on Spotify. When I got to this movement, I could totally hear the cello sound. “I have a conductor friend who arranges music, and he has a friend, who is on the album, that also does arrangements. He lives in Serbia. I contacted him and he sent me back the arrangement. He said it was easy. It's fit for eight cellos and piano. When we got to Montana, we rehearsed it every single day making changes to make it sound as close as possible to the symphony.” Can you talk about Bach's Cello Suite No.4? “I had so much time to just play that suite. I said to myself, ‘Ok, stop judging yourself, just play.' I played it every day until I fell in love with it. I played it as a song of love. “I remember reading an interview with Yo-Yo Ma, where he said on his 60th birthday, ‘All I want now is to play and feel again like when I was a child and played the cello without any judgment.' I never understood what he meant until the pandemic. You play, think and practice to your standard. But in a way, you must let go and do it. When we were kids, we play as if we were outside with friends. That's how I want to play the cello now.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Amit Peled — Solus Et Una (Amazon) Amit Peled (official site)

(Día Internacional para la Eliminación de la Discriminación Racial) «Los Juegos de la XI Olimpiada se iban a celebrar en 1936 en Berlín (Alemania), y varios países se plantearon el boicot a los Juegos por las políticas racistas de los nazis. Pero Hitler sabía que debía aprovechar aquel escaparate internacional para vender su nueva Alemania, así que suavizó las medidas (incluso permitió participar a algún deportista de origen judío) para evitar el boicot.... [Sin embargo,] España no cedió, y boicoteó los Juegos. Es más, el gobierno de la Segunda República organizó su propia competición: la Olimpiada Popular. »Para la organización de dicho evento se creó el Comité de la Olimpiada Popular... que fijó como fechas del... 19 al 26 de julio. Para esta Olimpiada se utilizaría la infraestructura creada para la Exposición Internacional de 1929, y el Estadio de Montjuïc sería la sede de las competiciones deportivas. Esta Olimpiada Popular no se iba a quedar en una mera competición deportiva, sino que también programaron otros actos culturales como un festival internacional de folclore. Además, la participación no quedaba [limitada] únicamente a delegaciones nacionales, sino que también podían participar territorios que no constituían un país, como Alsacia, Cataluña, Galicia, Protectorado francés de Marruecos o Marruecos español. Se inscribieron unos seis mil [deportistas], siendo las delegaciones de Estados Unidos, Francia y Países Bajos las más numerosas. Lógicamente, Alemania no envió ningún representante, pero sí se permitió inscribirse a alemanes exiliados del régimen nazi, algunos de ellos judíos. »Barcelona se engalanó, y sus calles se convirtieron en un hervidero de alegría, fiesta y, sobre todo, fraternidad. [Pero] el 18 de julio, un día antes de la inauguración de la Olimpiada y mientras el maestro [Pablo] Casals dirigía los ensayos de la Novena Sinfonía de Beethoven para la ceremonia de apertura, llegó un miembro de la organización... [y anunció:] “Suspendan el ensayo. Tenemos noticias de que esta noche habrá un alzamiento militar en toda España. El concierto y la Olimpiada han sido suspendidos.” »Los vítores a los campeones, la música, el sudor por el esfuerzo y las lágrimas del perdedor dejaron paso a los gritos de dolor, los bombardeos, la sangre de los heridos y las lágrimas por los muertos... la Guerra Civil Española. Algunos [deportistas] nunca llegaron a Barcelona debido al cierre de la frontera francesa, y la mayoría de los que ya estaban escaparon, pero unos pocos, alrededor de doscientos [deportistas], se unieron a las milicias populares para luchar por la República.»1 Así saca a la luz el bloguero español Javier Sanz una de las «Historias de la historia de los Juegos Olímpicos». Hoy más que nunca es urgente que sigamos el ejemplo de aquel gobierno de la Segunda República Española. A la luz de lo que afirma Santiago — que cometemos pecado si sabemos hacer el bien y no lo hacemos—, determinemos practicar lo que nos anima a hacer San Pablo: No nos dejemos vencer por el mal, sino derrotemos el mal con el bien2... ¡cueste lo que cueste! Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Javier Sanz, «Historias de la historia de los Juegos Olímpicos», 2 agosto 2021 En línea 22 octubre 2021. 2 Stg 4:17; Ro 12:21

This week we have returning guest Victor DeLorenzo (original Violent Femmes drummer) with bandmate Janet Schiff to talk new music from their group Nineteen Thirteen.We also discuss:- How the Violent Femmes 2013 Coachella reunion led to the formation of Victors new band Night Crickets with Darwin Meiners and David J. (Bauhaus, Love and Rockets)- What inspired Janet to pick up a Cello as a child- The perks of being a duo- How Janet manages to play Cello on stage while also looping and programing- All the talent found in the Milwaukee music scene- Working on more new Nineteen Thirteen and much more!FOLLOW NINETEEN THIRTEEN -https://nineteenthirteen.com/index.htmlhttps://nineteenthirteen.bandcamp.comhttps://www.facebook.com/Nineteen13/https://twitter.com/1913mkehttps://www.instagram.com/1913mke/Victor DeLorenzo/Night Cricketshttps://victordelorenzo.weebly.comhttp://omnivorerecordings.com/shop/a-free-society/https://twitter.com/NightCricketshttps://twitter.com/VicDeLorenzohttps://www.instagram.com/vjd/Check out the Power Chord Hour radio show every Friday night at 10 est on 107.9 WRFA in Jamestown, NY, stream the station online at wrfalp.com/streaming/ or listen on the WRFA mobile appemail me for FREE Power Chord Hour stickers - powerchordhour@gmail.comFacebook - www.facebook.com/powerchordhourInstagram - www.instagram.com/powerchordhour/Twitter - www.twitter.com/powerchordhour/Youtube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg

Show Notes:  Episode 15: Conquering self-doubt and self-criticism with heart and mind (Part 3) Exercises for episode 15: Exercise 1: Remember a time when you felt overwhelmed because you had too much to do. This pressure could have been due to a school project, the demands of work, or trying to balance parenting and work. Besides feeling overwhelmed, how else did this make you feel? Did you enjoy such pressure? Did these feelings help you get through? Exercise 2: Think of an activity you fully enjoy, or one you used to enjoy — a craft, a sport, or a creative endeavor. Do you take lessons? Does practice make you better? Do you value your practice time? Does it increase your enjoyment of the activity? Do you wish you had more time for this activity? Pablo Casals, one of the world's great cellists, was asked why he still practiced at age 90. “Because I think I'm making progress.” Exercise 3: Think of the work that goes into healing old wounds, into forgiving yourself for your mistakes, and into living in the moment. Episode 15 describes this as a process of letting in light, developing self-compassion, and learning to feel good about ourselves. The work involved, even it's a lot of work, makes us feel better about ourselves and our lives. Does this make sense. If so, does this work more closely match how you feel when facing an overwhelming burden, or does it seem closer to the work involved in getting better at a favorite activity?