Podcasts about paganini

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...

Episode 166 Chapter 26, Early Computer Music (1950–70). Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 26, Early Computer Music (1950–70).  from my book Electronic and Experimental music.   Playlist: EARLY COMPUTER MUSIC (1950–70)   Time Track Time Start Introduction –Thom Holmes 01:40 00:00 1.     Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR's radio-physics division in Sydney. The computer had a speaker—or hooter—to signal when operations were completed. A clever programmer thought of manipulating the signal tones into a melody. 02:18 01:42 2.     Alan Turing's computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the King, Baa, Baa Black Sheep, and Glenn Miller's swing classic In the Mood. Plus, the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. 01:55 02:36 3.     Max Mathews, “Numerology” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. While working at Bell Labs in telecommunications research, Max Mathews was one of the earliest computer engineers to use a general-purpose computer to program music and digitally synthesize musical sound. His programming language Music I allowed composers to design their own virtual instruments, a breakthrough during those pioneering days of computer music. “Numerology” was composed to demonstrate the various parameters, or building blocks, available to the composer using this programming language: vibrato (frequency modulation), attack and decay characteristics, glissando, tremolo (amplitude modulation), and the creation of new waveshapes. 02:49 04:38 4.     John Robinson Pierce, “Beat Canon” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. Played by IBM computer and direct to digital sound transducer. 00:52 07:28 5.     James Tenney, “Noise Study” (1961). So named because “each of the ‘instruments' used in this piece includes a noise-generator.” 04:24 08:20 6.     “Bicycle Built For Two (Accompanied)” (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. This recording contains samples of synthesized speech–speech artificially constructed from the basic building blocks of the English language. 01:17 12:42 7.     Lejaren Hiller, “Computer Cantata, Prologue to Strophe III” (1963). From the University Of Illinois. This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 14:00 8.     J. K. Randall, “Lyric Variations For Violin And Computer” (1965-1968). J. K. Randall's piece had a complex section that pushed the limits of computer processing power at the time. Although the section consisted of only 12 notes, each note was 20 seconds long. Each note overlapped with the next for 10 seconds, making the total length of the section only about 2 minutes. But this required 9 hours to process on one of the fastest computers of the day. 03:34 19:40 9.     John Robinson Pierce, “Eight-Tone Canon” (1966). “Using the computer, one can produce tones with overtones at any frequencies.” Produced at Bell Telephone Laboratories. 03:53 23:14 10.   Pietro Grossi, “Mixed Paganini” (1967). “Transcription for the central processor unit of a GE-115 computer of short excerpts of Paganini music scores. Realized at Studio di Fonologia musicale di Firenze (Italy). 01:46 27:08 11.   Pietro Grossi, “Permutation of Five Sounds” (1967). Recording made on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New year gift by Olivetti company. 01:33 28:54 12.   Wayne Slawson, “Wishful Thinking About Winter” (1970). Produced at Bell Telephone Laboratories. 03:53 30:26 13.   John Cage and Lejaren Hiller, “HPSCHD” excerpt (1967-1969). The piece was written for Harpsichords and Computer-Generated Sound Tapes. Hiller and Cage staged a lively public performance in 1968 at the University of Illinois in Urbana. The first 10,000 individual recordings came with an insert in the form of a computer printout insert designed to allow the listener to program their own performance. And I quote from the jacket: "The computer-output sheet included in this album is one of 10,000 different numbered solutions of the program KNOBS. It enables the listener who follows its instructions to become a performer of this recording of HPSCHD. Preparation of this material was made possible through the Computing Center of the State University of New York at Buffalo." I happen to have three copies of this album, each with the printout. 07:20 34:16 14.   Jean-Claude Risset, “Computer Suite From "Little Boy" (1968).  Realized at Bell Laboratories. 04:28 41:46 15.   Peter Zinovieff, “January Tensions” (1968). Zinovieff's notes, from the album: “Computer composed and performed. This piece is very much for computer both in its realization and composition. The rules are straightforward. The computer may begin by improvising slowly on whatever material is first chooses. However, once the initial choices are made then these must influence the whole of the rest of the composition. The original sounds must occasionally be remembered and illustrated but a more and more rigid structure is imposed on the randomness. The piece was electronically realized and composed in real time by an 8K PDP8/S and electronic music peripherals.” 09:48 46:12 16.   Barry Vercoe, “Synthesism” (1969). Realized in the Computer Centers of Columbia and Princeton Universities using MUSIC 360 for the IBM 360 mainframe computer. Vercoe authored this musical programming language. 04:33 56:00 17.   Charles Dodge, “The Earth's Magnetic Field” excerpt (1970). Composer Charles Dodge helped close the gap between computer music and other electronic music practices in 1969– 70 by working on computer code at Princeton University and then traveling to Bell Labs to have the code synthesized by a mainframe computer. The work, “Earth's Magnetic Field” (1970) was an outcome of this process. Dodge realized this piece by fusing computer composition with synthesis, one of the earliest examples of a practice that would become the norm many years later but that was quite difficult at the time. He used a “general- purpose sound synthesis program” written by Godfrey Winham at Princeton University. Every sound in the piece was computed into digital form using the IBM/ 360 model 91 at the Columbia University Computer Center and then converted into analog form at the Bell Telephone Laboratories. 07:45 01:00:32 18.   Irv Teibel, "Tintinnabulation (Contemplative Sound)" from Environments (New Concepts In Stereo Sound) (Disc 2) (1970 Syntonic Research).  One side of the record is a rare work of purely electronic computer music in a series that otherwise consisted of natural ambient sounds. It used computer-generated bell sounds, falling back on Teibel's experience processing sounds on an IBM 360 mainframe computer at Bell Labs. The record was promoted for meditation. A sticker on the cover read, "A Sensitizer for the Mind." From the liner notes: “As an illustration of the possibilities currently under examination, Syntonic Research decided to experiment with bell sounds as an environmental sound source. . . . Tintinnabulation can be played at any speed, from 78 to 16 rpm, in full stereo. At different speeds, the sounds change in tone and apparent size, although the harmonics remain unchanged. The effect, unlike real bells, is fully controllable by the use of your volume, bass, and treble controls.” 30:10 01:08:16   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

durée : 01:27:59 - Laurent Korcia, fougue et sensibilité - par : Aurélie Moreau - 1er Prix du Concours Francescatti, Grands Prix des concours Paganini et Jacques Thibaud, Laurent Korcia est un violoniste célébré pour son jeu plein d'imagination et son tempérament audacieux. Aujourd'hui : Korngold, Bartók, Fauré, Kreisler, Ysaÿe…

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

Der italienische Violinvirtuose Paganini war einer der bedeutendsten Musiker des 19. Jahrhunderts, seine technischen Fähigkeiten überwältigten das Publikum regelmäßig. Er wurde 1782 in Genua in armen Verhältnissen geboren; es war sein Vater, der ihn früh an die Musik heranführte. So lernte Paganini erst Mandoline und dann Violine. Sein Talent konnte nicht verborgen bleiben: Schon mit zwölf Jahren gab er Konzerte in Theatern, und als er 14 war, brachte ihn sein Vater nach Parma. Dort wurde er später mit einer echten Guarneri-Violine beschenkt. Er nannte sie »il Cannone« wegen ihres kraftvollen Klangs; sie wurde sein Lieblingsinstrument. Guarneri-Violinen zählen zu den begehrtesten Streichinstrumenten der Welt. Rund 200 Exemplare gelten als erhalten, sie liegen im Preis bei bis zu 20 Millionen Euro!Mit seiner »Cannone« wurde Paganini eine echte Legende, 1828 spielte er sogar vor Kaiser Franz II. in Wien! Doch bereits mit 58 Jahren starb er in Nizza infolge eines Blutsturzes. In seinem Testament vermachte Paganini seine Geige seiner Heimatstadt Genua »wo sie fortwährend aufbewahrt werden muss«, und zwar unter der Auflage, dass niemand mehr auf ihr spielen dürfe! Infolgedessen wurde die wertvolle Geige bald wurmstichig und damit unbrauchbar. Nur im fortwährenden Gebrauch – durch Musizieren – wäre sie erhalten geblieben.Nur wer sich für andere einsetzt, findet völlige Freude, denn »die segnende Seele wird gesättigt«. Nur wer seine Gaben an andere verschenkt, wird glücklich, denn »der Tränkende wird auch selbst getränkt«. Jesus Christus hat so gelebt. Er hat sein Leben für andere eingesetzt und es am Kreuz sogar für die ganze Welt in den Tod gegeben. Was hat er eigentlich davon?Andreas FettDiese und viele weitere Andachten online lesenWeitere Informationen zu »Leben ist mehr« erhalten Sie unter www.lebenistmehr.deAudioaufnahmen: Radio Segenswelle

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…

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 : 01:28:48 - En pistes ! du vendredi 14 mars 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, on ouvre l'émission avec la musique virtuose de Paganini par la jeune violoniste andalouse María Dueñas ! À découvrir également : Scriabine par le pianiste Yunjie Chen, un disque autour des traditions bulgares ou l'album Le Temps des Lilas de l'ensemble I Giardini

durée : 01:28:48 - En pistes ! du vendredi 14 mars 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, on ouvre l'émission avec la musique virtuose de Paganini par la jeune violoniste andalouse María Dueñas ! À découvrir également : Scriabine par le pianiste Yunjie Chen, un disque autour des traditions bulgares ou l'album Le Temps des Lilas de l'ensemble I Giardini

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

Nachrichten, Tagesthema, Magazin – Konzert der Preisträger des „Pressburger Paganini“ in Wien. Die Architektur von Bratislava mit den Augen von Štefan Cipár (nicht in der Podcast-Ausgabe enthalten).

Nach zwei Wahlgängen ist klar: Martin Pfister ist der Nachfolger von Viola Amherd. Markus Somm und Dominik Feusi sprechen mit Nationalrat Nicolò Paganini (Die Mitte) über die Wahl.

Immaginate per un attimo di trovarvi immersi nell'oscurità di un teatro vuoto. Solo una figura emerge dalla nebbia: un violinista avvolto da strane ombre. Le sue dita danzano sulle corde con una grazia quasi soprannaturale. Il suono che emana dal suo strumento è così potente da sembrare incantato, come se provenisse da un altro mondo. Questa è l'immagine che ci resta di alcuni dei musicisti più leggendari della storia. Talenti dotati di abilità straordinarie, ma anche al centro di leggende inquietanti. Storie di patti segreti e incontri misteriosi con forze oscure.   E c'è un artista che emerge su tutti: Niccolò Paganini, il violinista che incantava le folle con la sua musica. Non solo per la sua tecnica senza pari, ma anche per i sospetti che aleggiavano sulla sua figura. La sua abilità straordinaria sembrava quasi una maledizione, come se fosse posseduto da qualcosa di più grande di lui mentre suonava il suo strumento. Qualcosa di più oscuro e terrificante. Ma chi era davvero Paganini? Un genio musicale o un semplice mortale che aveva fatto un patto con il diavolo?  L'Inspiegabile Podcast è una serie originale ideata, scritta e condotta da Luca Parrella.  Produzione e Sound Design di Matteo D'Alessandro ⁠https://www.matteodalessandro.com Ascoltala su YouTube o su tutte le principali piattaforme di musica e Podcast Seguimi anche sui social

durée : 01:28:24 - Augustin Hadelich, l'élan et la profondeur - par : Aurélie Moreau - Violoniste subtil et convaincant, Augustin Hadelich a pour objectif de découvrir et faire constamment découvrir de nouvelles œuvres majeures, et de réinventer les anciennes. Aujourd'hui : Previn, Schumann, Bach, Sarasate, Haydn, Paganini, Beach…

Äußerungen, der Inhalt nicht auf Fakten beruht, die aber auch nicht gelogen sind. Ruslan Amirov hat mit der Kulturphilosophin Prof. Claudia Paganini über inhaltsleere und irreführende Aussagen in der Politik gesprochen.

Ameno programa, “al meno” para nosotros que lo pasamos bomba haciéndolo. Si quieres pasarlo bomba, escúchalo. ADIVINA LA PELÍCULA. Los Módulos. TODO TIENE SU FIN. SAN TORAL. Paganini. EL CARNAVAL DE VENEZIA (Fragmento). Marcus Miller – DETROIT. EFEMÉRIDES. Perry Como. MAGICS MOMENTS. Gran Orquestra Simfònica. PRELUDI de La Legió d’Honor. CELEBRACIONES. Quincy Jones – DESAFINADO. […] The post Los Tres Tenores 26/02/2025 first appeared on Ripollet Ràdio.

Hoy el turista musical no se ha ido muy lejos, ha vuelto de la provincia de Córdoba. También, como cada martes ha venido Necko Vidal para hablarnos de la "cancelación" que sufrieron algunos compositores como Beethoven o Paganini entre otros. A las 8 toda la actualidad del día con Yon Gracia y la palabra desde Canarias; "belingo". Para terminar, Viva Suecia nos ha hecho una visita para presentarnos su nuevo single "Dolor y Gloria" y avanzar algo de lo que será su próximo disco que se publicará después de este verano.Escuchar audio

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

The Daily Quiz - Music Today's Questions: Question 1: Which musician won Album of the Year at the Grammys in 1979 for '52nd Street'? Question 2: Who had a hit in 1982 with I Want Candy? Question 3: Who Released The 70's Album Entitled Physical Graffiti? Question 4: Which English rock band released the album 'Revolver'? Question 5: Whose "Variations On a Theme by Paganini" is a standard part of the piano repertoire? Question 6: Which American hard rock band released the studio album 'Use Your Illusion I'? Question 7: Which French electronica duo released the studio album 'Random Access Memories'? Question 8: Which Irish rock band released the song 'Elevation'? Question 9: Which song was originally recorded by The Beatles and was later covered by Stevie Wonder? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:27:21 - En pistes ! du mardi 18 février 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Des Caprices de Paganini tout en virtuosité ce matin par le violoniste François Pineau-Benois mais aussi un peu de tendresse avec la voix de Fatma Saïd dans des lieder. Et aussi Martha Argerich, Le Concert de l'Hostel Dieu ou la soprano Amanda Forsythe !

durée : 01:27:21 - En pistes ! du mardi 18 février 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Des Caprices de Paganini tout en virtuosité ce matin par le violoniste François Pineau-Benois mais aussi un peu de tendresse avec la voix de Fatma Saïd dans des lieder. Et aussi Martha Argerich, Le Concert de l'Hostel Dieu ou la soprano Amanda Forsythe !

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

For this week's Gramophone Podcast, Editor Martin Cullingford talked to violinist María Dueñas to talk about her wonderful new album of Paganini's 24 Caprices - as well as works by successors who were influenced by the style - which is available now on Deutsche Grammophon.

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

Programa conducido por Darío Lavia y Chucho Fernández. Ilustraciones: Louis-Léopold Boilly, Christian de Marco, Enzo Sciotti, Joseph Swan, Ignaz Gaugengigl.. Fotogramas: "Toni" (1935) de Jean Renoir; "Paganini" (1923) de Heinz Goldberg Acto I: El símbolo de Goblin por Darío Lavia 0:02:56 Acto II: "La música como protagonista" de Béla Balázs por Darío Lavia 0:08:31 Acto III: "El violín con cuerdas humanas" de Antonio Ghislanzoni por Chucho Fernández y Natán Solans 0:15:43 Fuentes de los textos: "Prog Rock, the Horror Film and Sonic Excess: Dario Argento, Morricone and Goblin", Tony Mitchell en "Terror Tracks: Music, Sounds and Horror Cinema", coordinado por Philip Hayward (Equinox Publishing, 2009) "Der Film", Béla Bálazs, traducido como "El film" (Ediciones Losange, 1957) "Il violino di corde umane", Antonio Ghislanzoni en "Racconti" (1884), recopilado en "L'orrore della musica" (Fanucci Editore, 1991) Imdb https://www.imdb.com/title/tt35657570/ Web de Cineficción ⁠http://www.cinefania.com/cineficcion⁠/ Fan Page de Cineficción ⁠https://www.facebook.com/revista.cineficcion/

Dmitry Masleev took first prize in the Piano category of the 2015 Tchaikovsky International Competition and since then has released a number of recordings. The latest, from Aparté, is a concertante collection of Liszt's Totentanz, his Rhapsodie espagnole (in a version for piano and orchestra made by Masleev's professor at the Moscow Conservatoire, Mikhail Petukhov) and Rachmaninov's Rhapsody on a Theme of Paganini. He was joined by the Svetlanov Symphony Orchestra. James Jolly, who first met Masleev during the 2019 Tchaikovsky Competition in Moscow, caught up with him again to talk about how the competition changed the course of his career, the new album and how the Dies irae theme infuses so many great classical works.

Heute geht es um den sogenannten Teufelsgeiger Niccolò Paganini: Er sah für viele gruselig aus, und das war durchaus Absicht und Teil seiner Show. Und er konnte natürlich spielen wie kein Anderer. Einmal hat er ein Konzert nur auf einer Saite zu Ende spielen müssen. Die anderen waren gerissen. Zufall oder auch Teil der großen Paganini-Show? Unser ZOOM verrät es.

El dirigente opositor venezolano Edmundo González Urrutia, se reunió el sábado con el presidente Luis Lacalle Pou en la residencia de Suárez y Reyes. El encuentro fue parte de una gira que González Urrutia realiza por América Latina previo a la ceremonia de asunción de Nicolás Maduro para un nuevo mandato en Venezuela, que tendrá lugar el próximo 10 de enero en Caracas.  En la reunión, Urrutia le entregó a Lacalle Pou una copia de las actas electorales que demuestran que él derrotó a Maduro y fue electo presidente, en las elecciones venezolanas del 28 de julio de 2024. Luego de la reunión, González Urrutia se dirigió a un grupo de venezolanos que se manifestaba afuera de la residencia oficial. Lo hizo arriba de la caja de una camioneta, acompañado de Lacalle Pou. En el discurso, González Urrutia aseguró que la oposición recuperará la democracia en Venezuela. “El gobierno podrá cerrar el espacio aéreo, podrá cerrar las autopistas, podrá cerrar los accesos a Caracas, pero no van a impedir el resonante triunfo que vamos a obtener”,aseguró. Por su lado, el canciller Omar Paganini, reiteró que para Uruguay el verdadero presidente electo de Venezuela es González Urrutia. El ministro dijo que “Uruguay sigue pidiendo que el régimen de Nicolás Maduro acepte un camino de transición a la democracia”.   Nosotros entendemos que hay una dictadura y salvo que el régimen reconociera los resultados, la toma del juramento de Maduro no tiene ningún valor”, manifestó Paganini. En el gobierno electo no hubo ningún pronunciamiento respecto a la visita de González Urrutia. Fuentes del equipo de Yamandú Orsi, dijeron a La Diaria que no recibieron ninguna invitación para un encuentro de parte del dirigente opositor venezolano. Además no está previsto que representantes del gobierno entrante vayan a la ceremonia de investidura de Maduro el 10 de enero. El Frente Amplio tampoco enviará “representantes” aunque no está descartado que algún dirigente viaje a “título personal”. Según las fuentes, el gobierno electo no se pronunciará sobre la legitimidad de la próxima administración venezolana antes de asumir, el 1º de marzo.

Send us a textFrench-Brazilian Guitar Virtuoso Releases Two Singles#progrock #guitarist #paganini #newmusic #virtuoso If not now, then when? Just before celebrating his 60th anniversary, French-Brazilian guitar player, composer, producer and film-maker Marcelo Paganini will digitally release two singles on the 20th of November 2024.The first single Marcelo Paganini will release is his short orchestral overture “Poder Paralelo”. It is just 49 bars. It lasts only about one minute. Perfect for the short attention span audience of the current times. It is the first movement of his first symphony “Belo Horizonte” that he wrote 20 years ago, when his friend Andre Dequech told him about a composition contest. Award nominee sound engineer John Chapman did the audio mixing in Hollywood, California, USA. Marcelo Paganini conducted by himself the Budapest Scoring Orchestra in Budapest, Hungary on October the 23rd for the recording. 3 cameras captured the performance and the video will also be released on the 20th of November. There will also be an “making of” short film documentary produced and directed by Marcelo Paganini that will be released next year on the film festival circuit.Buy the Music: https://marcelopaganini.bandcamp.com/track/poder-paraleloInstagram: https://www.instagram.com/marcelopaganini.ic/Facebook: https://www.facebook.com/p/Marcelo-Paganini-100043967236194/Youtube: https://www.youtube.com/user/MarcelloPaganiniThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!

¿Cómo está marchando la transición entre el gobierno saliente y el entrante? El sábado, el presidente electo Yamandú Orsi reunió a su futuro gabinete, en una bodega ubicada en el Municipio de Salinas, cerca de donde él tiene su casa, en el departamento de Canelones. Allí sostuvo que por el momento “no hay sorpresas” en la información brindada por las autoridades salientes. De todos, modos se han producido algunos ruidos en la relación entre las dos partes a raíz de decisiones tomadas por esta administración en los últimos días. Por ejemplo, el gobierno electo cuestionó que, a instancias del Poder Ejecutivo, Ancap haya rechazado la opción de participar como socio en el proyecto de combustibles sintéticos promovido por la empresa HIF Global, una decisión que motivó la renuncia del presidente del ente Alejandro Stipanicic. En diálogo con La Diaria, el futuro secretario de la Presidencia, Alejandro Sánchez, recordó que en las reuniones de transición hubo un pedido específico del gobierno entrante de “no innovar”. A su modo de ver, la resolución sobre el proyecto HiF Global representa una “innovación” dado que, expresó, quien en su momento tendrá que tomar la decisión de participar o no en el capital accionario del emprendimiento será el nuevo gobierno. Por su lado, el canciller Omar Paganini, ex ministro de industria, explicó en su cuenta de X que el gobierno decidió que Ancap no asumiera el rol de inversor porque el mercado de combustibles sintéticos está en desarrollo y por ende presenta grandes riesgos. “Si Ancap integra hasta el 30% del capital, eso implica una enorme suma de dinero (hasta US$ 1.800 millones), pero implica también -directa o indirectamente- la garantía soberana del Estado". En ese punto Paganini recordó casos similares que terminaron mal en adminsitracion frenteamplista. "En el caso de Pluna, el Estado garantizó a privados la compra de los aviones y terminó pagando un monto enorme. También vivimos situaciones así en Ancap, que costaron muchos millones a los uruguayos, como la regasificadora y el negocio del pórtland y la cal”, aseguró. En su opinión, “los proyectos de Hidrógeno Verde no deberían ser otra regasificadora”. El otro gran asunto que está causando diferencias es el proyecto Neptuno, para el que ya existe la autorización ambiental previa, aprobada a mediados de este mes por el Poder Ejecutivo. Sánchez sostuvo que ahora “se está discutiendo si se modifica o no el proyecto y de qué manera”. Y agregó: “Nosotros estamos a la espera de que se nos informe cuál sería la modificación, si la hubiera, y qué características tendría la firma de ese contrato. El gobierno actual, ¿qué quiere? En boxeo hay una expresión, clinch, que es abrazar. Te quiere abrazar para que vos no lo puedas golpear. Eso es lo que está intentando el actual gobierno” dijo Sánchez, en una entrevista que publicó este sábado La Diaria. La Tertulia de los Lunes con Martín Bueno, Miguel Brechner, Tomás Casaretto y Julieta Sierra.

La renuncia el jueves pasado del presidente de Ancap, Alejandro Stipanicic, por diferencias con el Poder Ejecutivo, sigue despertando algunas preguntas. Un breve repaso. Este viernes 27 de diciembre, Alcoholes del Uruguay (ALUR) tiene previsto firmar un Acuerdo de Implementación con la empresa HIF Global. Esto para seguir avanzando con un proyecto de inversión de esa compañía de capitales chilenos en Paysandú, para instalar una planta que utilizará CO2 generado por ALUR e hidrógeno verde para producir combustibles sintéticos. Recordemos que, de concretarse, la planta de HIF supondría la mayor inversión en la historia del país: US$ 6.000 millones. El Acuerdo de Implementación debe firmarse antes de fin de año por una cuestión de plazos estipulados en el memorándum de entendimiento que se firmó con HIF en febrero, pero la decisión final sobre el proyecto se tomaría recién en mayo de 2026. Ahí se espera que el negocio en torno a este proyecto esté más claro, dado que hoy no existe demanda de combustible sintético.  ¿Por qué entonces tanta polémica ahora? Entre el presidente saliente del ente, Alejandro Stipanicic, y el Poder Ejecutivo, se abrió una diferencia referente a una cláusula del Acuerdo de Implementación, que le daba a Ancap la opción de participación a futuro en el proyecto. Cuando se tome la decisión final sobre la planta de HIF, Ancap podría tomar una participación hasta del 30% del negocio. Y si allí decidiera no participar, no tendría que pagar ninguna penalización. Stipanicic consideraba que era importante dejar esa opción abierta. Sin embargo, el Poder Ejecutivo exhortó al Directorio de Ancap a eliminar la cláusula en cuestión, y Stipanicic decidió renunciar a su cargo argumentando que no existía “ninguna razón técnica, económica ni jurídica” para seguir el camino ordenado por el gobierno. El sábado, en su cuenta de la red social X, el canciller Omar Paganini, quien fuera previamente ministro de Industria, publicó un texto afirmando que el gobierno pretende que la inversión de HIF siga adelante y la calificó como “una gran oportunidad para el país”. Pero aclaró que Ancap participa como proveedor de CO2 y no como inversor. “El proyecto de HIF no depende de que Ancap invierta. Cuenta con socios de Chile, EEUU, Alemania y Japón. Ellos están asumiendo la inversión y el riesgo, y Ancap obtendrá beneficios rentabilizando un subproducto. Es una situación de ganar-ganar”, escribió Paganini. El jerarca dijo que el monto de la inversión es demasiado alto, y el negocio demasiado incierto, como para que Ancap corra el riesgo. Recordó entonces los casos de Pluna y de la regasificadora, “que costaron muchos millones a los uruguayos”. “Los proyectos de Hidrógeno Verde no deberían ser otra regasificadora”, escribió Paganini. Continuó: “Una cosa es un proyecto con beneficios para Ancap y para los privados, y otra muy diferente es invertir fortunas de los contribuyentes y que por añadidura el Estado salga de garantía”. El canciller cerró diciendo que debe haber una “adecuada asignación de riesgos entre el Estado y los privados” y que “otra cosa son las aventuras con el dinero de todos”. Profundizamos En Perspectiva sore este tema con la actual ministra de Industria, Energía y Minería, la ingeniera Elisa Facio.

#187 Wer war Jesus von Nazareth – mit Prof. Dr. Simone Paganini Vier Tage vor seinem offiziellen Geburtstag richten wir in dieser Folge den Fokus auf den vermutlich berühmtesten Menschen der Welt. Wahrscheinlich geboren im damaligen Nazareth erblickte er vor ein bisschen mehr als 2000 Jahren das Licht dieser Welt, als Sohn von Maria und Josef, der ein einfacher Zimmermann war. Sein Name Jeschua, Jeschu oder auch Jesus. Ein jüdischer Wanderprediger, der die Geschichte der Menschheit bis heute maßgeblich prägen und beeinflussen sollte. Wer war Jesus von Nazareth? Mit dieser Frage haben sich der italienische Theologe und Universitätsprofessor Dr. Simone Paganini und seine Frau Claudia in ihrem aktuelle Buch „Der unbekannte Messias“ ausgiebig beschäftigt. Sie kommen zu dem Ergebnis, dass Jesus durchaus ein Typ mit Ecken und Kanten war und genau die gilt es in der kommenden Stunde näher zu beleuchten und den Mann, der für Milliarden von Menschen seit über 2000 Jahren der Sohn Gottes ist, mehr zu verstehen und besser kennenzulernen. In dieser Folge geht es ausdrücklich NICHT um eine Glaubensfrage, sondern um die Erkenntnisse von Wissenschaftlern über den Menschen Jesus.

Paganini, Claudia www.deutschlandfunkkultur.de, Studio 9

Le balet Boléro+ au Théâtre national slovaque, entretiens avec le chef d'orchestre J.Kyzlink et chorégraphe C.Davidson. Concours des jeunes violonistes Paganini de Presbourg, co-organisateur B.Medelsky. Mireille Mathieu chantera a Bratislava.

La cumbre de jefes de Estado del Mercosur que tuvo lugar el viernes pasado aquí en Montevideo no pasó desapercibida para la región ni para el mundo. Después de 25 años de negociaciones y con la presencia de la presidenta de la Comisión Europea, Ursula Von Der Layen, que llegó especialmente a Uruguay por 24 horas, los dos bloques acordaron el texto para un futuro tratado de libre comercio. Si finalmente se confirma en los próximos meses, se creará la zona de libre comercio más grande del mundo, con un mercado de aproximadamente 800 millones de personas. En el texto, además, las regiones anuncian que fomentarán la cooperación en áreas claves como la ciencia y la tecnología y reafirman su compromiso con los valores democráticos, la protección de los derechos humanos y el desarrollo sostenible. El presidente Luis Lacalle Pou hizo el anuncio en una conferencia de prensa que compartió junto a Von del Leyen y los otros mandatarios del Mercosur. Lacalle Pou uruguayo, que horas más tarde entregaría la presidencia protémpore del bloque a su colega de Argentina, Javier Milei, dijo que después de “varios fracasos” puede “irse a dormir tranquilo” después de esta cumbre. "Lo primero. No es solo un intercambio comercial, que lo es. Quizás de manera más importante, para nuestros países y para los países de economías mas pequeñas del Mercosur, es importantísimo que la economía se nos abra. Pero hay algunas condiciones y elementos con Europa que nos unen más allá de lo comercial". En Europa la noticia generó varias repercusiones. Francia e Italia reiteraron su oposición al texto del acuerdo. España y Alemania, en cambio, saludaron el paso adelante. Aquí en Uruguay el sistema político en general vio con buenos ojos el entendimiento mientras el PIT CNT se pronunció en contra. Todavía queda mucho camino por recorrer antes de que el tratado entre en vigencia. El escalón siguiente será la revisión legal del texto así como el proceso de traducción a los distintos idiomas oficiales (que son 25 en total, sumando las dos partes). Y por último tendrá lugar la parte más difícil, que son los procesos de aprobación internos de cada lado, donde se esperan discusiones arduas, sobre todo en Europa. Sobre lo que se consiguió este viernes y lo que falta todavía conversamos En Perspectiva con el ministro de Relaciones Exteriores, Omar Paganini.

Esta mañana tendrá lugar aquí, en Montevideo, la 65º cumbre de presidentes del Mercosur, con la firme posibilidad de que se apruebe el texto del tratado de Libre Comercio con la Unión Europea.  La presidenta de la Comisión Europea, Ursula von der Leyen, llegó ayer a Uruguay para participar del encuentro, lo que en el gobierno fue interpretado como una buena señal para la culminación de las negociaciones. Von der Leyen se reunió ayer por espacio de 25 minutos con el presidente Luis Lacalle Pou en la Torre Ejecutiva. En la audiencia también participaron el canciller Omar Paganini, la ministra de Economía Azucena Arbeleche, el embajador de Uruguay ante la Unión Europea, Pablo Sader, el comisario europeo de Comercio, Maros Sefcovic, el embajador de la Unión Europea en Uruguay, Paolo Berizzi; el jefe de gabinete, Björn Seibert, y el encargado de Comercio, Tomas Baert. Al terminar la reunión, Paganini informó que se llegó a un texto de “común acuerdo” entre la Unión Europea y los miembros plenos del Mercosur.  El ministro dijo que hoy “se espera dar una buena noticia”. “Se pudo conversar sobre los avances en la negociación del acuerdo, El valor que tiene, no solo desde el punto de vista económico para los países de ambos lados, es un mercado que juntaría 800 millones de personas, si no también el valor político en un momento en que el mundo se está fragmentando, mostrar la posibilidad de integrar regiones que tienen en común, historia, cultura y valores principalmente la defensa de la democracia”.  ¿En dónde estamos parados a esta hora en cuanto a la firma de este tratado?  Conversamos En Perspectiva con el economista Marcel Vaillant, experto en comercio internacional.

Maracanà con Marco Piccari e Stefano Impallomeni. Ospiti: P. Paganini:"In questo momento il Milan ha poche speranze contro la Dea." Bonetti:" Vlahovic nella Juve è solo. Ho fiducia in Ranieri." Impallomeni:"Fagioli on ha reagito meglio darlo in prestito."

La columnista de El Mundo agrupa sus Crónicas de Paganini en su nuevo libro 'Comerse Madrid: Crónicas de Paganini', del que habla en 'La brújula' con Rafa Latorre.

durée : 01:29:05 - Leonid Kogan, technique d'exception et interprétations captivantes - par : Aurélie Moreau - Leonid Kogan est un des maîtres de l'école soviétique du violon. Il remporte en 1951 le Concours Reine Elisabeth et débute avec succès en Occident en 1955. Au programme aujourd'hui : Paganini, Chostakovitch, Beethoven, Tchaïkovski, Khatchatourian…

Quiso insistir en lo que había escrito en la columna sobre el bandido en jefe. Las democracias liberales deben ser el hígado de la sociedad: su papel, antes que distribuir la riqueza, es encauzar la maldad y los pensamientos disruptivos en un discurso civilizado. ¡Ah, pero estos tiempos! Trump no es más que la prueba máxima de las compuertas abiertas de la cultura del sentimiento. Sobre Valencia fue severo: cuando en un país mueren más de 200 personas por unas lluvias, por más federal que sea, ¡o incluso confederal!, el que tiene que responder es el Gobierno de la nación y, por lo tanto, rendir cuentas. Y no solo sobre la tragedia en sí, sino sobre la precaria visita de Estado que puso al rey y al mismo presidente del Gobierno a los pies de la chusma. Pero en fin, tanto el fracaso en la comunicación del peligro, como la falta de responsabilidad, como el paseo tropical en Paiporta, son síntomas de lo mismo: la profunda crisis de autoridad que atraviesa España. Si algo no desdeña la naturaleza humana son los burning papers que siempre encuentra. El de esta semana acredita lo que para él es obvio: el olor de las mujeres heterosexuales es el más atractivo, independientemente del género y la orientación sexual de quien lo huela. Celebró el nuevo libro de Emilia Landaluce, sus «Crónicas de Paganini» tan felices, y el vigésimo aniversario de Funambulista, la editorial de Max Lacruz. Y fue así que Espada yiró. Bibliografía: «Racista, sexista, homófoba, transfóbica y estúpida, sí», por Arcadi Espada, en EL MUNDO  «Lo de Íñigo Errejón entre mujeres de derechas», por Emilia Landaluce, en EL MUNDO. Comerse Madrid, de Emilia Landaluce. Una educación sexual, de Juan Abreu «Una nueva IA descodifica los sonidos y gruñidos de los cerdos para mantenerlos contentos», en Reuters. Burning paper: El impacto del olor corporal en la atracción sexual («The Impact of Body Odors on Sexual Attraction and Partner Selection: A Review of Cisgender Homosexual Men and Women», en Archives of Sexual Behaviour). Cuestión de olfato, Bill Hansson. See omnystudio.com/listener for privacy information.

Donald Macleod uncovers key aspects of Liszt's soul and identity Franz Liszt was the original musical heartthrob - the most photographed man of the 19th century, who left a legacy of more than 700 compositions and in the course of his career made well over 1000 concert appearances. With his electrifying talent at the keyboard, he transformed the status of musician from servant to demigod. But he was also a man of complex character, who wore many masks and repeatedly reinvented himself. This week, Donald Macleod uncovers key slices of Liszt's soul and identity.Music Featured: Prelude (No 1 from 12 Transcendental studies) Grand galop chromatique “Un sospiro” (from 3 Etudes de concert, S144 No 3) “La Campanella” (from Grandes Etudes de Paganini, S141 No 3) Mephisto Waltz No 1 Piano Concerto No 1 in E flat major, S124 Gnomenreigen En rêve Romance oubliée, S132 Premiere année de pèlerinage, S160: Suisse (excerpt) Die Lorelei Les Preludes Liebestraum No 3 in A flat major Salve Regina Dante Symphony S109 (iii. Magnificat) Les morts: Oraison Legendes, S175: St Francis of Assisi preaching to the birds 10 Harmonies poetiques et religieuses: Benediction de dieu dans la solitude (excerpt) Christus, Part 3: Resurrexit Mephisto Waltz No 4 Der Doppelgänger (after Schubert's Schwanengesang) Grandes études de Paganini, No 5 “La Chasse”, S141 La lugubre gondola II Funeral Odes, No 3 “Le triomphe funebre du Tasse” Consolation No 1 in E major, S172 Kennst du das Land Rakoczy March (from Hungarian Rhapsody No 15) Enfant, si j'etais roi Im Rhein, im schoenen Strome Isten Veled! Troisieme année de pèlerinage: Les jeux d'eau sur la villa d'Este Wiegenlied Hungarian Rhapsody No 2 (orch. Doppler)Presented by Donald Macleod Produced by Amelia Parker for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Franz Liszt (1811-1886) https://www.bbc.co.uk/programmes/m002454z And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Říkalo se mu český Paganini. Patřil k našim nejvýznamnějším muzikantům. Narodil se v roce 1806 v Jincích v rodině řídicího učitele. Otec brzy rozpoznal synkův talent, a tak Josef dostal do ruky první housličky sotva čtyřletý.

Grundig ⁠⁠⁠⁠⁠⁠⁠⁠xplore Hakkında detaylı bilgi almak için:⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tıklayın⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ * Instagram: @ortamlardasatilacakbilgi Twitter: @OrtamlardaB * Reklam ve İş birlikleri için: ortamlardasatilacakbilgi@gmail.com * *Bu bölüm "⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Grundig" hakkında reklam içerir*

A message from Beavis and Butthead, texting sucks, my dad holding court on the phone, my mom and her mysterious machine, horoscoping, don't say sui generis, the legendary Colonel Sanders, a funny James Franco skit, carpets and more, my life as Jack Nicholson, a rumination situation, dogs versus cats, this world can be harsh, a touching moment at work, alcohol is verboten in the movie theater, a great new thriller, the genius of Thelonious Monk and Charlie Parker, the great Ella Fitzgerald, and a song I came up with around midnight. Stuff mentioned: Colonel Sanders Voiceover (https://www.youtube.com/watch?v=1c7k2zyLn6I), James Franco: Gucci Commercials Outtakes (https://www.youtube.com/watch?v=lUtkQ1lp_Yo), Rush (1991), Strange Darling (2023), Z Berg "Better the Devil", Thelonious Monk "'Round Midnight" (1943), Thelonious Monk: Straight, No Chaser (1988), Round Midnight (1986), Bird (1988), Heat (1995), Ella Fitzgerald "'Round Midnight" (1962), Ella Fitzgerald and Dinah Shore "Memphis Blues" (1963 https://www.youtube.com/watch?v=Skth17Ky-HA), and Ella Fitzgerald "You'll Have to Swing It/Mr. Paganini" (1936).

Der italienische Geiger Nicolo Paganini war so dermaßen gut auf seinem Instrument, dass viele ihn mit dem Teufel in Verbindung brachten.Und wie das oft ist mit bösen Gerüchten, bekommen sie manchmal ein Eigenleben. Und halten sich hartnäckig. Paganini war für viele nur noch der Teufelsgeiger.Ihm selbst gefiel das überhaupt nicht. Und so kämpft er zeitlebens gegen das Gerücht, ein Spross des Satans zu sein.