Podcasts about Pollini

durée : 00:19:17 - Disques de légende du mercredi 11 juin 2025 - En 1990, Pollini et Abbado gravent le concerto de Schumann ; au passage, ils mettent aussi en avant le concerto d'Arnold Schönberg, nettement moins fréquent.

durée : 00:19:17 - Disques de légende du mercredi 11 juin 2025 - En 1990, Pollini et Abbado gravent le concerto de Schumann ; au passage, ils mettent aussi en avant le concerto d'Arnold Schönberg, nettement moins fréquent.

La stagione primaverile per molte persone può significare l'arrivo dei fastidiosi sintomi dell'allergia al polline: starnuti continui, naso gocciolante, prurito e lacrimazione agli occhi iniziano a comparire durante il periodo di marzo-aprile e possono durare anche per vari mesi. Ma cos'è il polline? Come facciamo a capire se soffriamo di rinite allergica? E come funzionano gli antistaminici? La pollinosi è una reazione spropositata del nostro sistema immunitario al polline, che viene erroneamente identificato come una sostanza dannosa per l'organismo. Il polline, infatti, è una delle principali cause delle allergie stagionali. In questo video il DeNa ci spiegherà perché siamo allergici al polline, quali sono i migliori rimedi per prevenire le reazioni allergiche in casa e all'aperto e perché gli antistaminici fanno venire sonno. Le informazioni contenute in questo video sono a scopo unicamente divulgativo. Per qualsiasi esigenza medica è fondamentale rivolgersi al proprio medico curante Prendi parte alla nostra Membership per supportare il nostro progetto Missione Cultura e diventare mecenate di Geopop: https://geopop.it/ngCbN Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:59:12 - Maurizio Pollini en concert (2) - par : Philippe Cassard - Maurizio Pollini disparaissait il y a un an, Portraits de famille vous livre quelques archives de concerts passionnantes. - réalisé par : Philippe Petit

durée : 01:58:38 - Maurizio Pollini en concert (1) - par : Philippe Cassard - Un an après le décès d'un des plus importants pianistes de ces 60 dernières années, Portraits de famille livre quelques archives de concerts passionnantes. - réalisé par : Doria Zénine

Con l’arrivo della primavera, aumentano i casi di allergie stagionali nei bambini, causate principalmente dai pollini e dalle punture di insetti. Le allergie primaverili possono influire significativamente sulla qualità della vita dei bambini, causando sintomi respiratori e cutanei che, se non trattati, possono peggiorare. Quali sono i sintomi da osservare? Ne parliamo a Obiettivo Salute risveglio con il professor Alessandro Giovanni Fiocchi, responsabile di allergologia del Bambino Gesù di Roma.

durée : 00:18:45 - Disques de légende du vendredi 31 janvier 2025 - Maurizio Pollini est un pianiste à la précocité miraculeuse. Il gagne très tôt des concours, organise parfaitement son début de carrière et sz consacre à des engagements politiques : un contrat chez Deutsche Grammophon ne fait que renforcer sa légende.

durée : 00:18:45 - Disques de légende du vendredi 31 janvier 2025 - Maurizio Pollini est un pianiste à la précocité miraculeuse. Il gagne très tôt des concours, organise parfaitement son début de carrière et sz consacre à des engagements politiques : un contrat chez Deutsche Grammophon ne fait que renforcer sa légende.

Prevedere la stagione dei pollini, la loro diffusione e concentrazione e calcolare l'esposizione, può essere utile per la popolazione che soffre di allergie (Il 20% della popolazione mondiale). Tutto questo è oggi più facile grazie a un nuovo sistema modellistico ad alta risoluzione sviluppato da ENEA, in collaborazione con l'Università di Verona, Arianet, ATS Milano e ARPA Veneto, nell'ambito del progetto MEETOUT. I ricercatori, infatti, sono riusciti a sviluppare un nuovo algoritmo che, mescolando dati satellitari a bassa risoluzione e dati sul campo a risoluzione più elevata, permette di simulare i processi di dispersione, diffusione a lungo raggio e deposizione del polline con una risoluzione spaziale di soli 3 km, e di calcolarne con precisione le concentrazioni su base oraria. Ce lo spiega Antonio Piersanti, responsabile del Laboratorio ENEA Modelli e Misure per la qualità dell'aria.

Johannes Brahms (1833-1897)Sechs Lieder, opus 85- Sommerabend nr. 1- Mondenschein nr. 2 Vier Lieder, opus 96- Meerfahrt nr. 4- Der Tod das ist die kühle Nacht nr. 1 Ian Bostridge, tenoreSaskia Giorgini, pianoforte--------------------------Concerto no. 1 in re minore per pianoforte e orchestra op.15Maestoso (re minore)Adagio (re maggiore)Rondò. Allegro non troppo (re minore)Staatskapelle DresdenMaurizio Pollini, pianoforteChristian Thielemann, direttore

Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Pollini i la sonata "Hammerklavier". Coincidint amb l'aniversari del naixement de Ludwig van Beethoven, un any m

durée : 00:11:44 - Le Disque classique du jour du mardi 19 novembre 2024 - En juin 2022, Maurizio et Daniele Pollini se sont rendus à la Herkulessaal de Munich pour enregistrer un nouvel album studio consacré à trois aspects essentiels de la musique pour piano de Schubert : les sonates, les cycles de pièces courtes et la musique pour piano à quatre mains.

durée : 01:29:12 - En pistes ! du mardi 19 novembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le premier disque posthume du pianiste italien sort avec une ultime sonate de Schubert et la fantaisie à 4 mains jouée avec son fils.

durée : 00:11:44 - Le Disque classique du jour du mardi 19 novembre 2024 - En juin 2022, Maurizio et Daniele Pollini se sont rendus à la Herkulessaal de Munich pour enregistrer un nouvel album studio consacré à trois aspects essentiels de la musique pour piano de Schubert : les sonates, les cycles de pièces courtes et la musique pour piano à quatre mains.

durée : 01:29:12 - En pistes ! du mardi 19 novembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Le premier disque posthume du pianiste italien sort avec une ultime sonate de Schubert et la fantaisie à 4 mains jouée avec son fils.

ontamos con las palabras de José Carlos Llop, autor de “Si una mañana de verano, un viajero”. Poeta, novelista y autor también de diarios, relatos, teatro y ensayo literario, además de otros reconocimientos, ha recibido el Premio de las Letras del periódico El Mundo y el Premi Ramon Llull de Govern Balear por el conjunto de su obra.CHOPIN: Concierto para piano y orquesta nº 2 en Fa menor, Op. 21 (Segundo movimiento: Larghetto) (8.17). S. François (p.), Orq. Nac. de la Ópera de Montecarlo. Dir.: L. Fremaux. Preludio nº 4 en Mi menor, Op. 28 (1.59). C. Arrau (p.) Preludio nº 15 en Re bemol mayor, Op. 28 (4.58). M. Pollini (p.).Escuchar audio

CHOPIN: 3 Mazurkas, Op. 56 (11.52). M. Pollini (p.). Sonata para piano nº 2 en Si bemol menor, Op. 35 (21.35). V. Horowitz (p.). Scherzo nº 3 en Do sostenido menor, Op. 39 (7.07). S. Hough (p.).Escuchar audio

MILANO (ITALPRESS) - L'allergia è una risposta eccessiva data dal sistema immunitario ai cosiddetti allergeni, sostanze esterne considerate dannose. Gli allergeni più comuni sono i pollini, il pelo degli animali e gli acari della polvere presenti nell'aria, seguono le allergie agli alimenti, alle punture di insetti, ai farmaci e ad alcune sostanze come il lattice e il nichel. In termini di effetti sulla popolazione, le allergie sono ai primi posti tra le malattie croniche. Secondo i dati dell'OMS, ne soffre tra il 10% e il 40% della popolazione, a seconda delle regioni e dei periodi dell'anno. Sono questi alcuni dei temi trattati da Vincenzo Patella, direttore dell'unità operativa complessa di medicina interna a indirizzo respiratorio-immunologico dell'Azienda sanitaria di Salerno, professore di allergologia della Scuola di specializzazione in allergologia e immunologia clinica dell'Università degli Studi di Napoli Federico II e presidente della SIAAIC, società italiana di allergologia, asma e immunologia, intervistato da Marco Klinger, per Medicina Top, format tv dell'agenzia di stampa Italpress.fsc/gsl

CHOPIN: Sonata para piano nº 1 en Do menor, Op. 4 (23.44). V. Ashkenazy (p.). Balada nº 1 en Sol menor, Op. 23 (8.35). M. Pollini (p.). Scherzo nº 1 en Si menor, Op. 20 (8.18). B. Grosvenor (p.). Preludio nº 17 en La bemol mayor (24 Preludios, Op. 28) (2.26). A. Cortot (p.).Escuchar audio

In this episode of "Tennis Traverse," host Ivy Zhang celebrates the podcast's one-year anniversary by diving into the first week's highlights of the US Open, the year's final Grand Slam. Ivy discusses notable upsets, including Carlos Alcaraz's unexpected loss to Botic van de Zandschulp and Novak Djokovic's defeat by Alexei Popyrin. She also reflects on the longest match in US Open history and the early exits of top seeds like Holger Rune and Stefanoes Tsitsipas. Ivy emphasizes the evolving tennis landscape and the emergence of new talent, expressing excitement for the tournament's remaining matches and potential new champions. Time stamps: Holger Rune vs. Brandon Nakashima (00:02:36) Lorenzo Musetti's Performance (00:05:15) Dominic Thiem's Last Grand Slam (00:07:37) Longest Match in US Open History (00:10:17) Stefanos Tsitsipas' Struggles (00:12:38) Challenging Conditions: Etcheverry vs. Cerundolo (00:13:54) Alcaraz's Loss Analysis (00:15:12) Djokovic's Surprising Exit (00:17:39) Potential Contenders Post-Alcaraz and Djokovic (00:20:09) Highlight Match: Tiafoe vs. Shelton (00:21:15) Sinner's Focus Amidst Scandals (00:22:23) Anisimova vs. Zheng Qinwen (00:23:28) Raducanu vs. Kenin (00:25:48) Andreescu vs. Pollini (00:26:57) Osaka's Match Highlights (00:28:09) Collins' Last Grand Slam (00:32:49) Shuai's Losing Streak (00:33:58) Rybakina's Withdrawal (00:35:03) Gauff vs. Svitolina (00:35:03) Potential Black Horses (00:36:11) Links mentioned: Holger Rune vs. Brandon Nakashima: ⁠https://www.youtube.com/watch?v=tvJ5A9inp4w⁠ Reilly Opelka vs. Lorenzo Musetti: ⁠https://www.youtube.com/watch?v=aXD1GD1_AEo⁠ Daniel Evans vs. Karen Khachanov: ⁠https://www.youtube.com/watch?v=vxJFs3Mh3zU⁠ Stefanos Tsitsipas vs. Thanasi Kokkinakis: ⁠https://www.youtube.com/watch?v=whrryVMjG68⁠ Francisco Cerundolo vs. Tomas Martin Etcheverry: ⁠https://www.youtube.com/watch?v=DQXn_wjHKX0⁠ Carlos Alcaraz vs. Botic van de Zandschulp: ⁠https://www.youtube.com/watch?v=wlzMPp3ceuA⁠ Alexei Popyrin vs. Novak Djokovic: ⁠https://www.youtube.com/watch?v=WV9yPLDbJqw⁠ Ben Shelton vs. Frances Tiafoe FULL MATCH: ⁠https://www.youtube.com/watch?v=8MOWcvOKwlA⁠ Zheng Qinwen vs. Amanda Anisimova: ⁠https://www.youtube.com/watch?v=8sfPhMAtXjQ⁠ Emma Raducanu vs. Sofia Kenin: ⁠https://www.youtube.com/watch?v=LhlWjsRu6BI⁠ Bianca Andreescu vs. Jasmine Paolini: ⁠https://www.youtube.com/watch?v=BQdIeGSpYgk⁠ Jelena Ostapenko vs. Naomi Osaka FULL MATCH: ⁠https://www.youtube.com/watch?v=7pkNHHwi6f8⁠ Danielle Collins vs. Caroline Dolehide: ⁠https://www.youtube.com/watch?v=nyNShpnsZys⁠ Zhang Shuai vs. Ashlyn Krueger: ⁠https://www.youtube.com/watch?v=CnlTf4QzHwk⁠ Elina Svitolina vs. Coco Gauff: ⁠https://www.youtube.com/watch?v=ZPtB_ba38HE⁠ Social Media: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/tennistraverse/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/tennistraverse⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@TennisTraverse/videos⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Linktree: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/tennistraverse⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Substack: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ivannazhang428.substack.com/⁠⁠⁠⁠

Intro:  One More Night – Can 1. Ain't Got No Home – Clarence ‘Frogman' Henry (2:20)                                                                                                     2.  Dat – Pluto (3:06)                                                                                                 3.  It's Too Late – Carole King (3:55)                                                                                                       4.  Compared to What – Les McCann (2:30)                                                                                                                           5.  Get Down on It – Kool & the Gang (4:36)                                                                  6.  Ne Refuse Pas – Rigo Star (7:25)                                                                                                                                                                              7.  Loathsome – Pig Destroyer (4:06)                                                                                                                                       8.  Kick Out the Jams – MC5 (2:40)                         9.  Hoy Hoy – The Collins Kids (1:59)                             10.  That Lady (Pt.1) – Isley Brothers (3:14)                                                                                                                 11.  Airegin – Wes Montgomery (4:29)                                                                                                                                   12.  Love Me Or Leave Me – Nina Simone (3:22)                                                                                             13.  Autumn Leaves – Bobby Timmons Trio (7:56)                                                                                                                                                                                                                                                                           14.  Mr Soft – Cockney Rebel (3:17)                                                                                                                                         15.  Make Me Smile (Come Up and See Me) – Steve Harley & Cockney Rebel (3:56)                                                             16.  Judy Teen – Cockney Rebel (3:49)                         17.  Polonaise Op.40 No.1 in A Major ‘Military' – Chopin, Pollini (5:28)                                         18.  Autumn Countdown Machine – John White (5:28)                                                                                                           19.  Kanaan – Amon Düül II (4:03)                                                                  20.  Wars of Armageddon – Funkadelic (9:47)                                 21. Cheminant à la Ville – Kate et Anna McGarrigle (2:19)                                                                                                     22.  Banks of the Nile – Fotheringay (8:05)                                                                                                                             23.  All Things Are Quite Silent – Steeleye Span (2:41)                                                                                                24.  Hurdy Hurry (excerpt) – Phill Niblock, Jim O'Rourke (tbc)                                                                                                                                                                                                                                                                     Outro: Pogles Walk – Vernon Elliott Ensemble

A cura di Carlo Centemeri. Speciale specialissimo di Labirinti Musicali in diretta per ricordare Maurizio Pollini nelle parole di chi l'ha conosciuto e ci ha lavorato; saranno con me Salvatore Sciarrino, Giacomo Manzoni, Carlo Fontana; non mancheremo poi di parlare della figura del pianista Pollini, con Luca Chierici. E ovviamente abbondanza di ascolti dalle cose più o meno note del suo repertorio!

durée : 00:58:52 - Maurizio Pollini et Chopin - par : Aurélie Moreau - La mort de Maurizio Pollini laisse un grand vide dans le monde de la musique. Virtuose inégalé du piano, Pollini a marqué par sa précision technique, son sens de l'expression et sa profondeur artistique, particulièrement dans l'œuvre de Chopin.

durée : 00:23:22 - Disques de légende du lundi 25 mars 2024 - Stravinsky, Webern, Prokofiev, Boulez

durée : 01:55:19 - Musique matin du lundi 25 mars 2024 - par : Jean-Baptiste Urbain - Il était l'un des plus grands pianistes de notre temps. Maurizio Pollini s'est éteint à 82 ans. Hommage ce matin avec plusieurs invités : les pianistes François-Frédéric Guy et Michel Béroff ; le directeur de la Scala de Milan Dominique Meyer ; et les critiques Alain Lompech et Bertrand Boissard. - réalisé par : Yassine Bouzar

durée : 01:33:08 - Relax ! du lundi 25 mars 2024 - par : Lionel Esparza - Hommage au grand pianiste Maurizio Pollini disparu samedi 23 mars 2024 à l'âge de 82 ans.

durée : 01:58:47 - Maurizio Pollini, les années 1960-1990 - par : Philippe Cassard - Artiste majeur, Maurizio Pollini (1942), dont le répertoire immense va de Bach aux compositeurs contemporains. - réalisé par : Philippe Petit

Come Soluzionare l'Asma in modo naturale?scarica ora audio mp3 DCS dal titolo: MAI PIU' ASMAhttps://claudiosaracino.com/prodotto/mai-piu-asma-metodo-dcs/#benessere #asma #rimedinaturali

durée : 00:19:56 - Disques de légende du lundi 19 février 2024 - Abbado-Pollini, l'art de l'amitié

durée : 00:58:38 - Maurizio Pollini, la maîtrise absolue - par : Aurélie Moreau - Maurizio Pollini, pianiste au talent exceptionnel, suscite l'admiration par son intense concentration musicale, son sens de la perfection, sa fidélité aux partitions et son approche du répertoire, à la fois rigoureuse et pleine d'imagination.

Gianni Biondillo"Quello che noi non siamo"Guandawww.guanda.itCi fu una generazione di architetti che credette nel fascismo perché si illudeva fosse una rivoluzione, come quella artistica che propugnavano: il razionalismo.Combatterono una guerra ad armi impari contro l'accademismo, centralista e romano, senza rendersi conto che mentre Mussolini li ammansiva, li lodava in realtà sosteneva un'architettura retorica ben più consona alle sue megalomanie. Milano fu la fucina di queste tensioni artistiche che guardavano all'Europa come a una liberazione dall'asfissiante passatismo provinciale del resto della nazione. Venivano da tutta Italia: irredentisti istriani come Pagano, maestri comacini come Terragni, napoletani inquieti come Persico. E poi tutti gli altri, figli del Politecnico: Figini, Pollini, Bottoni, Banfi, Belgiojoso, Peressutti, Rogers... Nelle trattorie, nei salotti, alle vernici, incrociavano poeti, galleristi, critici, artisti, e di anno in anno l'adesione al regime si faceva sempre più labile, sempre più critica. Ci pensò la Storia a fare il resto: dalle leggi razziali alla disfatta di Russia, fino al cataclisma dell'8 settembre 1943.Gianni Biondillo racconta, in un romanzo corale, la storia di uomini e donne che presero coscienza del crollo delle false ideologie e che decisero di schierarsi nel nome della Resistenza e della libertà, spesso pagandone le conseguenze: carcerazioni, torture, campi di concentramento. Il ritratto profondo di un'epoca, che ci somiglia più di quanto vogliamo ammettere.Gianni Biondillo (Milano, 1966) è architetto e scrittore. Presso Guanda ha pubblicato la serie dedicata all'ispettore Ferraro: Per cosa si uccide, Con la morte nel cuore, Per sempre giovane, Il giovane sbirro, I materiali del killer (Premio Scerbanenco e Prix Violeta Negra), Cronaca di un suicidio, Nelle mani di Dio, L'incanto delle sirene. Per Guanda sono usciti anche Metropoli per principianti, Nel nome del padre, Strane storie, Il mio amico Asdrubale, L'Africa non esiste, Come sugli alberi le foglie (Premio Bergamo), Pit, il bambino senza qualità e Il sapore del sangue. Sempre per Guanda, Biondillo ha curato l'antologia di racconti Pene d'amore; ha scritto con Severino Colombo Manuale di sopravvivenza del padre contemporaneo e con Michele Monina Tangenziali. Scrive per il cinema e la televisione, pubblica su quotidiani e riviste nazionali. Vive a Milano con la moglie e due figlie.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/show/tracce-di-il-posto-delle-parole_1/support.Questo show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Interpreten: Quatuor Arod Label: Erato EAN: 5054197752308 Die Namensfindung von Streichquartetten ist oft gar nicht einfach. Will man sich mit der Wahl eines namensgebenden Komponisten in eine Schublade stecken lassen? Soll es ein Schriftsteller oder eine Malerin sein? Oder vielleicht ein Fantasiename, der sich aus diversen Initialen bildet? Fantasie ja, Initialen nein – hat sich das Quatuor Arod vor zehn Jahren gedacht und hat sich den Namen aus dem Herr der Ringe Universum von J.R.R. Tolkien geborgt. Zum zehnjahres-Jubiläum gibt es jetzt eine wunderbare neue CD, von der sich Michael Gmasz begeistert zeigt. Vier junge Männer, aufgewachsen in einer durch und durch französischen Welt, wie sie selbst im Beiheft ihrer neuen CD schreiben. Sie beziehen sich dabei auf alles was die Kunst und die Gastronomie betrifft - mit all den verschiedenen Schattierungen und Nuancen. Da wundert es nicht, dass sich das Quatuor Arod zum Jubiläum eine Aufnahme mit durch und durch Französischem schenkt. Die Streichquartette von Claude Debussy und Maurice Ravel, kombiniert mit dem Werk eines jungen französischen Komponisten namens Benjamin Attahir, das extra für das Quatuor Arod geschrieben wurde. Wenn schon von Schattierungen und Farbnuancen die Rede war, dann möchte ich diese Parameter auch auf die Aufnahme der Streichquartette von Debussy, Ravel und Attahir anwenden. Denn es ist einfach herrlich, wie unterschiedlich sich das Ensemble in den verschiedenen Sätzen präsentiert. Mal vollklingend orchestral pastos, dann wieder gleich einem Aquarell durchscheinend und transparent oder auch rhythmisch zackig auf den Punkt gebracht wie im Pontillismus. Der berühmte Dokumentarfilmer Bruno Monsaingeon, der bereits wunderbare Filme über Rostropowitsch, Pollini, Menuhin oder das Alban Berg Quartett gedreht hat, hat für die Jubiläumsausgabe dieser CD einen Film unter dem Titel „Ménage à quatre“ beigesteuert. Er schreibt über das Streichquartett „Die Inbrunst und Raffinesse, die unglaubliche Intensität und Dichte ihres Spiels, die Klangtiefe, …, ihre Demut vor den Meisterwerken, denen sie begegnen, sind allesamt die Garanten ihrer Einmaligkeit und die Signatur der Arods“. Viel besser hätte ich es auch nicht ausdrücken können! (mg)

durée : 00:18:59 - Disques de légende du mardi 14 novembre 2023 - Maurizio Pollini enregistre les Préludes de Chopin en 1975 sous le label Deutsche Grammophon. Passion et désolation, soleil et détresse, tendresse et mort certaine, Maurizio Pollini n'a pas son pareil pour percer les mondes ouverts par les Préludes.

Con la primavera iniziano le fioriture e per molti un lungo periodo di naso che cola, occhi che bruciano e tosse. Ma da cosa dipendono le allergie e che differenza c'è con le intolleranze? Quali rimedi ci sono e perché molti test per diagnosticarle non funzionano? Vedremo poi come l'Unione Europea vuole contrastare il greenwashing delle aziende e chi farà presto un giro intorno alla Luna, non per sfuggire ai pollini.LEGGI SUL POST- Perché le allergie vanno e vengono?- La stagione delle allergie dura di più- La finanza sostenibile spesso non lo è davvero- Qualcosa su ArtemisCi vuole una scienza è un podcast del Post condotto da Emanuele Menietti e Beatrice Mautino.

John's guest this week is Dr. Claudia Pollini, professor of research mathematics at the University of Notre Dame. They talk over her early life in a family of extremely high achievers, her love of pure mathematics and

Beethoven – The Late Sonatas Opp. 101 & 106 marks the completion of Maurizio Pollini's survey of the five late piano sonatas. His landmark 1970s recordings of these works were recognized at the time with a Gramophone Award. A few years ago the pianist decided to revisit the five sonatas, and in 2019 made an acclaimed second recording of the final three at the Herkulessaal in Munich. Now he has returned to the same hall to record Opp. 101 and 106 – among the most technically challenging and musically adventurous works in the concert repertoire. Deutsche Grammophon will release his new album today.The quixotic nature of Beethoven's A major Sonata, Op. 101 and the complexities of the “Hammerklavier” Sonata, Op. 106 offers infinite scope for interpretation. “Every Beethoven piano sonata is a different world,” observes Maurizio Pollini. “He finds a different character in each one, from the first to the last. Each is unique.” The A major Sonata, he adds, “is very free”. Drafted in the summer of 1815 and completed the following year, its four movements are markedly different in style and substance from those of the composer's earlier sonatas for piano. “It's a great challenge to understand and play it,” says Pollini.The scale of the challenge, however, pales beside that set by Beethoven in the “Hammerklavier” Sonata. The work was so difficult that it remained unperformed in public following its publication in 1819 until the young Franz Liszt showed the way seventeen years later at Paris's Salle Érard. Pollini describes it as the “greatest Beethoven sonata”. Its slow movement alone is almost as long as all four movements of its companion piece on the album. “You can think also of the funeral march of the ‘Eroica' Symphony – these are perhaps the two greatest movements Beethoven ever composed,” suggests the pianist. The transition into the fourth and final movement's fugue, a sublime Largo, dissolves ordinary perceptions of time and space as if opening the door to an otherwise inaccessible spiritual dimension. It prepares the way for a three-voice fugue sustained and developed over a sequence of contrasting episodes that combine to lift the music out of its historic context and leave it sounding fresh for all time.Track Listing:1 Beethoven: Piano Sonata No. 28 in A Major, Op. 101: I2 II3 III4 iV5 Beethoven: Piano Sonata No. 29 in B-Flat Major, Op. 106 Hammerklavier - I. Allegro6 II. Scherzo. Assai vivace7 III. Adagio sostenuto8 IV. Largo - Allegro risolutoHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

San Marino Design Workshop 2022 — CONTAMIN_AZIONI A cura di Unirsm Design - Università degli Studi della Repubblica di San Marino

BRAHMS: Quinteto para piano y cuerda en Fa menor, Op. 34 (Primer movimiento: Allegro non troppo-Poco sostenuto-Tempo I) (15.58). M. Pollini (p.), P. Borciani (vl.), E. Pegreffi (vl.), D. Asciolla (vl.), F. Rossi (vc.), Cuarteto Italiano. Sinfonía nº 3 en Fa mayor, Op. 90 (Tercer movimiento: Poco allegretto) (6.58). Orq. Estatal Sajona de Dresde. Dir.: C. Thielemann. Concierto para violín en Re mayor, Op. 77 (Segundo movimiento: Adagio) (10.10). I. Perlman (vl.), Orq. Sinf. de Chicago. Dir.: C.-M. Giulini. Rapsodia para piano nº 2 en Sol menor, Op. 79 (6.32). M. Argerich (p.). Escuchar audio

durée : 01:58:29 - Maurizio Pollini (né en 1942) joue la musique du XXème siècle - par : Philippe Cassard - Pour célébrer les 80 ans du grand pianiste italien, Portraits de famille a choisi de privilégier le répertoire de la musique du XXème siècle dont Pollini s'est fait le défenseur inlassable, de Debussy à Stockhausen, de Bartok à Nono. - réalisé par : Pierre Willer

durée : 00:20:10 - Disques de légende du mercredi 01 juin 2022 - Aujourd'hui dans Disques de légende, nous écoutons le pianiste Maurizio Pollini interpréter des Etudes de Debussy et la sonate op.1 de Berg. Un disque Deutsche Grammophon de 1992.

¡Conversamos con nuestra amiga y colega: Gabrielle Timofeeva López, mezzosoprano! Hablamos sobre el Coro de Niños de San Juan, el Barroco, la Música Contemporánea, Alea 21, el Conservatorio, la pandemia, Los Olmos, ¡y mucho más!   El episodio ya está disponible en todas las principales plataformas de Podcasts.   ANUNCIO: Recuerden que tenemos nueva Academia de Música y Artes Simbiosis (AMAS) en la Plaza de Recreo Santiago R. Palmer en el pueblo de Caguas; LLAMA o ESCRIBE ahora al: 939-207-6051, ¡para más información!   Música utilizada durante el episodio: INTRO/OUTRO: "Ciudad de las Voces", Pablo Salvador Pabón Music -Mozart: Lacrimosa from Requiem in D minor (Daniela Santos) (https://www.youtube.com/watch?v=TE-4C0jWFfM) -"O Martyr Sebastiane" - Christopher de León, Gabrielle Timofeeva López -Schoenberg: Drei Klavierstücke, Op. 11 (Pollini) (https://www.youtube.com/watch?v=VeTFxbsVGrI) -"La Iguana", Los Olmos (https://www.youtube.com/watch?v=sUew9kcitrk) -"Hasta Que Ya No Haya..." - Pedro Emanuel Franco Fraticelli (https://www.youtube.com/watch?v=45rqdKFgMk0)   Preguntas a nuestros anfitriones y temas sugeridos pueden ser dirigidas a nuestro email: conversacionesimbioticas@gmail.com  A Pedro Emanuel Franco Fraticelli lo pueden buscar en Facebook y SoundCloud bajo su nombre, y en Instagram: @peterfranks7; a Juan Luis O'Halloran lo encuentran bajo su nombre en Facebook, y @jl.ohalloran en Instagram y Twitter; y a Christian García Roque lo encuentran bajo su nombre en Facebook, y @tenorboricua en Instagram. ¡Hasta la próxima! Conversaciones Simbióticas fue creado por Pedro Emanuel Franco Fraticelli y Julio E. Quiñones Santiago. Anfitriones: Pedro Emanuel Franco Fraticelli, Christian García Roque y Juan Luis O'Halloran. Producción: Pedro Emanuel Franco Fraticelli   Artes por María Victoria Art.   Simbiosis Puerto Rico LLC Productions (c)   #CS #SimbiosisPR #Podcast #PodcastPuertoRico #PodcastEnEspañol

Celebrating Maurizio Pollini, the world-renowned pianist. - Credits : “Your Intro” by Audionautix (http://audionautix.com/) courtesy of Creative Commons (https://creativecommons.org/licenses/by/4.0/) - “Nocturne, op. 27, no. 2 in D flat major” by Frederic Chopin (1836) performed by Maurizio Pollini, 2005.

Er ist einer der besten. Ohne Frage. Maurizio Pollini zählt zu den größten Pianisten unserer Zeit. Technisch ist er so perfekt wie vielleicht kein anderer. Dazu zurückhaltend im Auftreten, und doch ein Mann fürs Revolutionäre. Und für die Revolutionäre. Wie kein anderer Starpianist, setzt sich der Mailänder auch für zeitgenössische Musik ein. Und wurde dafür 1996 mit dem Ernst von Siemens Musikpreis belohnt - auch bekannt als "Nobelpreis der Musik". Am 5. Januar wurde Pollini 80 Jahre alt.

durée : 01:28:38 - Maurizio Pollini (3/3) - par : François-Xavier Szymczak - S'il a su s'imposer avec ses interprétations "objectives" des grands répertoires classiques et romantiques, Maurizio Pollini s'est aussi beaucoup investi pour faire vivre la création contemporaine. Voici un portrait discographique du pianiste milanais décliné en trois chapitres. - réalisé par : Céline Parfenoff

durée : 01:28:15 - Maurizio Pollini (2/3) - par : François-Xavier Szymczak - S'il a su s'imposer avec ses interprétations "objectives" des grands répertoires classiques et romantiques, Maurizio Pollini s'est aussi beaucoup investi pour faire vivre la création contemporaine. Voici un portrait discographique du pianiste milanais décliné en trois chapitres. - réalisé par : Céline Parfenoff

durée : 01:28:02 - Arabesques - par : François-Xavier Szymczak - S'il a su s'imposer avec ses interprétations "objectives" des grands répertoires classiques et romantiques, Maurizio Pollini s'est aussi beaucoup investi pour faire vivre la création contemporaine. Voici un portrait discographique du pianiste milanais décliné en trois chapitres. - réalisé par : Emmanuel Benito

durée : 00:22:43 - Disques de légende du jeudi 21 octobre 2021 - En 1973, Maurizio Pollini enregistre un merveilleux disque autour de Schubert dans lequel il interprète à la fois cette Wanderer Fantaisie et la Sonate pour piano en la mineur.

Notre Guest aujourd'hui sur Radio Monaco est le photographe Marc Pollini pour la sortie de son livre La Vallée avalée - la Vésubie (sur les traces de la tempête Alex) aux éditions « de l'air, des livres ».

-scoperti su RAI Tre ospiti di Bollani: gli Ooopopoiooo, un duo di theremin..che hanno suonato Sciostakovic!..-Battiato canta Beethoven..-Piazzolla e Stravinsky in un ristorante di New York..-nostra intervista a Piazzolla..-Kremer suona Piazzolla..-Igor Stravinsky inventore di musica, di Massimiliano Caldi: Petrushka..-Luigi Palombi suona Stravinsky a Piano City..-gli Extensity Concert Series di New York, di Francesco di Marco..-Pollini regala un tutto Chopin al pubblico della Scala

-scoperti su RAI Tre ospiti di Bollani: gli Ooopopoiooo, un duo di theremin..che hanno suonato Sciostakovic!..-Battiato canta Beethoven..-Piazzolla e Stravinsky in un ristorante di New York..-nostra intervista a Piazzolla..-Kremer suona Piazzolla..-Igor Stravinsky inventore di musica, di Massimiliano Caldi: Petrushka..-Luigi Palombi suona Stravinsky a Piano City..-gli Extensity Concert Series di New York, di Francesco di Marco..-Pollini regala un tutto Chopin al pubblico della Scala

Ein "familiäres Denken", also das Bilden künstlerischer Zirkel, kündigte sich bei Abbado früh an durch die Treue zu Solisten: Martha Argerich, Viktoria Mullova, Rachel Harnisch – bisweilen überlappten sich Beruf und Privates. Abbado wurde, was wenige Große waren: ein ausgeprägter Solisten-Begleiter. Wirklich selten!

Aprile e maggio sono caratterizzati dai batuffoli bianchi dei pioppi che ci infastidiscono entrando negli occhi e nelle vie respiratorie. Ma cosa sono davvero? Ascoltiamo il podcast.

Covid, la mortalità ufficiale in Italia; Lotteria degli scontrini, prime vincite; I pioppi non sono pollini: le Notizie a colazione di venerdì 14 maggio 2021.--Fonti: www.notizieacolazione.itMusica: https://www.bensound.comIllustrazione: Gianpaolo Frascella

Die 1930er Jahre waren für die Popkultur eine Herausforderung. Während in den 1920er Jahren noch Unterhaltung im Vordergrund stand, zwangen die Verhältnisse, insbesondere in Deutschland, Kreative dazu, Stellung zu beziehen. Im ersten Teil tauchen wir ein in den Alltag dieses Jahrzehnts, erfahren, wie das Regime in kürzester Zeit alles unter seine Kontrolle stellte, sprechen über einen Film, der noch vor der Machtübernahme der Nationalsozialisten zu einem der ersten Meilensteine der Filmgeschichte wurde und schauen außerdem, wie die Nazis das Freizeitverhalten steuerten. In den USA hingegen regierten der Musical-Film und ein Wolkenkratzer, der lange Zeit seinesgleichen suchte. New York in the mid 1930s in color https://www.youtube.com/watch?v=ZpXnEvW0XD0 Burning The Books - Germany 1933 https://www.britishpathe.com/video/burning-the-books-germany-1933 Berlin - German Documentary https://www.youtube.com/watch?v=fHNLXijfiTg Projections of Life: Jewish Life before World War II https://www.youtube.com/watch?v=kNobaSEckHQ Geheimnisse der Weimarer Republik - 1929-1933 - Der Weg in den Abgrund https://www.youtube.com/watch?v=u8i629f8BaE Innenansichten - Deutschland 1937 https://www.youtube.com/watch?v=j-x1-O5tS0o Berlin 1936 - In Farbe https://www.youtube.com/watch?v=Es6f7K4c-y8&t=104s Beautiful London in 1933 in colour https://www.youtube.com/watch?v=MRAOrIfcvkU M - Eine Stadt such einen Mörder - Trailer https://www.youtube.com/watch?v=OYEc7ZpHcdQ Wim Wenders über "M" von Fritz Lang https://www.youtube.com/watch?v=w2-lHiV_7c4 M - How Fritz Lang Shaped the Modern Movie https://www.youtube.com/watch?v=c0Ebc9PjEhg Grieg "In the Hall of the Mountain King" - Paul Barton https://www.youtube.com/watch?v=l7zcS8yr33Q The Killers - Somebody Told Me https://www.youtube.com/watch?v=Y5fBdpreJiU Kraft durch Freude: Urlaub im Dritten Reich https://www.youtube.com/watch?v=yu9lVDa4-dY DAF - Der Mussolini https://www.youtube.com/watch?v=eYcUGO-ISXQ Fred Astaire & Ginger Rogers in "Swing Time" https://www.youtube.com/watch?v=2QboC9Dldk4 Top 10 Iconic Fred Astaire Dance Scenes https://www.youtube.com/watch?v=IQFamAFNALE The Continental - Lew Stone & his Band https://www.youtube.com/watch?v=tXhhHCQ1zN8 Construction of the Empire State Building https://www.youtube.com/watch?v=aWJJUIXc26A Schönberg - Klavierstück Op.33a (Pollini) https://www.youtube.com/watch?v=VxO92VQ4h3c

ESPECIAL Coronavírus │ Mercado & Perspectivas, uma iniciativa da FecomercioSP, debate as boas práticas, soluções para retomada e iniciativas inovadoras das empresas brasileiras. Neste episódio recebemos o sócio da rede de sapatarias Di Pollini, Pompeu Belusci, para tratar dos desafios de manter operações em shopping centers em um período de pandemia, as mudanças de hábito dos consumidores, a aceleração digital da marca e as expectativas para os próximos meses. Acesse: www.fecomercio.com.br │ Conheça: http://lab.fecomercio.com.br/ ©️ FecomercioSP 2021. Todos os direitos reservados.

Tobia Lamare al terzo speciale su SanRemo 2021 si mette in collegamento telefonico con Federico PoggiPollini grande bluesman e anche chitarrista insieme a Ligabue che salirà sul palco dell'Ariston insieme ad Annalisa. Collegamento telefonico anche direttamente da SanRemo con il matestro Vittorio Cosma, grande musicista e collaboratore di nomi come PFM, Ben Jorge, Stewart Copeland. Vittorio è al festival insieme ai ComaCose.

Hear Me, See Me. Podcast. Hairdressing Icon, Sam McKnight.This episode was an absolute joy for me as it is one of my absolute hair heroes, Sam McKnight.Celebrated session hair stylist, Sam McKnight, is the hairdresser's hairdresser. He boasts a legendary career spanning over four decades encompassing catwalk, editorial and advertising campaigns for fashion houses such as Chanel, Fendi, Balmain, Burberry and Tom Ford. A regular contributor to both British and international Vogues, W, Harper's Bazaar, Vanity Fair, i-D and Love, he has over 100 covers to his name from British Vogue alone. McKnight is also a Contributing Beauty Editor at British Vogue. McKnight has collaborated with some of the world's most prominent photographers including Patrick Demarchelier, Mario Testino and Nick Knight. A long-time stylist for the late Princess Diana, McKnight was the creative behind her iconic short, slicked back hairstyle in the now-famous 1990 Demarchelier shoot for British Vogue, a partnership that led to him becoming her personal hair stylist for seven years.One of the original session stylists, McKnight initially trained as a teacher before working as an assistant at a local hairdresser in his native Scotland. Moving to London in the early 1970's, McKnight secured a position at Molton Brown, which at the time was a leading hair salon in London's South Molton Street. He worked on projects for London-based magazines 19 and Honey before landing his first editorial shoot with British Vogue in 1977. While working in London, he was introduced to stylists Liz Tilberis (later editor of British Vogue and Harpers Bazaar US) and Lucinda Chambers (British Vogue), who were instrumental in hiring him for high-profile editorial shoots.McKnight has been bestowed the Lifetime Achievement Award at both the Scottish Fashion Awards and Creative Head Awards 2015. He is hugely respected within the hairdressing community and is often cited as a source of inspiration or named as ‘the hairstylist I would most like to work with' by his peers.On November 2nd 2016, Somerset House launched Hair by Sam McKnight, a major exhibition celebrating McKnight's impressive career. Never before has an exhibition of this kind taken place, looking at hair from a new perspective and celebrating the significant role of session hair styling in both fashion and culture throughout the decades.In tandem, McKnight also released his first book: Hair by Sam McKnight (Rizzoli), a hardback anthology of his magazine covers, editorial shoots and personal insights into working at the heart of the fashion industry.June 2017 saw McKnight launch a brand: Hair by Sam McKnight, in Liberty of London, injecting fashion, glamour and ease into haircare and styling. The collection is the culmination of McKnight's knowledge and experience in the industry, giving women the tools and confidence to style their hair themselves.PhotographersAlasdair McLellan, Andrea Spotorno, Angelo Pennetta, Arthur Elgort, Ben Hassett, Bruce Weber, Carter Smith, Charlotte Wales, Clara Giaminardi, Corinne Day, Craig McDean, David Bailey, David Sims, David Slijper, Derek Kettela, Elaine Constantine, Ellen Von Unwerth, Emma Summerton, Erik Torstensson, Glen Luchford, Hedi Slimane, Inez and Vinoodh, Irving Penn, Javier Vallhonrat, Johnny Dufort, Juergen Teller, Jem Mitchell, Josh Olins, Karl Lagerfeld, Lachlan Bailey, Liz Collins, Marcus Ohlsson, Mario Sorrenti, Mario Testino, Mert & Marcus, Mikael Jansson, Mikael Schulz, Miles Aldridge, Morelli Brothers, Jean-Baptiste Mondino, Jem Mitchell, Josh Shinner, Juergen Teller, Nadine Ijewere, Nick Knight, Paolo Roversi, Patrick Demarchelier, Paul Wetherell, Peter Lindbergh, Phil Poynter, Regan Cameron, Robin Derrick, Richard Avedon, Richard Burbridge, Sean Ellis, Sharif Hamza, Simon Emmett, Sølve Sundsbø, Terry Richardson, Tim Walker, Tom Ford, Tom Munro, Vincent Peters, Willy Vanderperre, Viviane SassenEditorialAnother, Another Man, Chaos, CR Fashion Book, Dazed, Elle, Evening Standard, Garage, Glamour (UK,US), GQ, Harper's Bazaar (UK,US), i-D, Interview, Love, Madame Figaro, Marie Claire, Numero, Ponystep, POP, Porter, Showstudio.com, The Edit, Vanity Fair, V Magazine, V Man, Visionaire, Vogue (Chinese, French, German, Italian, Japanese, Spanish, British, US), W MagazineAdvertising / PRAlberta Ferretti, Angelo Marani, Aquascutum, BaByliss, Barrie Knitwear, Blumarine, Bottega Veneta, Brioni, Burberry, Calvin Klein, Chanel, Chloé, Christian Dior, Clinique, David Morris, Dior Homme, DKNY, Dolce & Gabbana, Estée Lauder, Etro, Equipment, Fendi, Gap, GHD, Givenchy, Giorgio Armani, Gucci, Hogan, Huawei Watches, Jean Paul Gaultier, Jimmy Choo, Jo Malone, Joop, Joseph, Just Cavalli, Kurt Geiger, Lancôme, Liu-Jo, Louis Vuitton, L'Oréal, Mac Cosmetics, Mango, Marni, Massimo Dutti, Max Factor, Michael Kors, Montblanc, Mulberry, Nina Ricci, Patrick Cox, Philosophy, Pirelli, Pantene, Pollini, Ralph Lauren, Reserved, Revlon, Rimmel, Roberto Cavalli, RMK Cosmetics, Salvatore Ferragamo, Shiseido, Sportmax, Stella McCartney, Stuart Weitzman, Swarovski, Tods, Tom Ford, Tommy Hilfiger, Topshop, Ungaro, Uniqlo, Versace, Vivienne Westwood, Yves Saint Laurent, Z ZegnaCelebritiesAlexa Chung, Alicia Vikander, Amanda Seyfried, Anne Hathaway, Audrey Tautou, Bella Hadid, Cara Delevingne, Carey Mulligan, Carla Bruni-Sarkozy, Cate Blanchett, Cindy Crawford, Claire Foy, Clara Paget, Claudia Schiffer, Cora Corre, Diana Princess of Wales, Diane Kruger, Drew Barrymore, Ellie Bamber, Élodie Bouchez, Emilia Clarke, Emma Corrin, Emma Watson, Eva Green, Evan Rachel Wood, Florence Welch, Georgia May Jagger, Geraldine Chaplin, Gigi Hadid, Gisele Bündchen, Hailey Baldwin, Helena Bonham Carter, Helena Christensen, Hilary Swank, Jennifer Lawrence, Kate Bosworth, Kate Moss, Kate Winslet, Kendall Jenner, Keira Knightley, Kim Basinger, Kim Kardashian West, Kirsten Dunst, Kristen Stewart, Kristin Scott Thomas, Kaia Gerber, Kylie Minogue, Laetitia Casta, Lady Gaga, Lara Stone, Lauren Bacall, Léa Seydoux, Lennon Gallagher, Lily Cole, Lily Collins, Lily Donaldson, Lily-Rose Depp, Linda Evangelista, Liv Tyler, Lou Doillon, Madonna, Maggie Cheung, Marion Cotillard, Margot Robbie, Marine Vacth, Mary Kate & Ashley Olsen, Michelle Williams, Milla Jovovich, Monica Bellucci, Naomi Campbell, Naomi Scott, Naomi Watts, Nicole Kidman, Penelope Cruz, Pharrell Williams, Rafferty Law, Riley Keough, Rita Ora, Sarah Jessica Parker, Sharon Stone, Sienna Miller, Suki Waterhouse, Taylor Swift, Tilda Swinton, Uma Thurman, Vanessa Paradis, Winnie HarlowFashion ShowsAlberta Ferretti, Alexandre Vauthier, Anna Molinari, Antonio Berardi, Anya Hindmarch, Ashish, Asprey, Aquascutum, Bally, Balmain, Blugirl, Blumarine, Brioni, Burberry, Carolina Herrera, Chanel, Chloé, DKNY, Dolce & Gabbana, Dries Van Noten, DSquared2, Emporio Armani, Etro, Fendi, Gareth Pugh, Gianfranco Ferre, Giorgio Armani, Halpern, Iceberg, Isabel Marant, Jasper Conran, Jill Stuart, Julien Macdonald, Krizia, La Perla, Lancetti, Margaret Howell, Marios Schwab, Mary Katrantzou, Matthew Williamson, Max Mara, Micheal Halpern, Miu Miu, Monot, Moschino, Moschino Cheap & Chic, Mulberry, Nicholas Kirkwood, Nicole Farhi, Oscar de la Renta, Paul Smith, Philosophy, Ports 1961, Prada, Pringle, Ralph Lauren, Ralph & Russo, Roberto Cavalli, Roland Mouret, Ryan Lo, Salvatore Ferragamo, Sonia Rykiel, Sportmax, Thierry Mugler, Tom Ford, Topshop, Trussardi, Ungaro, Valentino, Vivienne Westwood, 16ArlingtonBio : http://www.premierhairandmakeup.com/hair/1-sam-mcknight/bio/Haircuts4Homeless : https://www.haircuts4homeless.com/Produced by : https://svnty6production.com/Artwork by : https://www.dvsyart.com/Support this show http://supporter.acast.com/hear-me-see-me. See acast.com/privacy for privacy and opt-out information.

durée : 00:16:55 - Disques de légende du mardi 19 janvier 2021 - Le pianiste italien Maurizio Pollini enregistre l'intégrale des Polonaises de Frédéric Chopin en 1975, pour le label Deutsche Grammophon.

BEETHOVEN: Sonata para piano nº 30 en Mi mayor, Op. 109 (18.19). M. Pollini (p.). Coriolano, Op. 62 (Obertura) (8.32). Orq. Sinf. de Columbia. Dir.: B. Walter. BEETHOVEN/LISZT: Sinfonía nº 9 en Re menor, Op. 125 "Coral" (Segundo movimiento: Molto vivace) (arr. para p. S 464 R 128) (14.29). Y. Martynov (p.). Escuchar audio

rotoBeethoven 6..-gli amori impossibili di LvB a cura di Vittorio Bianchi..-3 cover della Sinfonia n.6 la Pastorale..-il Cameo in musica: la Sinfonia n.6 a cura di Massimiliano Caldi..-a Milano Musica: Caminantes e Pollini con la Sonata op.106, concerto mancato

John’s guest this week is Dr. Claudia Pollini. Dr. Pollini is a professor of Mathematics at the the University of Notre Dame. They talk over how she became absorbed by research mathematics, her family background of academics

ROTOBEETHOVEN 3: ..- Pollini alla Scala, di Luca Chierici..- Gli amori impossibili di LvB a cura di Vittorio Bianchi (Vic)..- il cameo in musica a cura di Massimiliano Caldi..- L'aspetto di LvB..-musiche di L'Orpheon, John Kirby, Ottetto Classico Italiano..e Beethoven: Triplo Concerto, Sinfonia n.8, Sonata op 110 e 111

ROTOBEETHOVEN 3: ..- Pollini alla Scala, di Luca Chierici..- Gli amori impossibili di LvB a cura di Vittorio Bianchi (Vic)..- il cameo in musica a cura di Massimiliano Caldi..- L'aspetto di LvB..-musiche di L'Orpheon, John Kirby, Ottetto Classico Italiano..e Beethoven: Triplo Concerto, Sinfonia n.8, Sonata op 110 e 111

durée : 00:58:33 - Les Beethoven de Maurizio Pollini - par : Aurélie Moreau - “Il y a chez Beethoven une très grande cohérence dans les proportions entre chaque tempo, et dans les rapports de temps entre les mouvements d’une même oeuvre. Beethoven ne se répète jamais dans ses sonates pour piano." nous dit Maurizio Pollini. - réalisé par : Louise Loubrieu

Le storie narrate in Febbre da Cavallo ritrovano vita nei racconti di Fabio Pasqualin e Luca Vaccari che in questo episodio tornano a trovare BOB & Big MO. Oltre ai " remake " di Manrake ed ol Pomata fatti in scuderia durante l'esperienza comune agli ordini si Alfredo Pollini , i due ospiti raccontano della doma dei trottatori ed esprimono un parere sul spiacevole vicenda di Orebro dei giorni scorsi.#LINK UTILI:-La vittoria di Bernadette (Tratta da "FEBBRE DA CAVALLO "-YouTube)https://www.bing.com/videos/search?q=febbre+da+cavallo+bernadette+youtube&docid=608039335863518391&mid=E6973FAE6EC682D22E7DE6973FAE6EC682D22E7D&view=detail&FORM=VIRE-La vicenda di Zarina Bi a Orebrohttps://www.corrieredellosport.it/news/altri-sport/ippica/2020/05/09-69610199/gocciadoro_vince_in_tribunale/[RACE OFF è un podcast di LIPTO]

In questo episodio parleremo di allergia ai pollini.Con l'aiuto degli specialisti dell'Ospedale Pediatrico Bambino Gesù, scopriremo come si manifesta, come si fa la diagnosi e come si cura.

Programa especial de Pascuas enteramente dedicado a La Pasion segun San Mateo, la mas grande obra religiosa compuesta por el eterno Johann Sebastian Bach.El programa es conducido por Juan Roleri y cuenta con la participacion de Margarita Pollini (Critica de arte de Clarin), Antonio Formaro (Pianista profesional), Ramiro Albino (Director y Especialista en musica antigua), Hugo Ponce (Cantante) y Juan Florentino La Moglie (Director y especialista de la musica de Bach).

Programa especial de Pascuas enteramente dedicado a La Pasion segun San Mateo, la mas grande obra religiosa compuesta por el eterno Johann Sebastian Bach. El programa es conducido por Juan Roleri y cuenta con la participacion de Margarita Pollini (Critica de arte de Clarin), Antonio Formaro (Pianista profesional), Ramiro Albino (Director y Especialista en musica antigua), Hugo Ponce (Cantante) y Juan Florentino La Moglie (Director y especialista de la musica de Bach).

Tra SUPERPIPPO Big MO e IRON MAN Bob spunta in questo episodio il nuovo supereroe SPIDER ZAK che ci racconta la sua avventura con Roi Soleil, prima cavallo poi trasformatosi in ,,,scuderia (!),Sangermani e Pollini per fatsi le ossa , Momtechiarugolo come palestra ed infine i quattro FRUSTINI conquistati con le quasi quotidiane sfide negli anelli di tutta italia e non solo.#LINK UTILI:[RACE OFF è un podcast di LIPTO]

LA NONNOMUSICA 8 1960 Pollini vince il concorso Chopin

durée : 01:58:37 - Un tour d'Italie - par : Philippe Cassard - Un tour d’Italie Il y a bien sûr Pollini, Ciccolini et Michelangeli, monstres sacrés du piano. Mais l’Italie est la terre natale d’autres magnifiques artistes, certains moins connus de ce côté-ci des Alpes. Portraits de famille fait le point. - réalisé par : Pierre Willer

durée : 01:58:38 - De Cherubini à Vivaldi - par : Frédéric Lodéon - Riccardo Chailly dirige Cherubini. Liszt par Horowitz. Berlioz par Le Concert Spirituel dirigé par Hervé Niquet. Beethoven par Pollini. Les Diapasons d'Or France Musique. Vivaldi par Julien Chauvin et Le Concert de la Loge - réalisé par : Sophie Pichon

durée : 01:58:00 - En pistes ! du vendredi 28 février 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour également : premier album sous le signe de la transcription pour la claveciniste Mélisande McNabney, la musique vocale et instrumentale italienne du seicento avec l'Ensemble Consonances, la musique encore méconnue du compositeur bulgare Pancho Vladigerov... - réalisé par : Lionel Quantin

durée : 00:17:01 - Disques de légende du jeudi 16 janvier 2020 - Le pianiste italien Maurizio Pollini enregistre les Etudes op. 10 et op. 25 de Frédéric Chopin en 1972 à Münich pour le label Deutsche Grammophon. Le premier d'une longue série d'enregistrements consacrés au compositeur franco-polonais, qui vont rapidement l'installer au sommet du piano mondial.

durée : 01:58:45 - Relax ! du jeudi 16 janvier 2020 - par : Lionel Esparza - On dresse le portrait de l'Orchestre symphonique de Chicago à travers ses chefs, et notamment ses directeurs musicaux : Fritz Reiner, Georg Solti, Daniel Barenboim... Sans oublier les chefs invités comme Pierre Boulez. Et à 16h, notre disque de légende : les études de Chopin par Maurizio Pollini. - réalisé par : Antoine Courtin

Mit Beethoven-Sonaten und mit den grossen Werken von Frédéric Chopin, Robert Schumann und Johannes Brahms hat er die Konzertbühnen dieser Welt erobert. Der Meisterpianist Maurizio Pollini hat sich aber auch stets für neue Klaviermusik eingesetzt. «Progetto Pollini» oder «Pollini Perspectives» hiessen Konzertreihen des mailänder Meisterpianisten, in welchen er alte und neue Musik kombinierte und so dem Publikum aktuelle musikalische Entwicklungen vor dem Hintergrund der Tradition vermittelte. In einem seiner sehr seltenen Interviews stellt er aber im Rahmen des diesjährigen Lucerne Festivals ernüchtert fest: «Es ist ein gigantischer Fehler, dass Veranstalter und Interpreten - wie auch ich - sich bisher nicht genügend um die grossen Komponisten unserer Zeit und um ihre Werke kümmern und gekümmert haben! Denn Boulez, Stockhausen, Nono, das sind Kolosse!» Ausserdem spricht Pollini über seine neue Art, Chopins Werke zu spielen und über seine Liebe zu den späten Sonaten von Ludwig van Beethoven.

If you find yourself alone in your single, helping out a learn-to-row boat, or maybe just not getting enough verbal feedback from the coach, correspondent Alison Pollini presents a few basic tips to help you “self-coach” your way through the silence. Plus: In Part #3 of our preview of the Dec. 5-8 US Rowing Convention, we interview Jules Zane, director of referee & membership programs at US Rowing! If you're going to USRC, stop by the exhibitor's hall and say hello to Ready, Row! USA correspondents Charlotte Pierce, Ryan Worth, Tara Morgan, and Reba Knickerbocker!

Find out more below...   This interview was conducted by Micheál O'Mathúna who is a Journalist, Author, Filmmaker, Media Relations Consultant and Radio Show presenter. He also conducts one-to-one coaching, group coaching and delivers transformative workshops in various areas of health and wellbeing. He is also the founder of The Health Zone, which an inspiring, motivational and educational platform to empower people to be healthier, happier, more authentic and realise their true potential in their lives. You can find out more about Micheál O'Mathúna and The Health Zone here. You listen to every episode of The Health Zone here ------> http://www.thehealthzones.com/ Follow us on Instagram here ---> https://www.instagram.com/dhealthzone/ Follow us on Facebook here ----> https://www.facebook.com/thehealthzoneshow/ Follow us on Twitter here ---> https://twitter.com/dhealthzone Subscribe to our YouTube channel here ---> https://www.youtube.com/channel/UCkbZXDYJF_ypdjEmQk-BEIg ---> Join our Facebook Group here ---> https://www.facebook.com/groups/thehealthzone/ Gaia tells us: ----more---- How F**k It Therapy can help you to be more authentic in your life and helps you to overcome fear.   How anything that we suppress shows up in other ways in our lives.   How we can change self-doubt in our lives and be more courageous.   How forced action comes from fear and how we can transform it. A F**k It Magic (Long Weekend) takes place this Feb 26 - 28 in Galway, Ireland. Full details can be found: http://thefuckitlife.com/calendar/#fk-it-magic-long-weekend-ireland-march_2015   10 years ago, Gaia Pollini, with her husband John Parkin, and their young twin boys, said ‘F**k It' to their careers in London and headed to Italy in a camper van to set up a retreat centre.   They soon realised that the phrase ‘F**k It' was a powerful therapeutic tool in itself, and have since written the bestselling F**k It books and run many ‘F**k It Retreats' in Italy.   Gaia uses a variety of therapeutic techniques to help people live in a more free and ‘F**k It' way. She has clients around the world and works with them on her own ‘F**k It Magic Retreats' in Italy, in weekend events (in London and Galway, for example), and one-to-one (over Skype as well as in person).   She lives by the sea with her family, and spends a lot of time walking on the beach and watching films.   http://www.thefuckitlife.com/

durée : 01:58:16 - Portraits de famille - par : Philippe Cassard - Artiste majeur, Maurizio Pollini (1942) - dont le répertoire immense va de Bach aux compositeurs contemporains. [Rediffusion] - réalisé par : Pierre Willer

Ricordo di Daniele Lombardi di Michele Coralli, recensioni a cura di Luca Chierici (Lozakovich, Pollini, Davide Cabassi), approfondimento su "Haendel goes wild" di Gianluigi Trovesi, presentazione di "Pavia barocca" di Ghislierimusica e prossimi appuntamenti dal vivo.

Ricordo di Daniele Lombardi di Michele Coralli, recensioni a cura di Luca Chierici (Lozakovich, Pollini, Davide Cabassi), approfondimento su "Haendel goes wild" di Gianluigi Trovesi, presentazione di "Pavia barocca" di Ghislierimusica e prossimi appuntamenti dal vivo.

Ricordo di Daniele Lombardi di Michele Coralli, recensioni a cura di Luca Chierici (Lozakovich, Pollini, Davide Cabassi), approfondimento su "Haendel goes wild" di Gianluigi Trovesi, presentazione di "Pavia barocca" di Ghislierimusica e prossimi appuntamenti dal vivo.

Sonata para 2 pianos Kv 448 de Mozart, M. Argerich , D. BarenboimRequiem (selc) de Verdi; C. Studer, D. Zajic, L. Pavarotti, S.RameyPolonesa Op 26 nº2 de Chopin, M. PolliniAgua, azucarillos y aguardiente (selc) de Chueca, Orq. Sinf. y Coro de RTVE Escuchar audio

Polonesa  Op 26 nº1 de Chopin ,  M. PolliniSinfonía  nº7  Op 60 de Shostakovich, Orq. Fco. de MoscúEl barbero de Sevilla (selc) de Rossini, L. NucciEscuchar audio

Pollini, Gould and the Royal Concertgebouw: Gramophone Awards 2012, Historic Category