Podcasts about paganini

ReferencesGuerra, DJ. 2025 Unpublished LecturesJ Clin Invest. 2025;135(11):e188363.Paganini, N. 1818. Violin Concerto 1. Op.6https://music.youtube.com/watch?v=vadJp7vokL8&si=7X4yonzG12NIXsUL

„Das versteht ihr alle nicht“, denkt sich der Pianist Hans von Bülow, als er in Liszts Partitur blickt. Franz Liszt komponiert so kühn, dass die Kritik ihn zerreißen wird – und es ist ihm vollkommen egal. Von Michael Lohse.

Lechler, Bernd www.deutschlandfunk.de, Corso

Maracanà con Marco Piccari e Stefano Impallomeni. Ospiti: Paganini:"Conte fatica a gestire il doppio obiettivo. Cocchi:"Mentalmente Conte difficile da sopportare per tanto tempo"

Ara Malikian es de origen Libanes, con descendencia de familia armenia y es un virtuoso del violín, quien hace ver fácil interpretarlo porqué lo práctica desde los 6 años cuando le fue impuesto por su padre y para esa edad, tanto él como su familia, vivieron en carne propia la guerra civil libanesa.Pero ese violín sería su tiquete de salida para estudiar becado en Alemania, y así, construir una carrera musical influenciada por Bach y Paganini, pero también por Paco de Lucia, Piazzola y hasta los sonidos del rap y recientemente, otros aires de la música contemporánea reunidos en su último álbum titukado Íntruso, el cual, lo trajo de visita a nuestro país para dos shows en Medellín y Bogotá.Tuvimos el honor de charlar con Ara sobre Intruso, sobre la guerra y su padre, también sobre su hijo, cómo es su entrenamiento actual y el significado que tiene el violín hoy en día para él y otros temas más.______Producido por Iván Zainea C.Música por Mario Andrés Salazar de Pluszeichen Records______Fotografía tomada de Instagram Ara Malikian

Entrevista Fernando Paganini - Vicedecano de Investigación de la Facultad de Ingeniería, Universidad ORT by En Perspectiva

Welcome to our podcast series from The Super Network and Pop4D called Tubi Tuesdays Podcast! This podcast series is focused on discovering and doing commentaries/watch a longs for films found on the free streaming service Tubi, at TubiTVYour hosts for Tubi Tuesdays are Super Marcey, ‘The Terrible Australian' Bede Jermyn, Prof. Batch (From Pop4D & Web Tales: A Spider-Man Podcast) and Kollin (From Trash Panda Podcast), will take turns each week picking a film to watch and most of them will be ones we haven't seen before.Film Starts Playing At: 00:11:25 Welcome back to The Tubi Tuesdays Podcast, the number one Tubi related podcast that's hosted by two Australians, one Canadian and one American! All four co-hosts are here with Super Marcey, Bede Jermyn, Prof. Batch and Trash Panda Kollin, for Marcey's pick of film for this week! So what did Marcey decide to go with? Well to end the month of October and celebrate her birthday, Marcey finally decided to pick Paganini Horror (1989), a classic Italian horror film that makes little to no sense! Did everyone enjoy the film? Did anyone pay attention? Listen to find out!Paganini Horror was directed by Luigi Cozzi, it stars Daria Nicolodi, Jasmine Maimone, Pascal Persiano, Maria Cristina Mastrangeli, Michel Klippstein, Pietro Genuardi and Donald Pleasence.If you have never listened to a commentary before and want to watch the film along with the podcast, here is how it works. You simply need to grab a copy of the film or load it up on Tubi (you may need alcohol), and sync up the podcast audio with the film. We will tell you when to press and you follow along, it is that easy! Because we have watched the films on Tubi, it is a free service and there are ads, however we will give a warning when it comes up, so you can pause the film and provide time stamps to keep in sync.Highlights include:* Marcey's back and it's pure chaos!* Yes, we did discuss queefs ...* Donald Pleasence needed a day off from trying to find Michael Myers so he appeared in this film!* Did Bede's accent accidentally sound like a no no word? Kinda ... please no offense is meant by the slip up!* So this movie just ripped off a Bon Jovi song?* Did we mention this episode is pure chaos?* LOL why is there a predictable twist ending?* Plus much, much more!Check out The Super Network on Patreon to gain early access to The Tubi Tuesdays Podcast!DISCLAIMER: This audio commentary isn't meant to be taken seriously, it is just a humourous look at a film. It is for entertainment purposes, we do not wish to offend anyone who worked on and in the film, we have respect for you all. Music provided by DeNNo, introduction and podcast editing by Super Marcey & Bede Jermyn Hosted on Acast. See acast.com/privacy for more information.

Episodio 113. Celebramos nuestro tradicional especial de Halloween VII al ritmo de unas melodias demenciales. Hablamos de The Faceless y sus temas extraterrestres y charlamos sobre una extraña criatura que aterrorizó Inglaterra en el siglo 19; la banda Witchcraft y sus temas de occult rock; La banda Japonesa The Gazette y el tema de su rola Taion que habla sobre el brutal ases1nat0 de la estudiante Junko Furuta; Caprice no. 24 de Paganini y sus vinculos con el D1ablo y el tritono; Tierra Santa y la momia en la cultura popular; Macabre y su murd3er metal y el brutal as3s1no en serie Albert Fish y exploramos el inframundo maya de la mano de Cemican. Envíenos sus comentarios, peticiones y anécdotas al correo: sietch.metal@gmail.com. https://www.facebook.com/sietchmetal/ LINKS A TODAS LAS PLATAFORMAS: https://bit.ly/3NBrTLc

Episodio 113. Celebramos nuestro tradicional especial de Halloween VII al ritmo de unas melodias demenciales. Hablamos de The Faceless y sus temas extraterrestres y charlamos sobre una extraña criatura que aterrorizó Inglaterra en el siglo 19; la banda Witchcraft y sus temas de occult rock; La banda Japonesa The Gazette y el tema de su rola Taion que habla sobre el brutal ases1nat0 de la estudiante Junko Furuta; Caprice no. 24 de Paganini y sus vinculos con el D1ablo y el tritono; Tierra Santa y la momia en la cultura popular; Macabre y su murd3er metal y el brutal as3s1no en serie Albert Fish y exploramos el inframundo maya de la mano de Cemican. Envíenos sus comentarios, peticiones y anécdotas al correo: sietch.metal@gmail.com. https://www.facebook.com/sietchmetal/ LINKS A TODAS LAS PLATAFORMAS: https://bit.ly/3NBrTLc

Episodio 113. Celebramos nuestro tradicional especial de Halloween VII al ritmo de unas melodias demenciales. Hablamos de The Faceless y sus temas extraterrestres y charlamos sobre una extraña criatura que aterrorizó Inglaterra en el siglo 19; la banda Witchcraft y sus temas de occult rock; La banda Japonesa The Gazette y el tema de su rola Taion que habla sobre el brutal ases1nat0 de la estudiante Junko Furuta; Caprice no. 24 de Paganini y sus vinculos con el D1ablo y el tritono; Tierra Santa y la momia en la cultura popular; Macabre y su murd3er metal y el brutal as3s1no en serie Albert Fish y exploramos el inframundo maya de la mano de Cemican. Envíenos sus comentarios, peticiones y anécdotas al correo: sietch.metal@gmail.com. https://www.facebook.com/sietchmetal/ LINKS A TODAS LAS PLATAFORMAS: https://bit.ly/3NBrTLc

El violinista Tomás Cotik nos habla acerca de la salida de su nueva grabación en donde interpreta los caprichos de Paganini.

durée : 01:28:48 - Tedi Papavrami, inspiration et virtuosité - par : Aurélie Moreau - « C'est seul qu'on passe le cap de l'enfant prodige ». Tedi Papavrami, remarquable violoniste, musicien d'exception par son exigence et sa passion, a aussi été le traducteur d'Ismaïl Kadaré. Aujourd'hui : Paganini, Bartók, Alkan, Ysaÿe, Beethoven… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

All Classical Radio host John Pitman recently spoke with Portland violinist and Portland State University Professor of Violin, Tomás Cotik, about his unique approach to performing some of the most challenging works for solo violin around: the Caprices of Nicolo Paganini. Learn more on the All Classical Arts Blog: https://www.allclassical.org/pitman-reviews-cotiks-paganini-capriccio/

Don't be a schmoe, Support the Show! Pick from Rumble Rants, FTJ Chat Support and https://GiveSendGo.com/BaalBustersall help.Consistent shows, Consistent effort. Want Dan's book or his Award winning hot sauces and spicy honey? Go here:https://SemperFryLLC.comJoin Dr. Glidden's Membership site:https://leavebigpharmabehind.com/?via=pgndhealthCode: baalbusters for 25% Off for 25% OffSubscribe to the NEW dedicated channel for Dr Glidden's Health Solutions Showhttps://rumble.com/c/DrGliddenHealthShowThis Cult hides under many religions, titles, and the new sorcery of medical science/pharmakeia. Everything they create is a deception that only appears legitimate.I want to thank all of you who take interest in these broadcasts. The topics are often heavy, and while I see myself as a historical analyst first and foremost, my Dad instincts compel me to discuss all things I perceive as potential threats to the well-being of my, and your family. I hope that through sharing these videos, more people see this powerful cult of finance as a Mankind problem requiring a Mankind response. All good people from all walks of life must come together under a common, noble cause and protect the innocent. A world void of accountability leads to inescapable hell especially in the age of the Technocrats.https://SemperFryLLC.comGo to my site for the direct link to Dr Glidden's site and use code baalbusters for a huge discount on the meembership! Also Dr. Monzo's formulated AZURE WELL whole food supplements. Use code BB5 for a discount!Pods & Exclusives AD-FREE! Just $5/mo https://patreon.com/c/DisguisetheLimitsSHOW FUND:https://givesendgo.com/BaalBustersBecome a supporter of this podcast: https://www.spreaker.com/podcast/ba-al-busters-broadcast--5100262/support.

durée : 00:15:04 - Disques de légende du mardi 16 septembre 2025 - Vingt-quatre miniatures et autant d'humeurs différentes que la virtuose Julia Fischer s'évertue à rendre émouvantes au-delà de leur seule virtuosité diabolique, grâce à une technique et une précision qui en fait l'une des grandes solistes d'aujourd'hui. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:04 - Disques de légende du mardi 16 septembre 2025 - Vingt-quatre miniatures et autant d'humeurs différentes que la virtuose Julia Fischer s'évertue à rendre émouvantes au-delà de leur seule virtuosité diabolique, grâce à une technique et une précision qui en fait l'une des grandes solistes d'aujourd'hui. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:29:07 - Relax ! du jeudi 11 septembre 2025 - par : Lionel Esparza - Petit voyage dans le monde du caprice, un genre musical très en vogue du XVIIe au XIXe siècle, reconnaissable par sa forme libre, sa rapidité et bien souvent sa virtuosité redoutable, à l'instar de ceux de Frescobaldi ou Paganini. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Marco Piccari e Stefano Impallomeni. Ospiti: Paganini:" Potrebbe essere la giornta della Fiorentina. Spero Discreti:" Tudor deve avere coraggio. Recalcalti:" Vedo una Juve affamata. L'Inter non deve cambiare nulla."

durée : 01:29:07 - Relax ! du jeudi 11 septembre 2025 - par : Lionel Esparza - Petit voyage dans le monde du caprice, un genre musical très en vogue du XVIIe au XIXe siècle, reconnaissable par sa forme libre, sa rapidité et bien souvent sa virtuosité redoutable, à l'instar de ceux de Frescobaldi ou Paganini. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Marco Piccari e Stefano Impallomeni. Ospiti: Paganini:" Potrebbe essere la giornta della Fiorentina. Spero Discreti:" Tudor deve avere coraggio. Recalcalti:" Vedo una Juve affamata. L'Inter non deve cambiare nulla."

Send us a textDescriptionShowtime with Strings Attached: The Romantic Concerto in 60 Seconds. Take a minute to get the scoop!Fun FactFranz Liszt's piano concertos were so demanding that critics sometimes accused him of showing off. He didn't mind—he once said performing should “transport the listener.” Paganini caused similar uproar: audiences whispered he'd sold his soul to the devil to master the violin. Marketing hype, 19th-century style.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

Franz Liszt - Paganini Etude No. 3 “La Campanella”Goran Filipec, pianoMore info about today's track: Naxos 8.573458Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Episode Notes Did you know you can support my podcast for as little as $1 a month? You can do that by heading over to my Patreon HERE!!  This week my guest is classical mandolinist Dor Amran. Dor is a Classical Mandolin player who has won many competitions in Israel in various genres like contemporary music, and chamber music in the plucked instruments category. In May 2024, he won the 2nd prize at the International Mandolin Competition in Modena, Italy. He regularly performs as a soloist with symphonic orchestras and gives solo recitals all over the world. In 2024, Dor recorded Paganini's 24 Violin Caprices on the mandolin for the Italian label “Dynamic” and went ahead to perform them all at “Genova Paganini Festival 2024”.  To learn more about Dor, head over to his website HERE and to pick up a copy of his remarkable recording, head over HERE! To download a copy of the score of Paganini's 24 Carprices, head over HERE! Songs featured in this episode: The song's featured in this episode are from Dor Arman's recording available HERE.  The songs in order of appearance during the episode or No. 1, No. 5, No. 2 and No. 6 As Always a HUGE thank you to all of my sponsor's that make this podcast possible each week! Mandolin Cafe Peghead Nation promo code mandolinbeer Northfiled Mandolins Ear Trumpet Labs Ellis Mandolins Pava Mandolins Tone Slabs Elderly Instruments String Joy Strings promo code mandolinbeer Tone Traveller 

Einige fürchten Künstliche Intelligenz (KI), andere sind begeistert von ihren fast übermenschlichen Möglichkeiten. Moderator Jürgen Wiebicke diskutiert mit der Philosophin Claudia Paganini, ob KI ein neuer menschengemachter Gott sein kann. Von WDR 5.

¡Qué pedazo de playlist, ! El programa 338 de La Hora del Rock es una auténtica travesía sonora que mezcla lo clásico, lo épico y lo más potente del metal actual. Aquí va un resumen con sabor a backstage y olor a cuero y amplificador: Lo que sonó: Clásicos inmortales: KISS con “Escape From the Island” (1981) abre el programa como una patada en la puerta.La SINTONIA QUE NUNCA ME DEJO Michael Schenker y su “Rock Bottom” nos recuerdan por qué el UFO fue nave nodriza del hard rock.CON KAI HANSEN Judas Priest con “Bullet Train” (1997) nos lleva directo al infierno metálico. Status Quo y Magnum aportan ese toque británico de elegancia y contundencia. Metal moderno y sin concesiones: Ellefson-Soto y A-Z muestran que el 2025 viene cargado de riffs afilados y voces poderosas. WarKings, Battle Beast y Arch Enemy traen la épica, la furia y la técnica. Warmen desde Finlandia nos regalan un cover de Stratovarius que es puro homenaje. Fusión y sorpresas: Rhapsody of Fire junto a Huecco en “Fuego Valyrio” — ¿power metal con sabor ibérico? ¡Sí, por favor! Laguna y Jimmy Westerlund en “Punk Boy” — un guiño punk dentro del universo rock. Saltimbankya y Opera Magna aportan la teatralidad y el dramatismo que tanto nos gusta. Virtuosismo extremo: The Great Kat con sus versiones de Paganini y Puccini — shred clásico llevado al límite. Protocol Shift y Leo Z5 PM nos sumergen en sonidos más progresivos y experimentales. Espíritu español: Tierra Santa con “El Regreso de un Héroe” y dArtagnan con “Mosqueteros” — himnos para levantar espadas. Parking Fox y su “Sexo” — directo desde 2012, con actitud y provocación. Tributos y rarezas: Horcas y Andrés Giménez versionando “Children of the Grave” — homenaje sudamericano a Sabbath. Helloween en directo desde Budokan — ¡qué lujo de grabación Esto fue lo que sonó: Programa 338 La Hora del Rock fernando Nadales Zenón perez y Paco Jimenez. 1981 - Music From The Elder1981 - Music From The Elder10 - Escape From the Island. Ellefson-Soto (USA)2025 - Unbreakable1 Unbreakable. A-Z - A2Z² (2025)9. Learning to Fly. WarKings - 2025 - Armageddon (Limited Edition)CD14 - Kingdom Come Rhapsody of fire y Huecco fuego valyrio.(2025) Battle beast Here We are.(2025) Leo z5 Pm corazon de fuego , sangre de leon. Protocol Shift - Recode. Michael Schenker - My Years with UFO (50th Anniversary Celebration 1972-1978) (Compilation) (2024)8. Rock Bottom. dArtagnan - Herzblut (2CD) (2024)CD14 - Mosqueteros. Ellefson-Soto (USA)2025 - Unbreakable8 Snakes and Bastards. Helloween - Live at Budokan 2023 (Live) (2024)2 - Skyfall Red Shark 8.Beware the shrak .(2025) SAXON HELL FIRE AND DAMNATION. Laguna - The Ghost Of Katrina (2025)4 Punk Boy (ft. Jimmy Westerlund) Doro Warriors of the sea.(2025) Arch Enemy 2025 - Blood Dynasty (Japanese Edition)13. Moths (Bonus track). Warmen (Finland)2025 - Band of Brothers1 - Band of Brothers. Warmen (Finland)2025 - Band of Brothers11 - The Kiss of Judas (Stratovarius cover). The Great Kat - Encores (2025)30. Paganini's Caprice No. 24. The Great Kat - Encores (2025)1. Paganini's Caprice No. 9 The Great Kat - Encores (2025)18. Puccini's Nessun Dorma Tierra Santa - Un Viaje Épico (2024)6 - El Regreso de un Héroe MAGNUM Live At The Symphony Hall12 - Vigilante.(2019) Opera Magna - Heroica (2024)6 - Heroica. Saltimbankya - Pomba Gira's Vision (2021)6 - A New Begining. Various Artists - Sabbath Crosses - Tributo A Black Sabbath (2004)7 - Horcas and Andres Gimenez - Children of the Grave. Parking Fox 2012 Gigantes o Molinos3 Sexo Parking Fox Gigantes o Molinos. Judas Priest Bullet Train (Jugulator) (1997) Status Quo - Driving To Glory (Compilation) (2024)12 - Lucinda. *SI TE GUSTA LO QUE HACEMOS COMPARTE,A SI CREAREMOS UNA GRAN FAMILIA ROCKERA STAY FUCKING METAL* SIGUENOS !!

Dr. Paganini, Claudia www.deutschlandfunkkultur.de, Fazit

Calciomercato e Ritiri con Francesco Tringali e Stefano Impallomeni. Ospiti: Paganini: "Juve, guai a non ripetere un caso Vlahovic con Yildiz"

durée : 01:28:16 - Maxim Vengerov, éloquence et perfection instrumentale - par : Aurélie Moreau - Violoniste de légende, Maxim Vengerov est profondément enraciné dans la tradition des écoles de violon franco-belge et russe. La direction d'orchestre lui permet d'élargir ses horizons musicaux. Aujourd'hui : Glazounov, Brahms, Paganini, Mozart… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Fala pessoal! Nesse episódios César e Pedro discutem um pouco das confusões que as pessoas acaba, pensando sobre fenomenos físicos do dia a dia relacionados a gravitação, cinemática, dinâmica e termodinâmica.Ajude o Pirulla:⁠www.pirulla.com.brAlgumas referencias do episódio:Brainiac - Qual objeto cai mais rápido?https://youtu.be/jme_vSj5wRo?si=JqzjRvYhvKXnTH4eExperimento astronauta na Lua:https://youtu.be/Oo8TaPVsn9Y?si=2-cfk3j1S58WAIl4Moto perpetuo Paganini: https://youtu.be/CpRM9XVo_lQ?si=6OgcDSp2Dbt6290iMúsica de abertura: Sirius Beat - ⁠One

La figura de Pablo Sarasate quizá no es bien conocida por el gran público. Pocos son conscientes de la importancia internacional que tuvo este violinista navarro a finales del siglo XIX y principios del XX que le llegó a ser considerado casi la reencarnación de Paganini. A él vamos a dedicar el cronovisor de Jesús Callejo. Luego viajamos a la Edad Media. La mal llamada época oscura de la historia tiene en realidad mil y una luces que aún nos iluminan. La influencia de su arte, pensamiento y sociedad es algo evidente en nuestro tiempo. De ello hablamos con el catedrático de historia medieval de la Universidad de Barcelona, Jaume Aurell, autor del libro Legado de gigantes (Rosamerón 2025). Pablo Arias en su sección de Historia de la Ciencia 2.0 nos habla del código morse y de su inventor. Acabamos el programa celebrando los 75 años de Snoopy, el genial dibujo de Charles Schulz. Lo hacemos junto a Óscar Palmer editor y traductor de la obra Schulz, Carlitos y Snoopy: una biografía (Es Pop Ediciones 2009)

Puede que la figura de Pablo Sarasate no sea ampliamente conocida por el público general, pero este violinista navarro fue una estrella internacional a finales del siglo XIX y principios del XX. Su virtuosismo era tal que muchos lo consideraban la reencarnación de Paganini. En el cronovisor de Jesús Callejo, dedicaremos nuestro tiempo a explorar su legado

Behzod Abduraimov's performances combine an immense depth of musicality with phenomenal technique and breath-taking delicacy. He performs with renowned orchestras worldwide including Philharmonia Orchestra, Los Angeles Philharmonic, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, The Cleveland Orchestra, Orchestre de Paris, Concertgebouworkest, Czech Philharmonic, Vienna Symphony Orchestra, NHK Symphony and Rundfunk-Sinfonieorchester Berlin (RSB). Regular festival appearances include Aspen, Verbier, Rheingau, La Roque Antheron, Lucerne and Ravello festivals. Behzod's second recording for Alpha Classics, featuring works by Ravel, Prokofiev, and Uzbek composer Dilorom Saidaminova, was released on 12 January 2024. The album was Gramophone' Editor's Choice in January 2024, and was included in Apple Music ‘10 Classical Albums You Must Hear This Month' of February 2024.  The year 2021 saw the highly successful release of his first recital album for Alpha Classics based on a program of Miniatures including Mussorgsky's Pictures at an Exhibition. In 2020, recordings included Rachmaninov's Rhapsody on a Theme of Paganini with Lucerne Symphony Orchestra under James Gaffigan, recorded on Rachmaninoff's own piano from Villa Senar for Sony Classical, and Rachmaninoff's Piano Concerto No.3 with Concertgebouworkest, for the RCO live label. Born in Tashkent, Uzbekistan, in 1990, Behzod began the piano at age five, as a pupil of Tamara Popovich at Uspensky State Central Lyceum in Tashkent.

Hong, Elena www.deutschlandfunk.de, Tag für Tag

durée : 00:30:00 - France Musique est à vous junior du samedi 10 mai 2025 - par : Gabrielle Oliveira-Guyon - Pour les plus jeunes ce matin : un Chat botté bavard, un caprice de Paganini, une romance de Berlioz et une enquête sur les couleurs de la musique menée par Inspecteur Nico en direct de son Labo musical !

The boys wear puffy shirts with commanding confidence, develop superhuman chops with Paganini pomposity, and use the scientific method to conduct an autopsy on the corpse of Yngwie Malmsteen's neoclassical shredfest, “Far Beyond the Sun.” News items and digressions include scalloped potatoes and Metallica's deluxe Load box set.

Nachdem Niccolò Paganini ein christliches Begräbnis zunächst verwehrt blieb, war die Konservierung seines Leichnams eine vorläufige Zwischenlösung. Nur wenige Tote dürften eine derartige Odyssee hinter sich haben wie der italienische Künstler. Vom Kellergewölbe über ein leeres Ölfass bis hin zur einsamen Insel reichte seine Wanderschaft, bis Paganini 36 Jahre nach seinem Tod seine letzte Ruhestätte auf dem christlichen Stadtfriedhof von Parma fand. Der Mythos um den "Teufelsgeiger" blieb aber lebendig.

Un apagón es molesto pero también tiene algo de pintoresco: iluminar con velas, soltar la tele o la computadora, quizás hasta desconectarse de internet por un rato. Otra cosa es cuando el apagón se alarga y comienzan a peligrar los alimentos en la heladera o si hace mucho calor o frío y nos quedamos sin aire acondicionado. Más todavía cuando empiezan a fallar las telecomunicaciones. Ni que hablar si se ven afectadas las bombas eléctricas que distribuyen el agua potable. Además, quedan fuera de servicio los medios de pago electrónico, ¿y quién anda siempre con efectivo encima? Los semáforos fallan y el tránsito se vuelve caótico y peligroso. Las escaleras mecánicas se detienen, los bomberos deben correr a a sacar a gente de ascensores paralizados, los hospitales pasan a depender de generadores de emergencia que no son infinitos. De golpe la sociedad retrocede al siglo XIX. Suena exagerado pero eso que acabo de describir es, a grandes rasgos, lo que ocurrió el lunes pasado al mediodía en España y Portugal: un apagón masivo que se extendió durante horas y que sumió a la población en una catástrofe sin precedentes. Además de todo lo que ya mencioné, el sistema de trenes y subterráneos quedó detenida, con los pasajeros dentro de los vagones. Las industrias, como la automotriz, pararon su actividad. Los aeropuertos redujeron el tránsito, los ómnibus se vieron superados, las calles se llenaron de personas que eligieron caminar largas distancias en vez de sentarse a esperar. Y volvieron a sonar radios a pila, el único medio de comunicación que seguía funcionando. Con el correr de las horas, y con las autoridades tan desconcertadas como la gente sobre las causas de la crisis, la electricidad fue regresando de a poco a partir del atardecer. Si el apagón hubiese durado más, los data centers donde se aloja físicamente internet podrían haber fallado y el parón podría haber tenido consecuencias más a largo plazo ahí donde a veces creemos que las cosas duran para siempre. Cuatro días después de ese incidente tan grave, todavía no está claro cuál fue el motivo. Pero una de las teorías puso en entredicho a algunas de las energías renovables: se sostiene que la apuesta fuerte que España ha hecho por la generación eólica y solar tendría como contracara una red eléctrica más frágil. ¿Qué hay de cierto en eso? Y dado que Uruguay es también un país muy volcado a las energías renovables, ¿nuestro país también está expuesto a accidentes o incluso ciberataques que nos arrojen al siglo XIX? Profundizamos En Perspectiva con dos ingenieros eléctricos y matemáticos, ambos vinculados en su momento con el GACH durante la pandemia: Fernando Paganini, vicedecano de Investigación de la ORT, catedrático de Teoría de las Telecomunicaciones en la Facultad de Ingeniería de esa universidad, investigador Nivel III del Sistema Nacional de Investigadores; y Andrés Ferragut, catedrático de Redes y Sistemas de Comunicación también en la ORT.

„Jdu opačným směrem, než většinová populace. Ta napřed poslouchá pop či rock a pak klasiku, zatímco já začínal na klasice a teď jsem se dostal k rocku,“ uvádí nové album. Jakou má zkušenost s rockovými skladbami na svých koncertech? Jsou muzikální i jeho děti? Které části těla dostávají zabrat při hře na housle? Jaký byl Paganini? Je dobrá česká houslová škola?Všechny díly podcastu Blízká setkání můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

durée : 01:27:21 - En pistes ! du lundi 14 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Mais aussi : un album autour des 24 Caprices de Paganini, une intégrale chronologique des œuvres pour piano de Debussy, une viole et un violon dans l'Angleterre du XVIIème siècle, les Nouveaux Mondes de Dvorak et Avner Dorman...

durée : 01:27:21 - En pistes ! du lundi 14 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Mais aussi : un album autour des 24 Caprices de Paganini, une intégrale chronologique des œuvres pour piano de Debussy, une viole et un violon dans l'Angleterre du XVIIème siècle, les Nouveaux Mondes de Dvorak et Avner Dorman...

This Day in Legal History:  Wong Kim Ark becomes Wong Kim ArkOn March 28, 1898, the U.S. Supreme Court issued a landmark decision in United States v. Wong Kim Ark, affirming that a child born in the United States to Chinese immigrant parents was a U.S. citizen by virtue of the Fourteenth Amendment. Wong Kim Ark was born in San Francisco in 1873 to Chinese nationals who were legally residing in the U.S. but ineligible for naturalization due to prevailing immigration laws. After a visit to China in 1895, he was denied re-entry on the grounds of the Chinese Exclusion Act, which severely restricted immigration from China and barred Chinese nationals from becoming citizens.The Court rejected the government's argument that children of Chinese immigrants were not subject to U.S. jurisdiction and thus not entitled to birthright citizenship. In a 6–2 decision, the Court held that the Fourteenth Amendment guaranteed citizenship to nearly all individuals born on U.S. soil, regardless of the nationality or immigration status of their parents. This decision established a major precedent for interpreting the Citizenship Clause of the Fourteenth Amendment and reinforced the principle of jus soli, or right of the soil.The ruling came during a period of intense anti-Chinese sentiment, when the Chinese Exclusion Act of 1882 and its extensions aimed to restrict Chinese immigration and civil rights. Wong Kim Ark was a significant rebuke to efforts that sought to limit the constitutional rights of U.S.-born children of immigrants, and it laid the foundation for future interpretations of birthright citizenship.The Senate's vote to repeal the Consumer Financial Protection Bureau's $5 cap on overdraft fees is a clear signal: protecting bank profits matters more to Senate Republicans than shielding consumers from predatory financial practices. With a 52-48 vote, Republicans—joined by only one Democrat—moved to dismantle a regulation designed to curb exploitative overdraft charges that routinely hit working-class Americans the hardest.This isn't a technical policy disagreement—it's a choice to side with an industry that routinely charges Americans up to $35 for covering small shortfalls, even when the overdrafted amount is often less than the fee itself. The CFPB's rule was narrow, targeting only large banks and credit unions with more than $10 billion in assets, and still allowed higher fees if justified by actual costs. It was a modest, evidence-based consumer protection measure.The financial industry's immediate lawsuit and the GOP's use of the Congressional Review Act to kill the rule reveal the coordinated effort to preserve a lucrative revenue stream. The overdraft fee fight is just one piece of a broader Republican strategy to roll back protections the CFPB has implemented—protections meant to hold powerful financial institutions accountable.No one should mistake this vote as anything other than what it is: an effort by Senate Republicans to keep consumers on the hook, ensuring that banks and credit unions can continue bleeding them dry in the name of "choice" and "flexibility"—buzzwords that conveniently mask an enduring deference to corporate power. They'll couch these kinds of moves in language of fairness–pretending they ensure lower-income consumers are given access to these financial instruments. A moment's reflection, however, makes it clear that even under their best dressed reasoning they're looking to enable banks to charge exorbitant fees to account holders in precarity. Senate Votes to Repeal CFPB's $5 Cap on Bank Overdraft Fees (1)Yesterday, President Donald Trump issued an executive order against the prominent law firm WilmerHale, following its connections to Robert Mueller, the former special counsel who led the investigation into Russian interference in the 2016 election. The order directs federal agencies to cancel contracts with WilmerHale's clients, revoke lawyers' security clearances, and restrict access to U.S. government buildings. This is part of a broader strategy targeting law firms with ties to Mueller's investigation, including Perkins Coie, Paul Weiss, and Jenner & Block.Trump criticized Mueller's investigation as an example of government overreach, labeling it as politically motivated. In addition to its ties to Mueller, Trump also accused WilmerHale of discriminatory practices in its diversity programs, echoing similar claims against other law firms earlier this month. The firm, which has a long-standing history of handling high-profile cases, responded by labeling the order unlawful and vowed to seek appropriate remedies.WilmerHale, a major player in litigation with over 1,100 lawyers, represents a variety of high-profile clients, including Gilead, Comcast, and Meta Platforms. The firm has also been involved in cases challenging actions taken by the Trump administration, fueling further tensions. Notably, Trump also targeted other firms for their involvement in the Russia investigation and opposition research, but some, like Paul Weiss, have managed to have orders rescinded by agreeing to specific terms, including providing legal services aligned with Trump's agenda.Trump Hits WilmerHale With Executive Order Over Mueller Ties (2)Trump targets another law firm, citing ties to Robert Mueller | ReutersA federal judge has temporarily blocked the Trump administration from enforcing a Labor Department rule that would force grant recipients to abandon their diversity, equity, and inclusion (DEI) programs. The decision, issued by U.S. District Judge Matthew Kennelly in Chicago, halts a two-week enforcement window of a January executive order that required organizations receiving federal funds to certify they don't operate any DEI initiatives—even those unrelated to their grants.The case was brought by Chicago Women in Trades (CWIT), a nonprofit that trains women for skilled labor jobs and receives federal funding. The judge sided with CWIT's argument that the DEI restriction violates First Amendment protections, noting that such a rule could pressure grantees into self-censorship. Kennelly also blocked the Labor Department from terminating CWIT's funding under Trump's directive to eliminate “equity-related grants,” though this protection applies only to CWIT and not nationwide.Kennelly's order represents a legal pushback against Trump's broader effort to dismantle DEI initiatives across government agencies and contractors. While a federal appeals court recently upheld a temporary ban on DEI programs in federal agencies and contracting businesses, this ruling suggests courts may scrutinize how far the administration can go in policing DEI-related activity outside direct federal oversight.The ruling underscores an emerging legal battleground over free speech, anti-discrimination law, and the limits of executive authority in regulating DEI efforts.Judge blocks Trump's Labor Department from requiring grant recipients to abandon DEI | ReutersA federal judge has ordered the Trump administration to preserve Signal messages exchanged by top officials regarding planned military strikes in Yemen. The messages, inadvertently shared with a journalist from The Atlantic, revealed internal discussions involving Defense Secretary Pete Hegseth and CIA Director John Ratcliffe about timing and targets of attacks against the Houthi militant group. U.S. District Judge James Boasberg's ruling mandates that all Signal messages sent between March 11 and March 15 be retained by the agencies involved.The order came in response to a lawsuit filed by American Oversight, a government watchdog group, which argued that the use of auto-deleting messaging apps like Signal violated federal record-keeping laws. The lawsuit doesn't focus on the national security aspects of the disclosure but rather on the legal obligation of government agencies to preserve official communications.The controversy deepened after Attorney General Pam Bondi publicly criticized Boasberg, accusing him of political bias and claiming he was attempting to obstruct Trump's agenda. Trump himself has previously called for Boasberg's impeachment after the judge blocked a deportation policy targeting Venezuelan migrants—an action later upheld by an appeals court.The White House has not commented on the matter, but the episode has sparked scrutiny over the administration's handling of sensitive military planning and whether efforts to bypass official communication channels undermine transparency and accountability.Judge orders Trump administration to preserve Yemen attack plan messages | ReutersThis week's closing theme is by Sergei Rachmaninoff.This week's closing theme is one of the most beloved and instantly recognizable moments in all of classical music: Variation XVIII from Rhapsody on a Theme of Paganini, Op. 43 by Sergei Rachmaninoff, in a solo piano arrangement by Schultz. Rachmaninoff composed the Rhapsody in 1934 during his later years in exile from Russia, blending his romantic sensibilities with virtuoso brilliance. The work is a set of 24 variations on the 24th Caprice by Niccolò Paganini, itself a legendary theme known for dazzling technical demands.While most of the piece is fiery and rhythmic, the 18th variation stands apart—lyrical, sweeping, and emotionally expansive. In fact, it's a musical inversion of Paganini's theme, reimagined as a lush romantic melody that seems to rise straight out of the piano's depths. Rachmaninoff himself admitted it was his favorite part of the piece, and it's easy to understand why: it's tender, grand, and full of longing.This solo arrangement by Schultz pares down the orchestral drama but keeps all the expressive power, letting the piano sing with full-hearted warmth. The variation has since transcended its classical origins, appearing in films, commercials, and pop culture, yet it never loses its emotional punch. It's the kind of music that doesn't need explanation—it just resonates.Rachmaninoff, ever the late Romantic in a century veering toward modernism, poured his soul into his music. This variation, placed deep in a virtuosic whirlwind, emerges like a moment of clarity—an unguarded confession in a storm. Let it carry you out this week. 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 : 00:15:04 - Le Disque classique du jour du vendredi 14 mars 2025 - Pour son deuxième album, la violoniste María Dueñas met en regard les Caprices de Paganini avec d'autres compositeurs de son époque Pablo De Sarasate, Camille Saint-Saëns et Henryk Wieniawski

durée : 00:15:04 - Le Disque classique du jour du vendredi 14 mars 2025 - Pour son deuxième album, la violoniste María Dueñas met en regard les Caprices de Paganini avec d'autres compositeurs de son époque Pablo De Sarasate, Camille Saint-Saëns et Henryk Wieniawski

The Storyteller - Reflections on the Works of Nikolai Leskov by Walter Benjamin.---00:00 Welcome and Introduction - Decoding Walter Benjamin's "The Storyteller"05:21 The Decline of Human Experience07:16 Walter Benjamin's Influence on Philosophy13:11 Exploring Life's Perplexity through Novels14:24 Storytelling vs. Technology Disruption17:45 Herodotus and Psammites' Humbling by Cambyses21:29 Craftsmanship, Nihilism, and Leskov's Legacy26:41 "Entertainment vs. Wisdom"29:28 Narrative Wisdom in Noise32:54 Leadership Wisdom in a Postmodern Era38:57 "Passing Wisdom Through Turnings"41:54 "Future Generations as Prophet-Idealists" in the First Turning---Opening and closing themes composed by Brian Sanyshyn of Brian Sanyshyn Music.Inter-episode music by Sergei Rachmaninoff - Rhapsody on a Theme of Paganini, Op. 43 - Var. XVIII [Piano arr. - Schultz]---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the 2022 Leadership Lessons From the Great Books podcast reading list!--- ★ Support this podcast on Patreon ★ .Subscribe to the Leadership Lessons From The Great Books Podcast: https://bit.ly/LLFTGBSubscribe.Check out HSCT Publishing at: https://www.hsctpublishing.com/.Check out LeadingKeys at: https://www.leadingkeys.com/.Check out Leadership ToolBox at: https://leadershiptoolbox.us/.Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members.---Leadership ToolBox website: https://leadershiptoolbox.us/.Leadership ToolBox LinkedIn: https://www.linkedin.com/company/ldrshptlbx/.Leadership ToolBox YouTube: https://www.youtube.com/@leadershiptoolbox/videosLeadership ToolBox Twitter: https://twitter.com/ldrshptlbx.Leadership ToolBox IG: https://www.instagram.com/leadershiptoolboxus/.Leadership ToolBox FB: https://www.facebook.com/LdrshpTl

Strap on your axe, and join the Hosts on a wild ride tracing the haunted strings of Rock N' Roll back to its legendarily devilish roots. We start with Niccolò Paganini, the original “Devil's Violinist,” whose near supernatural skills on the violin were claimed to be infernal in origin.But at the center of the story is Robert Johnson, the Delta blues legend who allegedly sold his everlasting soul for mastery at his musical craft. Late on evening at dark, dusty Mississippi crossroads, Johnson met the devil himself to strike the bargain - and the rest is Rock history. Buckle up as as we crank it to eleven, and explore how these eerie legends have woven themselves into the very DNA of rock, echoing through its history with a chilling, thrilling resonance. Citizens of the Milky Way, prepare yourselves for Rock N' Roll & The Occult Vol. 1: "The Devil At The Crossroads!"Music and Editing by Gage Hurley #CreepStreetPodcast #TrueCrimePodcast #ParanormalPodcast #HorrorPodcast #GhostStories #UrbanLegends #UnsolvedMysteries #CreepyTales #Supernatural #Haunted #TrueCrimeCommunity #Occult #Cryptozoology #SpookyStories #DarkHistory #Mystery #CreepyPasta #FolkloreThursday #PodernFamily #ListenToThis

The Albany Symphony's February Concerts Celebrate Valentine's Day and Maestro David Alan Miller's Birthday, and feature Rachmaninoff's Romantic, Sensual Rhapsody on a Theme of Paganini, performed by 19-year-old pianist, Harmony Zhu.

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe