Podcasts about quartette

Remembering the career of a remarkably gifted singer-songwriter. Lakefield/Peterboro and Ottawa born and raised Colleen Peterson had a successful solo career and as a founding member of the outstanding Canadian quartette who called themselves simply “Quartette”. Music from Colleen and Qu artette and selections from an interview with host Ron Moores.https://www.facebook.com/ron.moores.18

Leonkoro bedeutet Löwenherz auf Esperanto, und was auch immer das junge Berliner Streichquartett damit verbindet, es scheint die vier Musikerinnen und Musiker zu beflügeln: mit gerade mal Mitte zwanzig gelten sie „schon heute als eines der allerbesten Quartette“, sagt immerhin Alfred Brendel. Seit erst vier Jahren spielt das Leonkoro Quartett zusammen und setzt deutliche Maßstäbe in Ausdruckskraft, Stilsicherheit und Emotionalität.

En un día tan señalado como el de Reyes nada mejor que esta nueva entrega de sus Melodías Pizarras caseras. Con regalitos tan refinados, entre otras sorpresas, como “If The River Was Whiskey" de Charlie Poole with The North Carolina Ramblers"; “Medley Of Hulas” de Kalama's Quartette y “Oh Sweet Daddy, Oh Pshaw” de los Hartman's Heartbreakers. A partir de las ocho de la mañana del sábado en la sintonía de Radio 3.Escuchar audio

This is the Christmas Eve 2023 edition of Georgian Bay Roots Radio, hosted by Lloyd Lemon. We at Georgian Bay Roots wish you all a happy holiday season! We are featuring holiday themed music from artists who have graced the Summerfolk stages, and a few related Canadian artists. Artists featured include: Loreena McKennitt; Quartette; Ennis Sisters; The Once; Heather, Cookie and Raylene Rankin; Susan Aglukark; Dave Gunning; Lunch at Allen's; Barenaked Ladies; David Myles; Matt Andersen; The Good Lovelies; The Barra MacNeil's; Bruce Cockburn; Colin James & The Little Big Band; Robbie Robertson; Rose Cousins, and Blue Rodeo.

durée : 00:19:52 - Le jazz du quartette Georgie Brown

Welcome back to season 2 of ReFolkUs. We have a very exciting season ahead where we chat to artists and music industry professionals about building sustainable careers as creative workers, with a focus on folk.This week's episode is a recording of a live listening party and conversation with folk legend Sylvia Tyson that took place at this year's Folk Music Ontario Conference. We chat to Sylvia all about her new album, ‘At The End Of The Day', her writing process, the inspiration behind the lyrics and get a preview of some of her new songs.Sylvia Tyson's new album At The End Of The Day was released on November 3, 2023, three weeks after this was recorded, on Stony Plain Records.Buy or stream the album here____________________Sylvia Tyson, known as Canada's ‘folk-country music matriarch', emerged as an internationally respected songwriter during the 1960s Greenwich Village folk scene. Originally from Chatham, Ontario, she moved to Toronto at 18, gaining acclaim for her polished alto voice and forming the influential folk duo Ian & Sylvia with Ian Tyson .The duo led the singer-songwriter movement from 1961 to 1975, releasing 13 albums and achieving commercial success. Sylvia's breakthrough songwriting included the hit "You Were on My Mind," covered by numerous artists. The album Great Speckled Bird has long been recognized as pioneering the genre of country-rock. After the duo's era, she embarked on a solo career, releasing albums like "Woman's World" and contributing to Quartette. Tyson's impact extends to her roles in various music organizations, and she is honored in the Canadian Music and Country Music Halls of Fame, the Order of Canada, and the Canadian Songwriters Hall of Fame.______________Presented by Folk Music OntarioHosted by Rosalyn DennettProduced by Kayla Nezon and Rosalyn DennettEdited by Jordan Moore of The Pod CabinTheme music “Amsterdam” by King CardiacArtwork by Jaymie Karn

Recorded October 4 at the Rockbund Art Museum Public Square in Shanghai. Maimai led a workshop in the weeks leading up to the ‘Assemblies' event to explore concepts of music/non-music instrument/ non-instrument. Finally culminating in an improvised performance where people were improvising with each other's signal using oscillators and guitars. 《电吉他与振荡器四重奏》 时间：10月4日 14:30和15:30 （共两场） 时长：每场25分钟 地点：博物院广场 艺术家：卖卖 演出名单 信号发生器：吴加利 冯伊帆 贾潇 信号发生器与声码器：赵潇潇 电吉他：徐光祖 电贝斯：徐子煜 简介 艺术家将用极缓慢的速度拉长一首吉他练习曲每个音符间的距离，并把用于测试的模拟振荡器当作演奏乐器，如此带领四位演奏者一起探索“音乐/非音乐，乐器/非乐器”的主题，最终用两把吉他和两台模拟振荡器完成表演。

Sylvia Tyson is a legend in the Canadian music scene. She is a singer, songwriter, novelist, Order of Canada recipient, Canadian Country Music Hall of Fame inductee, Songwriter Hall of Fame inductee and seven time Juno nominee. She was part of the duo Ian and Sylvia ('Four Strong Winds') with her then husband Ian Tyson but has also had a successful career as a solo artist and as a member of the group Quartette'. In this chat with host Dan Hare Sylvia talks about: her legendary career including the huge success of her first song 'You Were On My Mind' for the band We Five; her ‘play it as it lays' approach to life and songwriting; her new album and final album 'At The End Of The Day' (coming Nov. 3rd), and much, much more. Find out more about Sylvia HERE.

Die russische Geigerin Alina Ibragimova hat einen Hang zu Gesamtaufnahmen. Das von Ibragimova 2005 gegründete Chiaroscuro Quartet durchschreitet zurzeit die Streichquartette von Joseph Haydn. Die neueste Haydn-Aufnahme mit den ersten drei der so genannten „Russischen Quartette“ op. 33 lohnt das Zuhören unbedingt.

Keiner ist galanter als der Schlesier Johann Gottlieb Janitsch. Seine filigranen Quartette sind Meisterwerke des empfindsamen Stils. Die Schweizer Freitagsakademie interpretiert sie feinnervig und filigran. Eine unbedingte Empfehlung.

Rætt var um lífeyrissjóðakerfið en samskip þess og almannatrygginga og skattheimtu er frumskógur. Aðalbjörn Sigurðsson, forstöðumaður samskipta hjá lífeyrissjóðnum Gildi, útskýrði hvernig þetta virkar. Þegar lífeyrissjóðir hækka greiðslur til sjóðsfélaga fer bróðurparturinn í ríkissjóð í formi skerðinga á ellilífeyri Tryggingastofnunar og skatta. Á morgun eru liðin 130 ár frá fæðingu Ásmundar Sveinssonar myndhöggvara. Af því tilefni var leikið brot úr viðtali Gylfa Gíslasonar við Ásmund í þættinum Í skímunni frá 1973. Ólafur Örn Haraldsson var nýverið gerður að heiðursfélaga í Ferðafélagi Íslands en Ólafur var formaður félagsins í næstum tuttugu ár. Ólafur spjallaði um ferðalög og útvisti og sagði frá nokkrum uppáhaldsstöðum á landinu. Tónlist: Bíddu við - Geirmundur Valtýsson, Ég er kominn heim - Álftagerðisbræður, Quartette fur klavier, violine, viola und Violoncello, woo 36 : No. 1 es-dur - Amadeus kvartettinn, Ástarvísa hestamannsins - Sigurður Ólafsson, Sæll og glaður - Tómas R. Einarsson. Umsjón: Björn Þór Sigbjörnsson.

Rætt var um lífeyrissjóðakerfið en samskip þess og almannatrygginga og skattheimtu er frumskógur. Aðalbjörn Sigurðsson, forstöðumaður samskipta hjá lífeyrissjóðnum Gildi, útskýrði hvernig þetta virkar. Þegar lífeyrissjóðir hækka greiðslur til sjóðsfélaga fer bróðurparturinn í ríkissjóð í formi skerðinga á ellilífeyri Tryggingastofnunar og skatta. Á morgun eru liðin 130 ár frá fæðingu Ásmundar Sveinssonar myndhöggvara. Af því tilefni var leikið brot úr viðtali Gylfa Gíslasonar við Ásmund í þættinum Í skímunni frá 1973. Ólafur Örn Haraldsson var nýverið gerður að heiðursfélaga í Ferðafélagi Íslands en Ólafur var formaður félagsins í næstum tuttugu ár. Ólafur spjallaði um ferðalög og útvisti og sagði frá nokkrum uppáhaldsstöðum á landinu. Tónlist: Bíddu við - Geirmundur Valtýsson, Ég er kominn heim - Álftagerðisbræður, Quartette fur klavier, violine, viola und Violoncello, woo 36 : No. 1 es-dur - Amadeus kvartettinn, Ástarvísa hestamannsins - Sigurður Ólafsson, Sæll og glaður - Tómas R. Einarsson. Umsjón: Björn Þór Sigbjörnsson.

Interpreten: Klangkollektiv Wien, Rémy Ballot Label: Gramola EAN: 9003643992481 Das Klangkollektiv Wien hat es sich seit seiner Gründung und seinem Gründungskonzert 2018 zur Aufgabe gemacht, das Kammerorchester-Repertoire mit neuem Leben zu erfüllen. Weg von täglicher „Dienst-Routine“ hin zu Musizieren aus reiner Freude am gemeinsamen Spiel. Nach Haydn und Mozart kehren die Musikerinnen und Musiker rund um Rémy Ballot auf ihrem aktuellen Album zurück zu Ludwig van Beethoven. Streichquartette in Streichorchesterfassungen gibt es zu erleben.

Richard Dawkins joins the foursome for a discussion on various odd animal behaviors. From quartettes of receivers to the starvations of somebodies—goo goo g'joob—this episode has it all!

Agafeu maletes i passaport per viatjar amb Aerol

Das Fotoprojekt «Urban Wanderings» des Berner Schriftstellers und Fotografen Mirko Beetschen gruppiert jeweils vier Bilder mit inhaltlichen oder ästhetischen Ähnlichkeiten. Seit 2018 postet Beetschen diese fotografischen Quartette, es ist ein laufendes Projekt. Die Bilder nimmt er während Spaziergängen mit seinem Hund durch Bern auf und dokumentiert damit seine Sicht auf die Stadt und die Umgebung ... >

Der passionierte Quartettspieler Wolfgang Amadeus Mozart macht sich ab 1782 dran, seinem großen Vorbild Joseph Haydn mit eigenen Streichquartetten eine Antwort zu komponieren. Diese „hart erarbeiteten Früchte“, wie er die Quartette nennt, sind denn auch keine bloße Nachahmung des Haydn'schen Musters, sondern nichts Geringeres als die Definition eines eigenen, ganz individuellen Quartettstils.

In episode 212, Gustav Soderstrom guest stars as a dignitary who suffers from propylene stainers quartette psyche syndrome. The gang tries to help him with his disorder, but it's no easy task.

Vor allem junge Quartette fühlen sich von der direkten Klangsprache in Schuberts 14. Streichquartett angezogen. Diesem unterliegt ein Lied, das Schubert sieben Jahre zuvor geschrieben hat: «Der Tod und das Mädchen», worin der Tod dem «schönen und zarten Gebild» seine Knochenhand reichen wird.  Klare Aussage. Doch soll man das auch so schwarzweiss spielen, wie der Notentext einen verlockt? Oder besser mit Zwischentönen? Die Diskothek zu Franz Schuberts Quartett mit seinen sinfonischen Ausmassen und der Erzählkraft auch einer sinfonischen Dichtung, wie ein Dirigent einmal anmerkte. Gäste von Benjamin Herzog sind die Sängerin und Künstlerische Leiterin der Basler Gesellschaft für Kammermusik, Franziska Hirzel, und der Cellist Christoph Dangel.

This recording was released free of copyright infringement on January 1, 2022. Enjoy the recording at this Youtube link - https://youtu.be/h0D4cc7liJQ and explore what Discogs has to say about the Norfolk Jazz Quartette. Enjoy!

Nova Scotia native Cindy Church is one of the best singers in Canada. She has been nominated for two Juno Awards and several from the Canadian Country Music Association. Besides her stellar solo career Cindy is known for her time with Great Western Orchestra and as part of Quartette (with Sylvia Tyson) and currently Lunch Allen's (with Murray McLauchlan, Ian Thomas and Marc Jordan). In this chat with Dan Hare Cindy talks about: her early introduction to music; working with Ian Tyson; how she became part of Lunch At Allen's; why she returned to Nova Scotia after living in Western Canada for many years; her many solo albums; non-musical interests and much more. Find out more about Cindy @ cindychurch.com and lunchatallens.ca.

More great books at LoyalBooks.com

Mozart hat sie geliebt – die Streichquartette op.33 von Joseph Haydn. Sie waren ihm Inspiration für eigene Quartette. Auch für andere waren sie das „Mass aller Dinge“. Und selbst Haydn wirbt für sie mit einem eigenen Slogan.

Die leere C-Saite einer Bratsche, das Stimmen der Instrumente vorm Konzert, das Ploppen einer kühlen Bierflasche beim Öffnen – das seien für sie mit die schönsten Klänge, sagen die Musiker*innen des Aris Quartetts! Ein Streichquartett von Schubert aber toppt das alles noch. Egal, ob es eines seiner späten Quartette ist oder eines, das er als Teenager geschrieben hat, wie unser Musikstück der Woche. Da war Schubert 13 und Schüler am Wiener Stadtkonvikt.

Adapted by Julie Hoverson from several stories by Saki (H.H. Munro).   Four girls waiting for punishment tell tales of pranks they've pulled. Cast List Vera - Beverly Poole Matilda - Lyndsey Thomas Helen - Julie Hoverson Nora - Chandra Wade Alice - Xandria Nirvana Barber     Shock Tactics Heasant - Megan Lane Bertie - Jasper Loovis The Boar-Pig  Stossen - Jody Montague Miss Stossen - Hillary Dixon The Storyteller Bachelor - Cole Hornaday The Open Window Nuttel - Kim Turner Aunt - Robyn Keyes Uncle - Rick Lewis Alice's stunt doubles Caira Greenfield and Draven Schoberg Music:  Kevin MacLeod (Incompetech.com) Editing and Sound:   Julie Hoverson Cover Photo:  Daniel O'Connell (courtesy of Stock Xchange.com) "What kind of a place is it? Why it's an Edwardian girls' school, can't you tell?  This way to the Headmistress' office..." http://www.eastoftheweb.com/short-stories/UBooks/OpeWin.shtml ************************************************************* [transcript follows] The Saki Quartette Adapted by Julie Hoverson from several stories. I am a huge fan of H.H. Munro, who wrote under the pen name Saki in the early years of the 20th century.  His career ended prematurely when he was killed in The Great War at the age of 46. Saki is mainly remembered today for the amazing story "The Open Window," which I encourage everyone to read before listening to this episode, so I don't spoil it for you.  It's available on Project Gutenberg, you can get a reading on librivox, it's around.  It is considered to be one of the best short stories ever written in English, right up there with The Lottery by Shirley Jackson. While Saki wrote a number of supernatural, suspense, or speculative stories, his forte was relatively cruel humor - but always inflicted on those pompous enough that you didn't feel too badly for them.  And since nobody really got hurt - unless you take it from a modern "mental damage" perspective, you can laugh.  Clovis Sangrail was an ever-recurrent character who sailed through many stories leaving havoc in his wake, but Vera from The Open Window reappeared from time to time as well (later described as a "flapper") - the two of them intersecting in The Almanac. This episode is an homage to Saki, and incorporates elements from four of his short stories - Shock Tactics, The Boar-Pig, The Storyteller, and of course The Open Window - with a bit of wrap story that is entirely my own. Three of the four principal girls were from my old high school's drama department, the fourth was me.  Several of the other voices were drawn from ART (American Radio Theater).  It's not a perfect recording - we can't seem to keep the pronunciation of "aunt" straight between us (including me) - and I hadn't yet learned how to clean tracks perfectly yet, but overall it's fun and quite funny. Episodes like this were one reason I determined form the start that I wasn't going to nail myself into a "horror story" format.  The name "19 Nocturne Boulevard" is suggestive of the dark side, but open-ended enough to go anywhere I wanted to go. And as an aside, it has nothing to do with nocturne alley, is it, from Harry Potter?  Several people have commented on that, but when I created 19 Nocturne Boulevard, it was sometime around 2006, and I hadn't - I may have heard of Harry Potter, but I never actually read the books.  This was entirely on my own.  It's not a pun like Nocturne alley - nocturnally - was. I remember the summer of sitting there and thinking I want a number, and an address that sounds cool - what's a cool street? While sitting around at meetings of American Radio Theater. ******************************************************** SAKI QUARTETTE   Cast: Olivia, host Vera [open window] [15], sly Matilda [boar-pig] [14], mischievous Helen [shock tactics] [10], eager Nora [storyteller] [11], shy, rules-bound Alice [15], older girl, screams a lot [Shock Tactics] Bertie, Helen's older brother Heasant, their mother [Boar-Pig] Stossen Miss Stossen [Storyteller] Bachelor [open window] Nuttel Vera's Aunt Vera's Uncle OLIVIA    Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's an Edwardian girls' school, can't you tell?  This way to the headmistress's office. MUSIC   CHEEKY MUSIC FADES INTO SOUND   CHEERFUL RUNNING CHILDREN, THEN FADES SOUND   CLOCK TICKS LOUDLY, then under [three girls sit on a bench outside the headmistress' office, waiting to be punished] SOUND   COUGHS, FIDGETS.  SMALL FOOT KICKING CHAIR. HELEN   Why send us here if we're only to wait? NORA   [startled]  Huh?  What? HELEN   Oh, Nora.  I wish I could sleep with my eyes open.  I said, 'Why--' ALICE   [superior]  To put us into the proper frame of mind.  To contemplate our misdeeds.  HELEN    That's silly - I've been thinking about anything and everything BUT my misdeeds. ALICE   That's adults for you. SOUND   FOOTSTEPS APPROACH.  MATILDA SITS. MATILDA   Well, well.  Fresh blood? ALICE   They don't look very promising. HELEN    [huff] I'll have you know I've been called on the carpet plenty of times-- MATILDA   [sweetly, cutting her off] --don't care.  Besides, I wasn't referring to that.  [aside, to Alice]  You're right, they're not much good.  I think one of 'em is a waxwork. ALICE   Oh, well-- SOUND   DOOR OPENS.  SLOW FOOTSTEPS. VERA   [heaves a deep sigh]  Your turn, Miss Tramplethorpe. ALICE   Once more into the breach. SOUND   BENCH SQUEAKS AS SHE STANDS.  SLOW FOOTSTEPS.  DOOR SHUTS. VERA   If you don't mind, I'll join you for a bit. NORA   But you should be getting back-- SOUND    FOOTSTEPS, BENCH MATILDA   Not a mannequin, then.  No one will notice, at least for a bit.  Was it truly awful, Vera? VERA   Rather.  SOUND   MUFFLED BY DOOR, SOUND OF SIX SMACKS [RULER ACROSS HAND] UNDERLIE THE TALKING. NORA   What did you do?  What did ...she do? VERA   I?  I did nothing.  I will swear it to my grave. MATILDA   It's vulgar to ask for details. HELEN   I talked back to a teacher.  I've been told.  She didn't make any mention of it at the time, but I got a note sending me here. NORA   It's all quiet now, is it ...over? MATILDA   Of course not.  There's always castigation.  HELEN   Isn't that immodest? MATILDA   [sighs impatiently] VERA   It means Miss Twicket will be talking at her for some time.  Then there may be more strokes, depending on whether she is contrite. NORA   Are you contrite? HELEN   [superior] It's vulgar to ask. VERA   [chuckles] But I'm not.  It was entirely worth it.  [to Matilda, over the smaller girls]  I'll have to get back soon, Matilda, should we have a quick go-round? MATILDA   Without Alice? SOUND   ALICE WAILS, MUFFLED BY THE DOOR. VERA   [wincing] She'll likely be a while.  MATILDA   What about the small fry? NORA   That's not very nice. HELEN    I'll have you know-- VERA   Oh, let's.  They'll never split on us - will you? NORA   But - but - but what is it you--? HELEN   [eager] I'll never tell.  I'm not a sneak. NORA   But we don't even know what-- MATILDA   Promise or you'll never know. HELEN   I promise.  I'll never reveal anything, even under torture with wild horses. NORA   Well... HELEN   If you don't promise, you're doing me out, too. NORA   [reluctant]  I don't know.  Ow!  [she's been pinched] I won't tell!!  VERA and MATILDA laugh. VERA   It's not so very awful, ducklings.  We have a bit of a club - we call it the Ducks and Geese.  We each take any chance we get to play little tricks on people, and then share the stories.  We're the ducks... HELEN   And they are the Geese?   MATILDA   Yes.  And whomever has the best story, wins.  NORA   Wins?  What? MATILDA   Vera here is quite a champion liar. VERA   [correcting]  I prefer the term "romancer." MATILDA   We always meet here, so we all have to get ourselves into scrapes from time to time, just so we can link up. HELEN   [excited, but controlling herself]  How does one join? MATILDA   You have to have a story.  Something good.  I've got a lovely one from last summer holiday. VERA   Oh, I expect I can top it. SOUND   SLAPPING AGAIN, SIX OF THE BEST.  ALICE    [off] [HOWLS in pain] HELEN   [chagrined]  Oh.  Goodness.  [beat] well, I haven't really... NORA   I would never-- MATILDA   [dry]  I'm shocked.  [to Vera]  Oh, well, we'll have to talk later.  Perhaps Alice will be out soon. HELEN   Since I didn't know to prepare, what if I have a truly lovely story, even though it wasn't me that did the joke? MATILDA   I don't think so.  Sorry. VERA   Well...  We might listen.  It will pass some time, and then we can deliberate. MATILDA   It had better be good. HELEN   I think so - My older brother has a friend-- VERA   Oh, not a friend of a friend tale - those are old enough to have beards. HELEN   --this friend is quite the card. MATILDA   An ace or a joker? HELEN   His name is Clovis Sangrail. [SILENCE FOR A MOMENT] VERA   Oh-ho!  MATILDA   Truly?  You know Clovis?  Perhaps we should make you a member just on the basis of that.  NORA   Who is Clovis Singrill? VERA   [very superior] Sangrail.  He is our own Jove - the very top of the tree when it comes to our sort of japes. MATILDA   Absolutely the lobster's dress shirt.  Though if I do say so myself, a distant cousin of mine, Reginald, is starting to make a good showing. VERA   Go on, then.  You must tell us your Clovis story.  We might decide to be kind, even if it would be nepotism of a sort. MATILDA   Clever by association.  What was your name, again, duckling? HELEN   Helen.  Well, my oldest brother Bertie was chafing terribly, since being nearly 20, he felt mother should stop reading his private correspondence. VERA   Oh, I cured mine of that long ago. HELEN   Yes, but Bertie's simply not assertive - not on his own.  SOUND   MUSIC FOR FLASHBACK SCENE HELEN   [fading] So one day, a letter arrives... MRS. HEASANT   [off, a wail, then coming on]  Ohhh!  Helen!  Oh, heavens, Helen!  Bertie is in the toils of an adventuress!  [ominously]  Her name is Clotilde! HELEN   Truly, mother?  Where?  In the rose garden? MRS. HEASANT   No!  In the post! HELEN   How did they fit in the post? MRS. HEASANT   Hssh!  Listen to this:  "Bertie, carissimo, I wonder if you will have the nerve to do it.  Don't forget the jewels.  They are a detail, but details interest me.  Yours as ever, Clotilde.  Postscript - Your mother must not know of my existence.  If questioned swear you never heard of me."  HELEN   Clotilde?  I don't know of any-- MRS. HEASANT   Well, your brother certainly does! HELEN   Perhaps he only just-- MRS. HEASANT   Oh, no!  "As Ever" she says!  As ever!  They've been carrying on under my very nose for ...who knows how long. HELEN   [narrating]  When my brother returned home, mother braced him with the incriminating Clotilde, and of course he denied it. MRS. HEASANT   How well you have learned your lesson! HELEN   He really didn't make much of it, and when she insisted he would have no dinner unless he confessed, I saw him take rather a quantity of sandwich materials up to his room with him.  Then, with the next post: NORA   [completely enthralled] Another letter? HELEN   Oh, yes.  SOUND   INSISTENT KNOCKING ON DOOR BERTIE   [muffled, speaking through door]  What is it this time? MRS. HEASANT   Miserable boy!  What have you done to Dagmar? BERTIE    [muffled]  It's Dagmar now, is it?  It will be Geraldine next. MRS. HEASANT   [in absolute hysterics]  That it should come to this, after all my efforts.  It's no use; Clotilde's letter betrays everything.  [reading] "Poor Dagmar.  Now she is done for I almost pity her.  The servants all think it was suicide.  Better not touch the jewels till after the inquest.  Clotilde."  [leaves off with a wail] SOUND   DOOR OPENS BERTIE   I don't suppose this letter betrays who this Clotilde is?  Seriously, mother, if you go on like this I shall have to go fetch a doctor; I've often enough been preached at about nothing, but I've never had an imaginary harem dragged into the discussion. SOUND   DOOR SLAMS HELEN   Mother could have used a doctor, for she was utterly purple about the face from screaming, and had to go and have a lie down - at least until the next post. SOUND   KNOCKING ON DOOR, MUCH SUBDUED MRS. HEASANT   [also much subdued] Bertie?  Bertie, darling? BERTIE   What is it this time?  Have I stolen the Mona Lisa? MRS. HEASANT   No.  You... have another letter.  From ... Mr. Sangrail.  SOUND   DOOR IS FLUNG OPEN BERTIE   [not giving an inch]  Why not go on and tell me what he has to say?  MRS. HEASENT   [clears throat, then reads, much abashed]  "Dear Bertie.  I hope I haven't distracted your brain with the spoof letters.  You told me the other day that ...somebody... at your home [ahem] tampered with your letters, so I thought I would give them something exciting to read. [slowing with embarrassment]  The... shock might do them good..." HELEN   [finishing up]  And then, Bertie threatened to get a nerve specialist in to look at mother, since she was obviously far too highly strung - and she couldn't possibly stand the scandal, she said - and they agreed he wouldn't - but only if she would stop.  Reading his mail, you see. NORA   [concerned]  But, did she? HELEN   [ominous] So far. MATILDA   We'll review your application.  Next? NORA   I?  Oh, I truly don't have anything... VERA   [warning] You'd best think of something.  We can't have outsiders hearing all our secrets. MATILDA   I'll go ahead and tell mine - it's not so exotic as to cause a panic, and it will give this little gosling time to think. VERA   I suppose so.  What do you think, Helen? HELEN   [surprised and thrilled] Me?  Oh!  [trying to sound grown up and important]  Oh.  I think we should give her one more chance.  She had no time to prepare, after all. SOUND   SMACKING AGAIN FROM WITHIN, ALICE WAILS MATILDA   Speaking of preparing - I'd best be quick, as I believe I'm next for the chop.  Very well, I was staying with my aunt in the country, and it was the day of a very important garden party - some princess was attending and everyone wanted to come.  My aunt gloated over the guest list for days.  VERA   What is it with aunts?  It's as if we all have at least one who is utterly impossible. NORA   [something is coming to her] Ah!  Aunts... MATILDA   Mine told me to be on my best behavior, and to imitate my insipid cousin, Claude, which would have been quite horrible.  HELEN   [bold, trying to sound knowing] I think everyone must have a cousin Claude or Eggbert, or ... something [falters] as... as well as an aunt... MATILDA   [sigh, eye roll] So... so, when they got on me for eating too much raspberry trifle at luncheon, they said over and over that Claude would never do a thing like that.  So when Claude went down for his nap - imagine, he's all of 11 and still goes meekly to afternoon naps like an infant. GIRLS    [SNICKER] VERA   He's the type who will end up married to someone quite overbearing. HELEN   Like an aunt? GIRLS    [SNICKER TERRIBLY] MATILDA   While he was napping, I took the opportunity to take a huge dish of raspberry trifle and force feed it to him - well, much of it got on his sailor suit and the bed, but enough went down him that they will never again be able to say he's never eaten too much raspberry trifle. VERA   Oh, that's a good one! NORA   I do have a story! MATILDA   I'm not finished - that is merely the prologue to my tale, explaining why I was sitting in the back paddock, rather than prancing about the garden party with Claude and Auntie. NORA   Oh!  I'm so-- VERA   Shh.  Pray continue, scherezade. HELEN   I thought her name was Matilda? VERA   Oh, hush. MATILDA   [taking a deep breath]  So I was sitting in a medlar tree, being stupefied with boredom, when I saw two ladies, dressed as if for the garden party, sail through the paddock in an attempt at infiltration. HELEN   Weren't they rather obvious? MATILDA   There was really no one there to see, excepting myself.  And they never once looked up as they passed by.  Well, with no ulterior motive in mind, I decided to let aunt's prize boar-pig, Tarquin Superbus, into the paddock behind them.  It had absolutely nothing to do with the fact that I knew the gate they were aiming for was locked and they would be forced to come back the same way. GIRLS    [GIGGLE] SOUND   MUSIC FOR FLASHBACK MATILDA   So, when they did... SOUND   OUTDOORS AMBIANCE.  BIRDS.  SLIGHT PIG SNUFFLING IN THE BACKGROUND MRS. STOSSEN   [fading in] I stopped Mrs. Cuvering in the road yesterday and talked very pointedly about the Princess.  If she didn't choose to take the hint and send me an invitation it's not my fault, is it? SOUND   DEEP PIG NOISES MISS STOSSEN   Oh! MRS. STOSSEN   Oomph! [pulling up short, irritated] What?  Oh!  What a villainous-looking animal, it wasn't there when we came in. MISS STOSSEN   It's there now, anyhow.  I mean, what on earth are we to do? I wish we had never come. BOTH STOSSENS   Shoo!  Hish! SOUND   CLOSER, DEEP PIG NOISES MATILDA   [slightly off] If you think you'll drive him away by reciting lists of the kings of Israel and Judah, you're laying yourselves out for disappointment. MRS. STOSSEN   Oh!  Little girl!  MISS STOSSEN   Can you find someone to drive away-- MATILDA   [French] Comment? Comprends-pas. [cohm-oh? cohm-prawn pah - what? I don't understand] NOTE   MATILDA'S FRENCH IS REASONABLY SMOOTH.  MRS. STOSSEN'S IS VERY BAD. MRS. STOSSEN   Oh, are you French?  Etes vous Francaise? [et voo fran-sehz? - are you French?] MATILDA   Pas du tout.  Suis Anglaise.  [pah doo toot.  sweez ahn-glehz - not at all.  I'm English] MRS. STOSSEN   Then why not talk English?  I want to know if-- MATILDA   Permettez-moi expliquer.  [pair-meh-tay mwa eks-plee-kay - let me explain] [narrating again] And I went into a rather long description of Claude and aunt and the raspberry trifle, ending with -- [slightly off again] ...and as an additional punishment I must speak French all the afternoon.  I've had to tell you all this in English, as there were words like 'forcible feeding' that I didn't know the French for.  Mais maintenant, nous parlons francais.  [may mant-noh, new par-lon frahn-say - and now, we will speak French] MRS. STOSSEN   Oh, very well, tres bien [tray bee-ehn].  [with much difficulty] La, a l'autre cote de la porte, est...um... [la, a low-truh coat de la port, ehst... - there, on the other side of the door, is...]  [to Miss S] um, a pig? MISS STOSSEN   Oh, goodness, un grenouille? [uhn grahn-wee?] MRS. STOSSEN    No, no.  I'm reasonably certain that's a frog.  Oh, yes - un cochon. [uhn koh-shawn - a pig] MATILDA   Un cochon? Ah, le petit charmant! [uhn koh-shawn?  Ah, le pet-eet shar-mont! - a pig,oh the little sweet!] MRS. STOSSEN   Mais non, pas du tout petit, et pas du tout charmant; un bete feroce!  [may noh, pah doo too peh-teet, ay pah doo too shar-mont; un bet feh-rohs! - but no, not at all little, and not at all sweet; a beast ferocious!] MATILDA   Une bete. [Oon bet]  A pig is masculine as long as you call it a pig, but if you lose your temper with it and call it a ferocious beast it becomes one of us at once.  French is a dreadfully unsexing language. MRS. STOSSEN   For goodness' sake let us talk English then.  MISS STOSSEN   Is there any way out of this garden except through the paddock where the pig is? SOUND   OUTSIDE AMBIENCE ENDS ABRUPTLY SOUND   FOOTSTEPS IN HALLWAY GIRLS    [SHUSH THEMSELVES, PRACTICALLY STOPPING BREATHING, AS THE FOOTSTEPS GET CLOSER.] NORA   [Hiccups.  She tries to smother it, but cannot.] HELEN   [whispered] Shh.  Hold your breath! SOUND   THE FOOTSTEPS ARE RIGHT ON THEM, AND STOP. HELEN   [gasp] NORA   [Hiccups continue.  She is almost crying with the effort of trying to stop.] SOUND   FOOTSTEPS GO OFF.  AS SOON AS THEY ARE OUT OF EARSHOT-- VERA   Whew.  She's a tartar. MATILDA   Not a sympathetic bone in her body. HELEN   Why didn't she say anything? VERA   She knows we're already in for it. NORA   Well, [hiccup] you've already been in for it - was it really that [hiccup] bad? SOUND   AS IF ON CUE, SMACKING AND ALICE'S WHIMPERS FROM BEHIND THE DOOR. NORA   [gasps - her hiccups are now gone] HELEN   So what happened with your boar-pig?  Did he devour the invaders? MATILDA   Devour them?  Oh no - Tarquin Superbus prefers rotten fruit to interlopers any day.  They bribed me to lead him away.  I don't think they were best pleased about it, once they realized what a sweet disposition he has. NORA   But of course, they were in the wrong, trying to crash a party like that.  So you were merely punishing them. VERA   Right and wrong have less than nothing to do with it.  We're not the courts, or even public opinion.  A joke is a joke, even if it's on a perfectly nice person who doesn't deserve it in the least. MATILDA   Though it is much more fun, and less likely to get one into severe hot water, when the person joked on can't complain without revealing their own shortcomings. NORA   I -- VERA   Speak up gosling.  A sentence is comprised of at least two words. NORA   [whispered] I might ... have a story. MATILDA   Five!  And with a full stop.  Alright, then, pray continue. NORA   We were on a train.  It was some years back, and my aunt was exceedingly boring.  There was a gentleman in the carriage with us, and when he stooped so low as to criticize my aunt's storytelling abilities, she dared him to tell one. MUSIC   FOR FLASHBACK NORA   [sounding very young throughout flashbacks] Yes, please - tell us a story!  [narrating] Anything would have been better than my aunt's stories - you would have thought she was never a child herself. MATILDA   I say, there's an idea - perhaps aunts arrive like motorcars, fully assembled from the factory? VERA   Shh.  Give ear to the duckling. NORA   [pause] Oh, me?  Yes.  Well, the story-- SOUND   MUSIC FOR FLASHBACK.  TRAIN LOOP BEHIND BACHELOR BACHELOR    Very well.  Once upon a time, there was a little girl called Bertha, who was extraordinarily good.  She did all that she was told, she was always truthful, she kept her clothes clean, learned her lessons perfectly, and was polite in her manners.  She was ...horribly good. VERA   [slightly off] Can one be horribly good?  Truly? MATILDA   [slightly off] Claude.  Definitely. VERA   [agreeing] Mm. BACHELOR   She was so good, that she won several medals for goodness, which she always wore, pinned on to her dress.  They were large metal medals and they clinked against one another as she walked.  No other child in the town where she lived had as many as three medals, so everybody knew that she must be an extra good child. NORA   [young, gleeful] Horribly good. BACHELOR   The Prince got to hear about Bertha, and said that as she was so very good she might walk in his park.  NORA   [young] Were there any sheep in his park? BACHELOR   No.  There were no sheep. NORA   [young] Why weren't there any sheep? BACHELOR   Because the Prince's mother had once had a dream that her son would either be killed by a sheep or else by a clock falling on him. The Prince never kept a sheep in his park or a clock in his palace. VERA   Oh, very good.  MATILDA   Was this fellow passenger by any chance a long, lithe, languid type with a somewhat nasal voice? NORA   No, why? VERA   She was wondering whether you've encountered Clovis as well.  Roll along. NORA   Oh, so, um, he said the park was full of little black, gray, and white pigs, and -- BACHELOR   --Bertha was rather sorry to find that there were no flowers in the park. She had promised her aunts, with tears in her eyes, that she would not pick any of the kind Prince's flowers, and she had meant to keep her promise, so of course it made her feel silly to find that there were no flowers to pick. NORA    [young] Why weren't there any flowers? BACHELOR   Because the pigs had eaten them all. VERA   [to Matilda] You know, I'm becoming quite convinced you're right, though the story hardly sounds vicious enough for Clovis. NORA   Oh, I just haven't gotten to the-- um... VERA   To the "um..."?  Very well. NORA   Bertha was just thinking-- BACHELOR   [falsetto] --'If I were not so extraordinarily good I should not have been allowed to come into this beautiful park,' and her medals clinked against one another to remind her how very good she was.  Just then an enormous wolf came prowling into the park to see if it could catch a fat little pig for its supper.  The first thing that it saw in the park was Bertha; her pinafore was so spotlessly white and clean that it could be seen from a great distance. MATILDA   I have never heard a better argument against cleanliness.  I shall go out and get myself despicably filthy forthwith. HELEN   After your visit inside. MATILDA   [annoyed] THANK you.  I had actually managed to forget that for a bit. NORA   [quickly jumps in]  Bertha saw the wolf and she began to wish that she had never been allowed to come into the park... BACHELOR   ...She ran as hard as she could, and the wolf came after her with huge leaps and bounds.  She managed to reach a shrubbery of myrtle bushes and hid herself.  The wolf came sniffing among the branches, its pale grey eyes glaring with rage.  Bertha was terribly frightened, and thought to herself: [falsetto]  'If I had not been so extraordinarily good I should have been safe in the town at this moment.'  However, the scent of the myrtle was so strong that the wolf could not sniff out where Bertha was, so he thought he might as well go off and catch a little pig instead.   VERA   Definitely not Clovis. NORA   [cross, almost yelling]  LET ME FINISH! MATILDA   Hmph!  Well, proceed. NORA   Bertha trembled and the medal for obedience clinked against the medals for good conduct and punctuality.   BACHELOR   The wolf heard the sound of the medals clinking and dashed into the bush, dragged Bertha out, and devoured her to the last morsel.  All that was left were her shoes, bits of clothing, and three medals for goodness. HELEN   Were any of the little pigs killed? MATILDA and VERA laugh somewhat scornfully NORA   Funny, that's just what my brother asked.  No.  They all got away.  We all agreed it was the most beautiful story we'd ever heard - well, except for aunt, who seemed to find it highly improper. MATILDA   We shall have to write to Clovis and find out if he's been engaged in the railway storytelling circuit. VERA   [chuckles]  NORA   This was some years ago, when I was quite young. VERA and MATILDA chuckle again.  HELEN joins in, but a bit too loudly. VERA   I fear, my darlings, that I shall still take the palm today, for I had occasion recently for the most stupendous jape of all...  [PAUSE] HELEN   Well? VERA   I am composing myself. NORA   [gasps] MATILDA   Oh, not again. NORA   [hastily reassuring] No, no. VERA   I am ready.  I must be careful and include all the vitally important details, for this was more than a mere trick on an aunt... SOUND   MUSIC FOR FLASHBACK VERA   [narrating] There was a tedious little man visiting our neighborhood for some sort of rest cure.  [to Nuttel]  Do you know many of the people round here? NUTTEL   Hardly a soul.  My sister stayed nearby some four years ago, and she gave me letters of introduction to some of the people here. VERA   [calculating]  Then you know practically nothing about my aunt? HELEN   More aunts? MATILDA   Aunts are universal.  Now Shh. NUTTEL    Only your aunt and uncle's names and the address. VERA   Uncle.  Oh I see.  [confidential] Aunt's great tragedy happened just three years ago.  That would be since your sister's time. NUTTEL   T-Tragedy? VERA   You may wonder why we keep that French window wide open on an October afternoon. NUTTEL   It is quite warm for the time of the year, but ... tragedy? VERA   [ominous] Out through that window, three years ago to a day, Aunt's husband and brothers went off shooting... and never came back.  In crossing the moor, they were engulfed in a treacherous piece of bog.  Their bodies were never recovered. [voice breaks]  That was the dreadful part of it.  Poor aunt thinks that they will come back some day, with uncle's little brown spaniel, and walk in that window just as they used to do.  [almost a whisper]  Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window-- [shudder] NUTTEL   Uh, yes... SOUND   DOOR, SWIFT FOOTSTEPS AUNT   I hope Vera has been amusing you? NUTTEL   [spooked] She has been very... interesting. AUNT   I hope you don't mind the open window.  My husband and brothers will be home directly, and they always come in this way. NUTTEL   Um, yes.  [changing the subject]  Um, yes - [awkward pause] the doctors agree in ordering me complete rest and an absence of mental excitement.  On the subject of diet, they are less in agreement. AUNT   [bored]  Ah?  NUTTEL   Some opine that toast with marmalade is better for digestion, while other lean more towards toast without. AUNT   [yawns] NUTTEL   Still other physicians insist on no toast at all.  On the subject of eggs... AUNT   [brightening]  Aha! Here they are at last!  Just in time for tea! VERA   [narrating] I put on my best look of wide-eyed fear and stared - I always think of cats when I do that. NUTTEL   [confused] What?  [panicked] Ahhh! SOUND   RUNNING FEET, DOOR OPENS, SLAMS CLOSED. NOTE   MILK THIS MOMENT FOR SUSPENSE SOUND   OMINOUSLY SLOW, SQUISHY FOOTSTEPS APPROACH.  DOG YIPS MOURNFULLY, then UNCLE   Here we are, my dear.  Who was that who bolted out as we came up? AUNT   A most extraordinary man, a Mr. Nuttel.  Could only talk about his illnesses, and dashed off without a word of good-bye or apology when you arrived.  One would think he had seen a ghost. VERA   I expect it was the spaniel.  [the awful truth]  He told me he had a horror of dogs.  He was once hunted into a cemetery somewhere on the banks of the Ganges by a pack of pariah dogs, and had to spend the night in a newly dug grave with the creatures snarling and grinning and foaming just above him.  Enough to make anyone lose their nerve. MATILDA   Oh, bravo - two for the price of one! NORA   How could he be afraid of a Spaniel?  They're so-- HELEN   Silly!  She was romancing! NORA   Oh.  [thinks]  Oh!  MATILDA   And her uncle wasn't dead either. NORA   Well, I - I think I realized that. SOUND   ALICE SCREAMING FROM BEHIND THE DOOR - HORRIBLE AGONY HELEN   What?  NORA   Eek! VERA   [slightly shaken] That sounds dreadful! MATILDA   [very shaken] And I'm next! SOUND   ALICE SCREAMING TAPERS OFF TO A GURGLE MATILDA   Poor Alice! HELEN   Maybe the headmistress will wear herself out before she gets to us -- VERA   [calculating, then dry]  Perhaps, but then, she'll just summon a few prefects to help. HELEN   Really?  But - but what could she be doing? VERA   [knowing] Let's see, shall we? SOUND   SLIGHT CREAKS AS SHE TIPTOES TO DOOR VERA   Shh. [pause] ALICE    [Screams, muffled] SOUND   DOOR SWINGS OPEN ALICE   AAH! [notices door] Ahh? SOUND   SCRAMBLING FEET, THEY ALL COME TO LOOK NORA   Where's the headmistress? MATILDA   Oh, jolly good one, Alice.  You gave me such a turn. SOUND   SLOW SERIES OF HAND CLAPS ALICE    Yes, yes.  No autographs, please.  Screaming does dry out my throat. HELEN   It was just you...? MATILDA   I believe, this time, that Alice takes the laurel.  VERA   Oh, I don't think so. MATILDA   Whyever not? VERA   [grinning like a fiend]  Who do you think sent round the sham detention notices to bring us all here? SOUND   A MOMENT, THEN GENERAL APPLAUSE NORA   [confused] Oh? [getting it] Oh! MUSIC OLIVIA   Now that you know how to find us, don't be a stranger - we have enough of those already...  

Der Schweizerischer Solo- und Quartettwettbewerb SSQW zeichnete am Samstag die besten Solistinnen, Solisten und Quartette aus. Die Jungen haben den «Biss» trotz Corona nicht verloren. Dies bewiesen sie eindrücklich am Samstag am Final des Schweizerischen Solo- und Quartettwettbewerbs für Blechblas- und Perkussionsinstrumente SSQW. Solo-Champion unter den Blechbläsern wurde zum dritten Mal in Folge die Unterwalliser Cornettistin Mathilde Roh. Bei den Perkussionisten gewann der Luzerner Tom Müller den Titel. Das beste Quartett des SSQW 2021 ist «Shake Brass» aus dem Wallis (vollständige Ranglisten siehe untenstehende Links). Aufgrund der Coronapandemie wurde das Final aus der Eventfabrik in Bern per Video-Livestream übertragen. Das Video ist online immer noch abrufbar.

The Raven Mavens Quartette; Tim Grimm; Terry Kitchen and Stan Graham

The Raven Mavens Quartette; Tim Grimm; Rod Abernethy and Katie Macfarlane

Beethovens "Rasumowsky"-Quartette op. 59 stießen zunächst bei den Hörern auf Unverständnis. Der ganze Zyklus wirkte auf das damalige Publikum sehr ungewöhnlich. Als "Flickwerk eines Wahnsinnigen" wurden sie bezeichnet. Was das damalige Publikum so verunsicherte, darüber hat Julia Smilga mit dem Geiger Tim Vogler gesprochen.

Robert und Clara Schumann sind zwei Jahre verheiratet. Er fühlt sich gestört, wenn sie Klavier übt. Sie langweilt sich, weil sie nicht mehr auf Konzertreisen geht. Gemeinsam studieren sie immer wieder Partituren. Dann wagt sich Schumann an ein neues Werk: drei Quartette, Opus 41. Der Zyklus beginnt mit einem Werk in a-Moll. Der Zyklus beginnt mit einem Werk in a-Moll. Wiebke Matyschok spricht über dieses Starke Stück mit drei Mitgliedern des Vogler-Quartetts.

Wer im Alter von elf Jahren Streichquartett spielt und bald darauf den Mut hat, zu Unterrichtszwecken eines der berühmtesten Quartette der Welt aufzusuchen - der weiß: ich bin für die Musik da, Musikmachen wird mein Beruf. So erging es der in Esslingen am Neckar geborenen Isabelle Faust.

Das Pariser Quatuor Ébène hat während einer Welttournee alle Streichquartette von Ludwig van Beethoven gespielt. Auf fünf Kontinenten. Dabei sind Live-Aufnahmen aller 16 Quartette entstanden. Zudem hatte Quatuor Ébène zahlreiche Begegnungen mit jungen Musikern aus verschiedensten sozialen Schichten. Es klingt erstmal vermessen: Beethoven around the world. Eine Tournee und - daraus resultierend - eine Box mit sieben CDs aller Beethoven-Quartette. Hat Beethoven Weltanspruch, gar Weltgültigkeit? Die vier Franzosen des Quatuor Ébène sehen das etwas anders. Für sie ist jedes der Quartette eine Welt für sich. Und für diese Quartettwelten interessiert sich ein Publikum weltweit. Wir haben mit dem Ensemble darüber gesprochen und über das Musikmachen in Slums und Favelas, wo die Vier mit Begeisterung willkommen geheissen wurden.

Kammermusik war, wie der Name bis heute anzeigt, einst ein Privileg der Happy Few. Als die Duos, Trios, Quartette und Quintette endlich aus der fürstlichen Kammer ausschwärmten ins öffentliche Konzert, waren zunächst Werke mit Bläsern besonders beliebt. Seinen größten Publikumserfolg erzielte Beethoven mit dem Septett op. 20.

Vor vier Jahren begeisterten sie Publikum und Jury beim ARD-Musikwettbewerb: die vier jungen Franzosen vom Quatuor Arod. Mit ihrem neuen Schubert-Album müssen sie nun hohe Erwartungen einlösen, schließlich haben die berühmtesten Quartette der Welt bei diesem Wettbewerb erste Preise bekommen: das Artemis Quartett und das Quatuor Ébène.

Eine Oper, ein Oratorium, die Zehnte Symphonie: Beethoven hat große Pläne. Zunächst aber komponiert er drei Streichquartette für den russischen Fürsten und Beethoven-Liebhaber Nicolai Galitzin. Beethoven hat nun Feuer gefangen, zwei weitere Quartette ohne Auftrag folgen: "Es muss sein!" Unterdessen setzt er seinen Neffen seelisch immer mehr unter Druck. Es kommt zur Tragödie. Und im Winter 1826 bricht eine schon lange schwelende Krankheit aus. Die Ärzte kämpfen um sein Leben.

Mal wieder kurz vor knapp kommt hier unsere Messevorschau für die besondere Form der Spielemesse in diesem Jahr – für die erste SPIEL.digital. Hört doch mal rein, welche Spiele wir unter den angekündigten Herbstneuheiten in diesem Jahr interessant finden. Dazu haben wir je vier Quartette zusammengestellt. Vorher werden noch einmal unsere heißen Erwartungen des letzten [...]

In dieser Episode probieren wir mal was Neues aus! Anstatt zwei Quartette zu einem Thema vorzubereiten und Euch dann servierfertig zu präsentieren, werden wir heute mal ein Quartett im Verlauf der Sendung zusammenstellen. Das ist natürlich ein wenig geklaut. Deswegen haben wir uns das von höchster Stelle absegnen lassen, bzw. haben wir uns den Nico [...]

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"Die Barbershop-Familie trifft sich zum Austausch, Zuhören, Kennenlernen und gegenseitigen Mitfiebern", so Maximilian Hilz, 1. Vorsitzender vom Fachverband Barbershop in Germany. A Cappella Explosion lautet das Motto, unter dem sich vom 2. bis 5. April 2020 zahlreiche Chöre und Quartette aus Deutschland und der ganzen Welt im Konzerthaus Dortmund einfinden werden. Holger Frank Heimsch spricht mit Maximilian Hilz über das Programm und den Wettbewerb. Redaktion: Holger Frank Heimsch Moderation: Stefanie Sickel

09/2019 ➤➤➤ GAST DER SENDUNG: Chris - Quartettsammler und Blogger ➤➤➤ LINKS ZUM PODCAST: Chris Quartettblog: https://quartettblog.wordpress.com/ ➤➤➤

Wir beginnen das Jahr mal ein wenig „meta“ und schauen uns zwei wesentliche Konzepte an, die zu ziemlich jedem Spiel einen Beitrag leisten (ok, es gibt Spiele ohne Thema, das müssen wir eingestehen). Wir haben dazu wie immer knallhart subjektiv recherchiert und stellen euch heute nicht ein, nicht zwei, nein … ganze drei Quartette vor. [...]

Sie haben sich auf die Musik des 20. Jahrhunderts und der Moderne spezialisiert, sind aber auch im klassisch-romantischen Repertoire zuhause: Die vier Musiker des Quatuor Diotima gehören zu zahlreichen erstklassigen Streichquartetten aus Frankreich, die in den letzten Jahren die Kammermusik-Szene nachhaltig bereichert haben. Nun haben sie für das Label Naïve sämtliche Quartette von Béla Bartók eingespielt - Schlüsselwerke des 20. Jahrhunderts.

Robo-Frenzy is taking shape, the wiring has begun in earnest.  I talk a bit about how I am prototyping the light board, how the wiring is going and the basic functions that are wired. A reminder that I'm running a contest!  Anyone that can send me evidence of a current/new 5 in a line on a game will receive a free Bingo Row print!  The illustration by Ryan Claytor of Elephant Eater Comics () is amazing.  Non-bingo-owners can get in touch if they would like a copy. Today's game is 1952's Gottlieb "Quartette" - Thank you, as always, for listening! You can reach me at  or via the bingos line at 724-BINGOS-1 You can listen to the show on iTunes, Pocket Casts, Stitcher, Google Play Music, Spotify, Facebook, Twitter (bingopodcast) or follow me on Instagram (also bingopodcast). The show's website is foramusementonly.libsyn.com If you like video games, you might enjoy Gaming on Ten Minutes a Week at   Thank you very much for listening, and I'll talk to you next time.

Die Musik von Ludwig van Beethoven kennt Ihr alle. Vor allem wahrscheinlich die berühmte 9. Sinfonie, in der er das Gedicht "An die Freude" von Schiller vertont hat und das heute die Europahymne ist. Aber kennt Ihr auch den Lebenslauf dieses großen Komponisten? Geboren wurde er 1770 in Bonn. Sein Vater war Sänger und Musiklehrer. Er merkte, dass sein Sohn Ludwig musikalisch war - und förderte ihn. Ludwig bekam eine gute Musikausbildung. Mit sieben Jahren trat er dann zum ersten Mal auf und spielte Klavier. Als Teenager wurde er fest angestellt als Organist, er spielte auch Cembalo und die Bratsche. Als Beethoven 14 Jahre alt war sagte ihm sein Musiklehrer voraus, er werde "ein zweiter Mozart" werden. Ludwig durfte nach Wien reisen, um Kompositionsschüler von Mozart zu werden. Zum Vergleich: Mozart war 14 Jahre älter als Beethoven. Ob die Männer sich jemals wirklich kennengelernt haben, ist unbekannt. Nach einigem Hin und Her blieb Beethoven also in Wien. Seine beiden Brüder zogen ebenfalls dorthin. Wovon lebte der Musiker in dieser Zeit? Er hatte das Glück, dass viele Menschen sein Talent erkannten. Ein Fürst, der Mozart gekannt hatte, verschaffte ihm eine Wohnung und zahlte ihm ein jährliches Gehalt - so konnte Beethoven unabhängig bleiben und an seiner Musik arbeiten. Als er sich später mit diesem Fürsten stritt und der seine Zahlungen einstellte, sprangen zum Glück andere Adelige ein, die ihm ein Gehalt zahlten und ihn so in Wien hielten. Er nahm Kompositionsunterricht bei Joseph Haydn, der 38 Jahre älter war. Ludwig van Beethoven schrieb viele Klaviersonaten, die er selbst als Pianist spielte. Er ging auf Tour - nach Prag und Berlin. Er komponierte Quartette und Sinfonien und entwickelte seinen eigenen Stil. Noch bevor er 30 Jahre alt wurde, zeigte sich eine Krankheit bei ihm: Er verlor langsam sein Gehör. Für einen Musiker natürlich das Schlimmste, was passieren kann. Er dachte an Selbstmord, wurde dann aber so kreativ wie nie zuvor: Er komponierte wie ein Besessener. 1812 traf Beethoven mit seinen damals 42 Jahren den 63-jährigen Johann Wolfgang Goethe. Beethoven war kein einfacher Mensch, es gab oft Streit mit ihm. Künstlerisch aber war er ein Genie. Trotz seiner Taubheit komponierte er weiter. Er starb 1827 als Junggeselle - verheiratet war er nie, und soweit bekannt ist hatte er auch keine Kinder. Text der Episode als PDF: https://slowgerman.com/folgen/sg165kurz.pdf

Das Jahr 1799: Joseph Haydn, der "Vater des Streichquartetts", schließt für sich langsam mit dieser Gattung ab. Seine beiden Quartette op. 77 sind aber keineswegs ein Abgesang: In ihnen weist Haydn auch in die Zukunft. Barbara Doll hat mit Loïc Rio vom Quatuor Modigliani über das Werk gesprochen.

Thomas Fritzsch (Viola da Gamba), Daniel Deuter (Violine), Go Arai (Oboe), Inka Döring (Violoncello)

Beim ARD-Musikwettbewerb ging es am 8. September im Fach Streichquartett auf die Zielgerade. Im Semifinale spielten vier Quartette um den Einzug ins Finale. Drei von ihnen haben es geschafft. Neben Stücken von Mozart und Webern stand auch ein zeitgenössisches Auftragswerk von Nikolaus Brass auf dem Programm. Susanna Felix hat ein Quartett bei der Probe besucht.

Geneva is filled with hidden music. You may be surprised to learn that a group of four women has been meeting to play piano arrangements for eight hands for close to 100 years. One Tuesday afternoon, the members of the Tuesday Piano Quartette welcomed us to one of their meetings. John Marks has written about the Tuesday Piano Quartette on the Geneva Historical Society blog http://genevahistoricalsociety.com/recreation/hidden-music-in-geneva/ Music in the Key of Geneva is a production of the Geneva Historical Society, Kerry Lippincott Executive Director. John Marks is our executive producer. Kelly Walker is our host and producer. Music in the Key of Geneva is supported by a grant from the New York Council for the Humanities. Any views, findings, conclusions or recommendations expressed in this podcast do not necessarily represent those of the National Endowment for the Humanities.

Quartette pour la défaite

Zigeunerlieder, op.103 | Sechs Quartette, op. 112 | Drei Quartette, op. 31 | Quartette op. 64 | Quartette op. 92 | Markus Bellheim (Klavier) | Norddeutscher Figuralchor | Leitung: Jörg Straube

Beethovens Zögern, Quartette zu komponieren, war auf Respekt gegründet, war doch Joseph Haydn bis dato als unumstrittener Meister der Gattung anerkannt. Nun musste Beethoven mit dem op. 18 in die Fußstapfen seines Lehrers treten.

Listen and enjoy as we unfold another great variety of catchy tunes on this week's podcast! We are featuring OK Go, Nicki Minaj, The Zombies, The Pretenders, Tom Jones, Sergio Mendes, Quartette Tres Bien, Lionel Loueke, El Gran Combo and an interview clip with Pharrell Williams!  And to top it all off, our good friend Jason Dauman of Dauman Music is featured as our special guest!

Beethovens "Rasumowsky"-Quartette op. 59 stießen zunächst bei den Hörern auf Unverständnis. Als "Flickwerk eines Wahnsinnigen" wurden sie bezeichnet. Was an dem Zyklus für das damalige Publikum so ungewöhnlich war, darüber hat Julia Smilga mit dem Geiger Tim Vogler gesprochen.

Several tunes of a sunny disposition have materialised in the Moonbase archive over the last couple of weeks so we thought we’d try to counteract the shocking weather some of you are enduring on Earth with some lunar sunshine. So … Continue reading →

Im Juni 1790 vollendete Mozart das dritte seiner sogenannten "Preußischen" Quartette. Das Streichquartett F-Dur KV 590 bleibt das letztes Werk des Komponisten für diese Besetzung. Andreas Grabner stellt das Stück mit dem Alban Berg Quartett vor.

Robert und Clara Schumann sind zwei Jahre verheiratet. Er fühlt sich gestört, wenn sie Klavier übt. Sie langweilt sich, weil sie nicht mehr auf Konzertreisen geht. Gemeinsam studieren sie immer wieder Partituren. Dann wagt sich Schumann an ein neues Werk: drei Quartette, Opus 41. Der Zyklus beginnt mit einem Werk in a-moll.

Beethovens "Rasumowsky"-Quartette op. 59 stießen zunächst bei den Hörern auf Unverständnis. Als "Flickwerk eines Wahnsinnigen" wurden sie bezeichnet. Was an dem Zyklus für das damalige Publikum so ungewöhnlich war, darüber hat Julia Smilga mit dem Geiger Tim Vogler gesprochen.

Four stories from Saki (H.H. Munro), as told by four young girls waiting for punishment.  Music by Kevin MacLeod [revamped 11/2011]