Podcast appearances and mentions of peter ilyich tchaikovsky

Kotoha Inoue and Olivia Sexton have each just finished their first week at this summer's Interlochen Arts Camp (2024). They visited IPR's Studio A to perform and talk about their experiences at camp so far. Kotoha Inoue is 15 years old. She performed the "June: Barcarolle" movement from Peter Ilyich Tchaikovsky's "The Seasons." Olivia Sexton is 17 years old. She performed the Prelude and Allemande movements from Johann Sebastian Bach's Partita no. 1 in B-flat major. Michael Culler engineered this recording session with support from Carolyn Dzul.

SynopsisThese days at symphony concerts, when a new piece of music is about to be played, it's not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there's so much Brahms and Tchaikovsky we'd rather hear?”Well, on today's date in 1881, the 40th season of the New York Philharmonic Society's concerts opened with a pair of new works: first the New York premiere of the Tragic Overture, by Johannes Brahms, and after that, the world premiere of the Second Piano Concerto, by Peter Ilyich Tchaikovsky. The soloist in the Tchaikovsky was Madeleine Schiller.Here's what the New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event, ... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.”Ah, some things never change!Music Played in Today's ProgramJohannes Brahms (1833 – 1897) Tragic Overture; Chicago Symphony; Daniel Barenboim, cond. Erato 95192Peter Tchaikovsky (1840 – 1893) Piano Concerto No. 2; Barry Douglas, piano; Philharmonia Orchestra; Leonard Slatkin, cond. RCA/BMG 61633

SynopsisIn St. Petersburg on today's date in 1893, Peter Ilyich Tchaikovsky conducted the first performance of his latest symphony, his Sixth. From the beginning, this symphony has been commonly known by its French subtitle, the Pathétique, a designation suggested by the composer's brother, Modest.Now, by Pathetique, Modest meant something like “passionate” or “emotional,” with overtones of “pathos” and “suffering,” but in plain old English, “pathétique” translates as “pathetic,” a word with a slew of negative connotations. The French sounds much better, thank you. Tchaikovsky had originally wanted to call it A Program Symphony with, apparently, no intention of cluing anyone in on what that program might be.In any case, nine days after he conducted the premiere, Tchaikovsky was dead. Was his death the result of a fatal glass of unboiled water recklessly drunk during the height of a cholera epidemic? Or was it a deliberate suicide to avoid the scandal of a homosexual affair becoming public? Did his Pathétique Symphony encode the answer?Speculation has raged around Tchaikovsky's last symphony ever since, surrounding this last work with what one critic has called “voluptuous gloom.”Music Played in Today's ProgramPeter Tchaikovsky (1840 – 1893) Symphony No. 6 (Pathétique) - Russian National Orchestra; Mikhail Pletnev, cond. DG 449 967

Our interview with Professor Frederick 'Fritz' K. Hilton, of the University of Louisville Medical School continues. This time he discusses his early research on 'in vitro fertilization' and how the recent Supreme Court decision about abortion could effect infertile couples. To hear the first installment of our talk with this fascinating scientist visit: https://soundcloud.com/wfmp-forward-radio/bench-talk-a-life-of-art-and-science-dr-frederick-k-hilton-part-1-nov-21-2022?in=wfmp-forward-radio/sets/bench-talk-the-week-in-science . Also, Scott Miller tells us what the night sky has in store for us during the month of December. ‘Bench Talk: The Week in Science' is a weekly program that airs on WFMP Louisville FORward Radio 106.5 FM (forwardradio.org) every Monday at 7:30 pm, Tuesday at 11:30 am, and Wednesday at 7:30 am. Visit our Facebook page for links to the articles discussed in this episode: www.facebook.com/pg/BenchTalkRadi…ef=page_internal Public-domain music ('Fourth Symphony, 3rd Movement' by Peter Ilyich Tchaikovsky, 1878) was provided by the Royal Philharmonic Orchestra - Sir Thomas Beecham directing (1958).

Synopsis On today's date in 1888, Russian composer Peter Ilyich Tchaikovsky premiered his new Overture-Fantasy Hamlet. He had been asked to write an overture for a gala charity benefit staging of Act III of Shakespeare's famous play at the Mariinsky Theatre. Alas, the charity was, as Hamlet might say, “not to be.” But Tchaikovsky so liked the idea of a piece inspired by the mood and characters of Hamlet that wrote the overture anyway. As Hamlet said, “the time is out of joint,” and we fast forward our story almost 100 years to 1982 and another Tchaikovsky – André Tchaikovsky (no relation to Peter Ilyich). André Tchaikovsky was a Polish composer who was also a virtuoso pianist of some note and a wanna-be actor to boot. When André Tchaikovsky died in 1982, he'd asked that his skull be donated to the Royal Shakespeare Company, hoping it would be used for the skull of Yorick in their productions of Hamlet. André Tchaikovsky got his wish in 2008, when his skull was finally held aloft by David Tennant in a series of performances of Hamlet in Stratford-upon-Avon, a production that proved so famous that an image of Tennant as Hamlet holding Tchaikovsky's skull ended up on a British postage stamp. Music Played in Today's Program Peter Tchaikovsky (1840-1893): Hamlet-Fantasy Overture, Op. 67 –Israel Philharmonic Orchestra; Leonard Bernstein, cond. (DG 477670)

Hear our interview with Professor Frederick 'Fritz' K. Hilton, retired physiologist at the University of Louisville Medical School. Not only did he conduct 40 years of research on the physiology and biochemistry of birds, bats and other mammal species, but he is an experienced ornithologist, and a renowned wildlife artist. This is the first installment of our interview with this fascinating artist-scientist. ‘Bench Talk: The Week in Science' is a weekly program that airs on WFMP Louisville FORward Radio 106.5 FM (forwardradio.org) every Monday at 7:30 pm, Tuesday at 11:30 am, and Wednesday at 7:30 am. Visit our Facebook page for links to the articles discussed in this episode: https://www.facebook.com/pg/BenchTalkRadio/posts/?ref=page_internal Public-domain music ('Fourth Symphony, 3rd Movement' by Peter Ilyich Tchaikovsky, 1878) was provided by the Royal Philharmonic Orchestra - Sir Thomas Beecham directing (1958).

Synopsis On today's date in 1891, a small group of music patrons gathered at one of New York's docks to greet the Russian composer Peter Ilyich Tchaikovsky, who had been invited to America to take part in the grand opening of a new music hall. Back then, it was just called “The Music Hall,” but over time it took on the name of the wealthy steel magnate Andrew Carnegie, who funded its construction. “Carnegie is an amazing eccentric,” wrote Tchaikovsky to his friends back in Russia. “He rose from being a telegraph boy, transformed with the passing of years into one of America's richest men, but one who has remained a simple, modest man who does not at all turn up his nose at anyone.” And, despite his legendary melancholic funks and chronic bouts of homesickness, the composer admitted he found the rest of New York rather impressive: “American customs, American hospitality, the very appearance of the town, the remarkable comfort of my accommodations – this is all very much to my taste and if I were younger I would probably be greatly enjoying my stay in an interesting new country.” On the down side, Tchaikovsky reported you couldn't buy cigarettes on a Sunday, and it was sometimes hard to find a public bathroom when you needed one – a common complaint of New York tourists even today! “All told,” Tchaikovsky concluded, “I am a much bigger fish here than in Europe. Incidentally, Central Park is magnificent.” Music Played in Today's Program Peter Ilyitch Tchaikovsky (1840–1893) — Orchestral Suite No. 3 (Detroit Symphony; Neeme Järvi, cond.) Chandos 9419

Already during their lifetimes, Antonin Dvorák and Peter Ilyich Tchaikovsky were among the most famous composers in the world. Their music is extremely sophisticated, the product of highly skilled composers, and their beautiful melodies have always been especially beloved.

Most Americans know Tchaikovsky as the composer of the delightful dances contained within the Nutcracker Ballet. As Fr. John Strickland shows, however, there is much more to be heard in their melodies, and little that was delightful about the emotionally agonized life behind them. Using selections from a variety of works, he explores how the romantic agony came for Tchaikovsky in his boyhood and thereafter never departed. Special attention is given to an analysis of the famous Sixth Symphony, nicknamed Pathetique. First performed just days before the composer's abrupt death, the work brings the generation of the romantics to a heart-rending and emblematic conclusion.

收听提示 1、奥运会上被当作最大对手意味着什么？ 2、一些左派学者为什么不喜欢职业运动？ 3、运动员之间有一种怎样的情谊？ 4、回答一些听众的提问：世界那么糟，我还要将小孩带到这个世界吗？ 本集相关 《足球英杰》 《足球英杰》（The English Game）是一部2020年Netflix出品的剧集，该剧以历史上第一位职业球员弗格斯-苏特为原型改编，从多角度介绍了英国足球早期的发展历程，也展现了19世纪末英国的社会风貌。  柴可夫斯基 彼得·伊里奇·柴可夫斯基（Peter Ilyich Tchaikovsky，1840-1893），出生于伏特金斯克市，十九世纪俄罗斯浪漫乐派作曲家。柴可夫斯基的创作几乎涉及了所有的音乐体裁和形式，其中交响乐创作处于重要位置。他继承了格林卡以来俄罗斯音乐的发展成就，同时又注意吸取西欧音乐文化发展的经验，把高度的专业技巧同俄罗斯民族音乐传统有机结合，创造出具有戏剧性冲突和浓郁民族风格的作品。 本集音乐 Valery Gergiev 指挥Mariinsky Orchestra乐团，Denis Matsuev钢琴演奏的柴可夫斯基第一钢琴协奏曲第一乐章， Piano Concerto No.1 in B-Flat Minor, Op.23. I (第一乐章 非常庄严的不太快的快板，精神饱满的快板) 上集回顾 306. 奥运会还有哪些代表队值得关注？ 《八分》每周三、周五晚8点更新 欢迎留言说出你的问题和建议

收听提示 1、奥运会上被当作最大对手意味着什么？ 2、一些左派学者为什么不喜欢职业运动？ 3、运动员之间有一种怎样的情谊？ 4、回答一些听众的提问：世界那么糟，我还要将小孩带到这个世界吗？ 本集相关 《足球英杰》 《足球英杰》（The English Game）是一部2020年Netflix出品的剧集，该剧以历史上第一位职业球员弗格斯-苏特为原型改编，从多角度介绍了英国足球早期的发展历程，也展现了19世纪末英国的社会风貌。  柴可夫斯基 彼得·伊里奇·柴可夫斯基（Peter Ilyich Tchaikovsky，1840-1893），出生于伏特金斯克市，十九世纪俄罗斯浪漫乐派作曲家。柴可夫斯基的创作几乎涉及了所有的音乐体裁和形式，其中交响乐创作处于重要位置。他继承了格林卡以来俄罗斯音乐的发展成就，同时又注意吸取西欧音乐文化发展的经验，把高度的专业技巧同俄罗斯民族音乐传统有机结合，创造出具有戏剧性冲突和浓郁民族风格的作品。 本集音乐 Valery Gergiev 指挥Mariinsky Orchestra乐团，Denis Matsuev钢琴演奏的柴可夫斯基第一钢琴协奏曲第一乐章， Piano Concerto No.1 in B-Flat Minor, Op.23. I (第一乐章 非常庄严的不太快的快板，精神饱满的快板) 上集回顾 306. 奥运会还有哪些代表队值得关注？ 《八分》每周三、周五晚8点更新 欢迎留言说出你的问题和建议

A cura di Massimiliano SamsaW. A. Mozart (1756 - 1791) - Serenata notturna n. 6 in re maggiore per due piccole orchestre, K 239I. Marcia. Maestoso II. Menuetto III. Rondeau. Allegretto - Adagio - AllegroBerliner PhilharmonikerHerbert von KarajanLa Serenata notturna in re maggiore K. 239 è stata composta da Mozart nel 1776. A giudizio dei più autorevoli esegeti dell'opera, si tratta di uno dei più squisiti lavori del periodo della prima maturità del compositore. La Serenata notturna è scritta per un complesso piuttosto insolito, o meglio per due complessi strumentali. L'uno si presenta come un «concertino» composto di due violini, viola e contrabasso. L'altro include il «ripieno» dato dalla massa degli archi con in più i timpani. Il lavoro si suddivide in tre parti: una Marcia che incede in tempo Maestoso; un Minuetto con un Trio affidato al solo «concertino»; un Rondò finale (Allegretto) in cui s'intrecciano come, «intermezzi» un espressivo Adagio e un motivo da Marcia viennese.Testo tratto da: https://www.flaminioonline.it/Guide/Mozart/Mozart-Serenata239.html-----------------------------------------------Peter Ilyich Tchaikovsky (1840-1893) - Serenata in do maggiore per archi, op. 4800:00 1. Pezzo in forma di Sonatina. Andante non troppo - Allegro moderato09:39 2. Valse. Moderato. Tempo di Valse13:52 3. Elegia. Larghetto elegiaco22:05 4. Finale. Tema russo. Andante - Allegro con spiritoPrima esecuziione: San Pietroburgo, 30 ottobre 1881Herbert von Karajan, conductorBerliner PhilharmonikerIl genere della Serenata - la composizione strumentale destinata, sul finire del XVIII secolo, ad esecuzioni all'aperto per fini di puro intrattenimeno - fu scarsamente coltivato nel secolo scorso, se non come rimpianto nostalgico di un'epoca perduta, quella appunto del classicismo. Non fa eccezione la Serenata per orchestra d'archi in do maggiore op. 48 di Ciaikovsky, brano che riflette la sconfinata venerazione dell'autore per lo stile del tardo XVIII secolo, filtrato soprattutto attraverso la figura idealizzata di Mozart.Infatti la Serenata op. 48 è opera apertamente dissimile dalle prove sinfoniche di Ciaikovsky, come pure dalle prime tre Suites orchestrali, composizioni assai impegnative strutturalmente e concettualmente; essa si richiama piuttosto alla Quarta suite, detta "mozartiana" perché basata su un materiale originariamente di Mozart, o alle "Variazioni su un tema rococò" per violoncello e orchestra op. 33, entrambe rivisitazioni personalissime dello stile classico.Nella Serenata op. 48, invece, l'omaggio a Mozart e al classicismo risiede più nel carattere sereno e disimpegnato del brano che non nell'imitazione degli amati modelli; forse proprio questa scelta rese la composizione particolarmente gradita all'autore ("Che sia perché è il mio ultimo lavoro o perché davvero non è male, sono molto innamorato di questa Serenata", ebbe a scrivere Ciaikovsky). Scritta nel 1880, essa fu eseguita l'anno seguente con grande successo, riscuotendo fra l'altro l'ambito apprezzamento di Anton Rubinstein, temuto direttore del Conservatorio di Pietroburgo e maestro dell'autore.La Serenata si articola in quattro movimenti, ben differenziati fra loro ma unificati concettualmente dalla scelta di un materiale tematico prevalentemente per gradi congiunti. L'iniziale Pezzo in forma di Sonatina consiste in un Allegro moderato, in forma-sonata senza sviluppo, introdotto da un Andante non troppo, con un tema spazioso che riappare anche come coda; è il movimento più elaborato del brano, ed insieme una pagina di fresca eleganza, per l'equilibrio delle proporzioni e per l'invenzione tematica, che contrappone un'idea esitante ad una graziosamente scattante.Segue una Valse giustamente celebre, in cui Ciaikovsky mostra la sua abilità come creatore di melodie ampie e sensuali. Espressivamente malinconica, con i voluttuosi temi dell'ampia sezione centrale, l'Elegia si mantiene distante dal lugubre pessimismo di composizioni consimili. Il Finale si basa su due temi popolari russi, tratti da una raccolta per pianoforte a quattro mani dello stesso Ciaikovsky; il primo compare in una lenta e concentrata Introduzione; il secondo, una danza briosa, funge da prima idea dell'Allegro con spirito. Qui, dopo la classica elaborazione e contrapposizione del materiale tematico, riappare il motivo iniziale della partitura; è una pausa meditativa e insieme di raccordo al primo movimento, prima che la danza russa concluda brillantemente la composizione, con una stretta di sicuro effetto.Testo tratto da: https://www.flaminioonline.it/Guide/Cajkovskij/Cajkovskij-Serenata48.html------------------------------------------------Edward Elgar (1857 - 1934) - Serenata in mi minore per orchestra d'archi, op. 20I. Allegro piacevoleII. LarghettoIII. AllegrettoPrima esecuzione: Worchester, 18 maggio 1892Philharmonia OrchestraGiuseppe Sinopoli, direttoreElgar è considerato tra i compositori inglesi più rappresentativi del periodo tardoromantico e molto sensibile alle influenze del sinfonismo di derivazione tedesca. Di lui si ricordano ancora oggi due lavori significativi della personalità nobile e artistocratica del musicista: le ariose ed eleganti Enigma Variations o Variazioni su un tema originale, detto Enigma, e The Dream of Gerontius (Il sogno di Geronzio), opera di grande impegno corale e molto ammirata da diversi compositori tedeschi, fra cui Richard Strauss. Né vanno sottovalutati i suoi due concerti per violino e per violoncello e orchestra, particolarmente apprezzati per la schiettezza dell'ispirazione e l'intimità del pensiero musicale, sempre guidato da una sobrietà e dignità di concezione, tipica del vero gentleman di campagna inglese. Notevole è stato il suo contributo all'evoluzione della musica britannica nell'epoca vittoriana ed edoardiana, come annotò a suo tempo Bernard Shaw in uno studio pertinente sulla figura di questo artista, dotato di un istintivo temperamento orchestrale di esemplare equilibrio e lontano dai fremiti strumentali di Berlioz e di Wagner. Il talento musicale di Elgar, puntato su una fresca vena melodica dalle suadenti modulazioni, è presente nella Serenata per archi op. 20, composta nel 1892 e contraddistinta da un cordiale e affettuoso lirismo, rivelatore di uno stile creativo dai gusti raffinati e aristocratici, nel contesto di un discorso fluido scorrevole e secondo un tipo di scrittura formalmente chiara e sentimentalmente comunicativa.Testo tratto da: https://www.flaminioonline.it/Guide/Elgar/Elgar-Serenade20.html

On the 18th December 1892, Russian composer Peter Ilyich Tchaikovsky’s ballet The Nutcracker received its première performance at the Mariinsky Theatre in St. ...

【主持】 梵一如（微博：@梵叔·番薯·梵一如） 高蕾（金融从业者 德国莱比锡大学经济学硕士） 【音乐】 Daniel Barenboim - Overture ＂1812,＂ Op. 49（Peter Ilyich Tchaikovsky​） 【收听方式】 推荐使用「苹果播客」、小宇宙APP或任意安卓播客客户端 订阅收听《井户端会议》，也可通过网易云音乐、蜻蜓FM等APP收听。 【互动】 微博：@井户端会议

These days, at symphony concerts when a new piece of music is about to be played, it’s not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there’s so much Brahms and Tchaikovsky we’d rather hear?” Well, on today’s date in 1881, the 40th season of the New York Philharmonic Society’s concerts opened with a pair of brand-new works: first the New York premiere of the “Tragic” Overture by Johannes Brahms, and after that, the world premiere performance of the Second Piano Concerto by Peter Ilyich Tchaikovsky. The soloist in the Tchaikovsky was a certain Madame Madeleine Schiller. Here’s what The New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.” Ah, some things never change!

These days, at symphony concerts when a new piece of music is about to be played, it’s not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there’s so much Brahms and Tchaikovsky we’d rather hear?” Well, on today’s date in 1881, the 40th season of the New York Philharmonic Society’s concerts opened with a pair of brand-new works: first the New York premiere of the “Tragic” Overture by Johannes Brahms, and after that, the world premiere performance of the Second Piano Concerto by Peter Ilyich Tchaikovsky. The soloist in the Tchaikovsky was a certain Madame Madeleine Schiller. Here’s what The New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.” Ah, some things never change!

In St. Petersburg on today’s date in 1893, Peter Ilyich Tchaikovsky conducted the first performance of his latest Symphony, his Sixth. From the beginning, this symphony has been commonly known by its French subtitle, the “Pathétique,” a designation suggested by the composer’s brother, Modest. Now, by “Pathetique” Modest meant something like “passionate” or “emotional,” with overtones of “pathos” and “suffering,” but in plain old English, “pathétique” translates as “pathetic,” a word with a slew of negative connotations. The French sounds MUCH better, thank you. Tchaikovsky himself had originally wanted to call it “A Program Symphony” with, apparently, no intention of cluing anyone in on what that program might be. In any case, nine days after he conducted the premiere, Tchaikovsky was dead. Was his death the result of a fatal glass of unboiled water recklessly drunk during the height of a cholera epidemic? Or was it a deliberate suicide to avoid the scandal of a homosexual affair becoming public? Did his “Pathétique” Symphony encode the answer? Speculation has raged around Tchaikovsky’s last symphony ever since, surrounding this last work with what one critic as called “voluptuous gloom.”

In St. Petersburg on today’s date in 1893, Peter Ilyich Tchaikovsky conducted the first performance of his latest Symphony, his Sixth. From the beginning, this symphony has been commonly known by its French subtitle, the “Pathétique,” a designation suggested by the composer’s brother, Modest. Now, by “Pathetique” Modest meant something like “passionate” or “emotional,” with overtones of “pathos” and “suffering,” but in plain old English, “pathétique” translates as “pathetic,” a word with a slew of negative connotations. The French sounds MUCH better, thank you. Tchaikovsky himself had originally wanted to call it “A Program Symphony” with, apparently, no intention of cluing anyone in on what that program might be. In any case, nine days after he conducted the premiere, Tchaikovsky was dead. Was his death the result of a fatal glass of unboiled water recklessly drunk during the height of a cholera epidemic? Or was it a deliberate suicide to avoid the scandal of a homosexual affair becoming public? Did his “Pathétique” Symphony encode the answer? Speculation has raged around Tchaikovsky’s last symphony ever since, surrounding this last work with what one critic as called “voluptuous gloom.”

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to announced on-line and streaming local theatre & book events   Bookwaves Novelist and essayist Jonathan Safran Foer discusses his book, “We Are The Weather: Saving the Planet Begins at Breakfast,” just out in trade paperback, with host Richard Wolinsky. The author of three acclaimed novels, Jonathan Safran Foer has also written “Eating Animals,” a treatise on the evils of factory farming. This new book talks about changing one's diet, cutting one's carnivore diet, as a personal step in limiting your carbon footprint, i.e. removing meat, fish and dairy products from breakfast and lunch. Complete interview   Artwaves Hershey Felder, in conversation with Richard Wolinsky, 2013. George Gershwin Alone will be performed live from Florence, Italy on Sunday September 13, 2020 at 5 pm Pacific. For tickets and information, go to Berkeley Rep or TheatreWorks Silicon Valley. Hershey Felder has made a career of creating solo shows in which he portrays different composers performing their work on piano. His first show, George Gershwin Alone, began in 1999 at a Los Angeles workshop. He later went on to portray Leonard Bernstein, Peter Ilyich Tchaikovsky, Frederic Chopin, Claude Debussy, and Ludwig Beethoven. This interview was recorded in the offices of Berkeley Rep on April 12, 2013, during the run of George Gershwin Alone. Photos: Hershey Felder Presents.     Announcement Links Book Passage. Conversations with authors, all at 4 pm Pacific: mystery writer Rhys Bowen, today, Bill Petrocelli, author of Electoral Bait and Switch: How the Electoral College Hurts Voters, Saturday September 12, Clarissa Ward Sunday September 13, Dr. David D. Burns on depression Tuesday September 14 and Sue Miller Wednesday September 15, again all at 4 pm Pacific. And Chasten Buttegieg in conversation with Andrew Sean Greer Tuesday September 15, 5:30 pm The Booksmith features tonight Tom Phillpot tonight at 6 pm and Chuck Palahniuk (Palanik) in conversation with Richard Kadrey on Wednesday September 16 at 7 pm Books Inc presents Adrienne Young, Adalyn Grace and Maggie Tokuda-Hall, later today at 5 pm and Kevin C. O'Leary Tuesday September 15 at 5 pm . Bay Area Book Festival Sunday, October 4, the Bay Area Book Festival presents Berkeley #UNBOUND, an all-day, free, virtual mini-festival — kicked off with a ticketed keynote program on Saturday night, October 3. Kepler's Books presents Refresh the Page, on line interviews and talks. Registration required. San Francisco Playhouse Tonight at 7 pm: Fireside chat with playwright Cleavon Smith, The Zoomlet play Monday September 14 at 7 pm is A Broken String by Lynn Kauffman Custom Made Theatre Sarah Ruhl's How to Transcend a Happy Marriage, recorded during its Jan/Feb run, streams September 18-20, On Demand 10 am-11 pm. Theatre Rhino Live Thursday performance conceived and performed by John Fisher on Facebook Live and Zoom at 8 pm Thursday September 10 is The Drinker. American Conservatory Theatre (ACT) In Love and Warcraft by Madhuri Shekar, a live production on Zoom, this Friday and Saturday September 11-12 at 8 pm, and On Demand recording Sept 18-25. 42nd Street Moon. 8 pm Tuesdays: Tuesday Talks Over the Moon. Fridays at 8 pm: Full Moon Fridays Cabaret. Sundays at 8 pm: Quiz Me Kate: Musical Theatre Trivia. A new subscription series, Moonbeams, begins streaming on October 1. Shotgun Players.  Josh Kornbluth's Citizen Brain, live-streamed October 16 to November 8. Berkeley Rep Another live performance by Hershey Felder, George Gershwin Alone, airs on Sunday September 13 at 5 pm. TheatreWorks Silicon Valley. Another live performance by Hershey Felder, George Gershwin Alone, airs on Sunday September 13 at 5 pm. Tickets on sale on the website. TheatreWorks' production of the musical Pride and Prejudice is now streaming with an Amazon Prime subscription. Pandora by Laurel Ollstein streams September 24 to September 28, free. California Shakepeare Theatre (Cal Shakes) Direct Address: Allyship and Anti-Racism, Where Are We Now? Is available streaming. Mission Cultural Center for Latino Arts new on-line programming series featuring classes, concerts, poetry sessions and more. SFBATCO Live with Rod and Marce on Twitch TV, every Thursday at 6 pm. Aurora Theatre's A new ticketed audio drama, The Flats, written by Lauren Gunderson, Cleaven Smith and Jonathan Spector, with Lauren English, Anthony Fusco and Khary L. Moye, directed by Josh Costello, will stream this fall, date to be announced. Aurora Connects conversations every Friday, 4 pm. Marin Theatre Company Lauren Gunderson's play Natural Shocks streams through Soundcloud on the Marin Theatre website. Central Works The Script Club, where you read the script of a new play and send comments to the playwright. The September script is Strange Ladies by Susan Sobeloff. A podcast will be posted to the Central Works website on September 29. New Conservatory Theatre Center presents In Good Company, a podcast about life when it goes off script. The first four episodes are now available streaming. The Marsh: International Solo Fest, October 7-11. Josh Kornbluth hosts bingo every Friday at 7:30 pm. Pear Theater. Lysistrata, October 8 – November 9, filmed live outdoors. Contra Costa Civic Theatre The Reading Stage: I and You by Lauren Gunderson, Monday September 14, at 7 pm on Zoom. If you'd like to add your bookstore or theater venue to this list, please write bookwaves@hotmail.com.   . The post Bookwaves/Artwaves – Sept. 10, 2020: Jonathan Safran Foer – Hershey Felder appeared first on KPFA.

It’s the start of *DICTATOR DECEMBER*! This week, Julia covers Very Bad Person Joseph Stalin (1878-1953), General Secretary of the Communist Party of the Soviet Union. Learn how this poor boy from Georgia […the country…] became one of the most feared leaders of the 20th century. Later, please enjoy a quiz on a completely different topic: “Universally Adored Humans”! . . . [Music: 1) Peter Ilyich Tchaikovsky, “Nutcracker Suite,” 1892; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

It was on this day in 1877 that Peter Ilyich Tchaikovsky's ballet Swan Lake premiered in Moscow. It was Tchaikovsky's first ballet, and it got bad reviews.

http://en.wikipedia.org/wiki/George_orwellhttp://en.wikipedia.org/wiki/Homage_to_Cataloniahttp://en.wikipedia.org/wiki/Trotskyismhttp://archive.org/details/ost-english-1984-george-orwell-1937-dystopiahttp://archive.org/details/George-Orwell-1984-Audio-bookhttp://aynrandlexicon.com/lexicon/axiomatic_concepts.htmlhttp://en.wikipedia.org/wiki/Terror_management_theoryhttp://sens.orghttp://aynrandlexicon.com/lexicon/primacy_of_existence_vs_primacy_of_consciousness.htmlThe State is an Epidemic by Thomas L. Knapphttp://c4ss.org/content/10147Exclusive - U.S. directs agents to cover up programme used to investigate Americans by John Shiffman and Kristina Cookehttp://uk.reuters.com/article/2013/08/05/uk-dea-sod-idUKBRE9740HP20130805Be Afraid of NSA Spying: We’ve only seen the type of the iceberg when it comes to NSA abuse. by Gene Healyhttp://reason.com/archives/2013/09/24/be-afraid-of-nsa-spyingFour Ways Obama Needs to Control His Spooks by Jeffrey Rosenhttp://www.newrepublic.com/article/113685/obamas-second-term-recovery-guide-roll-back-surveillance-stateTake Action: What You Can Do to Nullify NSA Spying by Mike Maharrey http://tenthamendmentcenter.com/2013/10/01/what-you-can-do-to-nullify-nsa-spying/NSA-proof encryption exists. Why doesn’t anyone use it? by Timothy B. Leehttp://www.washingtonpost.com/blogs/wonkblog/wp/2013/06/14/nsa-proof-encryption-exists-why-doesnt-anyone-use-it/Silicon Valley Luminaries Got Grilled On The NSA At Disrupt, Here’s How They Responded by Billy Gallagherhttp://techcrunch.com/2013/09/14/silicon-valley-luminaries-got-grilled-on-the-nsa-at-disrupt-heres-how-they-responded/Take back the Internet by Bruce Schneierhttp://www.kurzweilai.net/take-back-the-internet/http://continuations.com/post/60444129080/disagreeing-with-bruce-schneier-more-crypto-is-not-the/http://yro.slashdot.org/story/13/10/05/1347200/chinas-web-surveillance-system-employs-more-than-2-million/Our System’s Complexity Is Both Its Weakness and Its Strength by Robert Higgshttp://blog.independent.org/2013/08/13/our-systems-complexity-is-both-its-weakness-and-its-strength/bumper music "Piano Concerto No. 1, Allegro con fuoco" by Peter Ilyich Tchaikovsky - performed by Berliner Philharmoniker, Herbert von Karajanhttps://itunes.apple.com/us/album/tchaikovsky-piano-concerto/id4706174http://www.amazon.com/Tchaikovsky-Piano-Concerto-no-1/dp/B000001GAR

Students learn about the history of the violin, its distinct role in the orchestra, and its ability to resemble human “singing.” Students will also be introduced to “pizzicato,” the quick, light rhythmic technique created by plucking the strings. Students listen to Peter Ilyich Tchaikovsky’s Violin Concerto.

Students learn about the history of the violin, its distinct role in the orchestra, and its ability to resemble human “singing.” Students will also be introduced to “pizzicato,” the quick, light rhythmic technique created by plucking the strings. Students listen to Peter Ilyich Tchaikovsky’s Violin Concerto.

Students learn about the composer’s selection of the right “voice” or instrumentation from the four sections of the orchestra: string, woodwind, brass, and percussion. Students are introduced to music by Erich Wolfgang Korngold, Peter Ilyich Tchaikovsky, and Leonard Bernstein.

Students learn about the composer’s selection of the right “voice” or instrumentation from the four sections of the orchestra: string, woodwind, brass, and percussion. Students are introduced to music by Erich Wolfgang Korngold, Peter Ilyich Tchaikovsky, and Leonard Bernstein.

Indiana University's Ballet Theater closes its season with "Variations on a Russian Theme," a performance which includes a modern version of the classical ballet, "Swan Lake." Michael Vernon, IU's ballet department chair explains why audience members will love this performance