Podcasts about rimsky korsakov

Directly after the disastrous November election in the United States, I compiled a setlist for two episodes self-explanitorially entitled “Mezzos on the Verge” and “Mezzos in Extremis.” One of the featured singers was the great Russian mezzo-soprano Irina Arkhipova, whose 100th birthday on January 2 of this year was one of the few positive things to happen in January! I happened to have a number of LPs featuring Arkhipova, and this episode features material from a number of those records, plus a CD reissue from a few years back entitled “The Art of Irina Arkhipova,” which features the 1970 recording of Mussorgsky and Rachmaninov songs that the singer made in Moscow with my teacher John Wustman while they were judges in that year's Tchaikovsky Competition. Arkhipova is also featured in songs by Tchaikovsky; Russian opera arias by Rimsky-Korsakov and Mussorgsky; and selections from both Carmen and Il Trovatore, which feature tenors Zurab Andzhaparidzye and Vladislav Piavko, the latter of whom was also Arkhipova's protégé (and later husband). Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Nesta edição do "Clássicos CBN", com o comentarista Maestro Helder Trefzger, vamos conhecer diferentes obras inspiradas na Páscoa. De Bach e Handel chegando até mesmo a Rimsky-Korsakov e Mascagni. Falaremos das obras “Paixão Segundo São João”, “O Messias”, a ópera “Cavalleria Rusticana” e “A Grande Páscoa Russa”. Ouça a conversa completa!

ARTIST BIOGRAPHY - JON HENDRICKS Jon Hendricks is not only one of the world's favorite jazz vocalists, but is widely considered to be the "Father of Vocalese", the greatest innovator of the art form. Vocalese is the art of setting lyrics to recorded jazz instrumental standards (such as the big band arrangements of Duke Ellington and Count Basie), then arranging voices to sing the parts of the instruments. Thus is created an entirely new form of the work, one that tells a lyrically interesting story while retaining the integrity of the music. Hendricks is the only person many jazz greats have allowed to lyricize their music, for no one writes hipper, wittier, or more touching words, while extracting from a tune the emotions intended by the composer, more sympathetically than Hendricks. For his work as a lyricist, jazz critic and historian Leonard Feather called him the "Poet Laureate of Jazz" while Time dubbed him the "James Joyce of Jive." Born in 1921 in Newark, Ohio, young Jon and his fourteen siblings were moved many times, following their father's assignments as an A.M.E. pastor, before settling permanently in Toledo. As a teen Jon's first interest was in the drums, but before long he was singing on the radio regularly with another Toledo native, the extraordinary pianist Art Tatum. After serving in the Army during WWII, Jon went home to attend University of Toledo as a Pre-law major, courtesy of the G.I. Bill. Just when he was about to enter the graduate law program, the G.I. benefits ran out, and he realized he'd have to chart a different course. Recalling that Charlie Parker had, at a stop in Toledo two years prior, encouraged him to come to New York and look him up, Hendricks moved there and began his singing career. In 1957 he teamed with Dave Lambert and Annie Ross to form the legendary vocal trio Lambert, Hendricks, and Ross. With Jon as lyricist, the trio perfected the art of vocalese and took it around the world, earning them the designation of the "Number One Vocal Group in the World" for five years in a row from Melody Maker magazine. After six years the trio disbanded for solo careers, but not before leaving behind a catalog of legendary recordings, most of which have never gone out of print. Countless singers cite the work of LH&R as an influence, from the Manhattan Transfer to Al Jarreau to Bobby McFerrin. Pursuing a solo career, Hendricks moved his young family to London in 1968, partially so that his five children could receive a better education. While based in London he toured Europe and Africa, performed frequently on British television, and appeared in the British film Jazz is Our Religion and the French film Hommage a Cole Porter. His sold-out club dates drew fans such as the Rolling Stones and the Beatles. Five years later the Hendricks family settled in California, where Jon worked as the jazz critic for the San Francisco Chronicle and taught classes at California State University at Sonoma and the University of California at Berkeley. A piece he wrote specifically for the stage about the history of jazz, Evolution of the Blues, ran an unprecedented five years at the Broadway Theatre in San Francisco and another year in Los Angeles. His television documentary, Somewhere to Lay My Weary Head, received Emmy, Iris, and Peabody awards. Hendricks recorded several critically-acclaimed albums on his own, some with his wife Judith and daughters Michele and Aria contributing. He collaborated with old friends The Manhattan Transfer for their seminal 1985 album, Vocalese, which won seven Grammy Awards. He's served on the Kennedy Center Honors committee under Presidents Carter, Reagan, and Clinton. In 2000, Hendricks returned to his hometown to teach at the University of Toledo, where he was appointed Distinguished Professor of Jazz Studies and received an honorary Doctorate of the Performing Arts. He was recently selected to be the first American jazz artist to lecture at the Sorbonne in Paris, a university established in the year 1248. His fifteen voice group, the Jon Hendricks Vocalstra at the University of Toledo, performed to a standing ovation at the Sorbonne earlier this year. As if perfecting one original art form weren't enough, Hendricks now finds himself happily penning lyrics to some of the world's most beautiful classical pieces. The Vocalstra is currently preparing to give the world premiere of a vocalese version of Rimsky-Korsakov's lush "Scheherazade" with the Toledo Symphony in February 2003. Summer of 2003 will find Jon on tour with the "Four Brothers", a quartet consisting of Hendricks and three of the best-known male vocalists in jazz: Kurt Elling, Mark Murphy, and Kevin Mahogany. Next for Dr. Hendricks is lyricizing and arranging Rachmaninoff's 2nd Piano Concerto, as well as work on two books, teaching, and continued touring with his Vocalstra. He also makes an appearance in the upcoming Al Pacino film, People I Know. http://www.harmonyware.com/JonHendricks/bio.html

John Maytham chats with Louise Lansdown, the Head of Strings at the Royal Northern College of Music, about the exciting Mzansi Philharmonic concert on 4 December at Cape Town City Hall. She discusses the final phase of a live-build violin project, which will be showcased at the event, and the selection process for the recipient. The concert, conducted by Kirill Karabits, will feature Gershwin's Rhapsody in Blue, Philip Miller's uShaka iLembe Suite, and Rimsky-Korsakov's Scheherazade. Tickets available from R450.See omnystudio.com/listener for privacy information.

Viernes por la noche. Una copa de vino, un buen refrigerio, incluso hasta una buena compañía nos viene bien para escuchar estas referencias musicales que se han mantenido a lo largo de la historia y se seguirán escuchando más allá de todos los tiempos. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. 

When you think of harp music, is there a characteristic harp sound that comes to mind, a musical gesture that belongs to the harp more than to any other instrument? A glissando, maybe? That's certainly one of them, and a favorite of mine. Another one that I find very powerful and very harp-y is a rolled chord.  Harps were meant to play chords, especially rolled chords. They sound liquid and rich, even plummy. You can listen to an orchestral recording and when the harpist plays a rolled chord, you know it. It's almost as if everything melts for a moment. If you want to check out some of those moments, just stick with me because we'll be talking about a couple. But I also want to talk to you about how to make your rolled chords sound just that magical. In my opinion, we often forget that our rolled chords play a significant role in our musical expression. I hear so many harpists playing their chords blocked or flat when the music clearly calls for a chord that's more lush and romantic. In fact, this is one of my pet peeves and something I'm likely to go into a rant over given the opportunity. I'm not ashamed about this though. I felt totally vindicated when I was in a workshop given at the World Harp Congress by the famous French harpist Isabelle Perrin. She was talking about the opening chords of the Fauré Impromptu, and suddenly she was off on a rant just like mine. The frustration she expressed was that too many harpists play blocked chords all the time, when rolled chords would be infinitely more musical. She didn't know it, but she was ranting to the choir, where I was concerned. Rolled chords are part of the native language of the harp. Today I want to help you roll them well, to understand how to fit them in and most of all, how to use them to add expression to your music.  We'll explore the differences between flat, cracked and rolled chords. We'll deal with some of the critical technical aspects of rolled chords, too. But mainly, I want you to learn how to love them and how to use them to create more depth of expression, more beauty in everything you play. Links to things I think you might be interested in that were mentioned in the podcast episode:  Our November Seminar series on rolling chords is starting - join today! Related resource: Podcast episode #92, Quick Fix: Roll Your Chords Right Listen to Marilyn Costello with the Philadelphia Orchestra, playing Rimsky Korsakov's Scheherezade; the Pas de deux from Tchaikovsky's Swan Lake, and Debussy's Danses sacrée et profane. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-181  

Send us a textHappy Halloween from me and my bumblebee sidekick, Gina!

Tyler Cowen has long nurtured an obsession with music. It's one of the few addictions Tyler believes is actually conducive to a fulfilling intellectual life. In this bonus episode, a year after Tyler walked us through the world of the Avant-Garde, and his favorite pop music, Tyler guides us through some of the major pillars of Russian classical music—from Rimsky-Korsakov to Stravinsky. ------ Thank you to the sponsors that fuel our podcast and our team: Vivo Barefoot http://vivobarefoot.com/tetra Use code 'TETRA' ------ LMNT Electrolytes https://drinklmnt.com/tetra Use code 'TETRA' ------ Squarespace https://squarespace.com/tetra Use code 'TETRA' ------ House of Macadamias https://www.houseofmacadamias.com/tetra Use code 'TETRA' ------ Sign up to receive Tetragrammaton Transmissions https://www.tetragrammaton.com/join-newsletter

We learn about Saturday night's concert by the Kenosha Symphony, which will feature music by Glinka, Rimsky-Korsakov, and Tchaikovsky. Joining me are conductor Robert Hasty and board president and orchestra member Peter Rodriguez.

Raymond Bisha's podcast spotlights two classic recordings in the Vox Audiophile Edition that were first released in the mid-1970s and feature two former music directors of the St. Louis Symphony Orchestra in their prime – Walter Susskind, who directs orchestral extracts from Smetana's opera The Bartered Bride, and Jerzy Semkow, who leads a performance of Rimsky-Korsakov's Scheherazade, one of the most popular suites in the entire orchestral canon.

durée : 00:11:36 - Le Disque classique du jour du mercredi 09 octobre 2024 - Entourée des musiciens du BBC Scottish Symphony Orchestra dirigés par le chef allemand Karl-Heinz Steffens, la pianiste Zlata Chochieva propose un parcours au cœur de la musique concertante chère à son cœur.

durée : 00:11:36 - Le Disque classique du jour du mercredi 09 octobre 2024 - Entourée des musiciens du BBC Scottish Symphony Orchestra dirigés par le chef allemand Karl-Heinz Steffens, la pianiste Zlata Chochieva propose un parcours au cœur de la musique concertante chère à son cœur.

Jay Rayner has his dream job: he loves writing and he loves food, and for the past 25 years he's been the restaurant critic for the Observer. Jay is also familiar as a broadcaster, appearing as a judge on Masterchef, and hosting The Kitchen Cabinet on Radio 4. His recent book, Nights Out At Home, provides recipes to enable readers to create some of his favourite restaurant dishes in their own kitchens. He started out as a news journalist, after growing up in a house in which his mother – Claire Rayner – was a prolific magazine and newspaper columnist and the author of dozens of books.Jay has a very public musical passion: he performs as a jazz pianist, leading his own band in venues around the country. His choices include music by Rimsky-Korsakov and Madeleine Dring, along with a classic Broadway overture and jazz from Michel Petrucciani. Presenter Michael Berkeley Producer Clare Walker

Pour faire plaisir à son mari, une vieille dame lui prépare un petit bonhomme de pain d'épice. Mais quand elle ouvre le four, le petit bonhomme s'enfuit ! Un malicieux conte pour les tout-petits, sur la musique endiablée de Rimsky Korsakov. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Con Mario Mora | Hoy en día existen múltiples enfrentamientos a todos los niveles sociales. En la política, en los deportes, en los campos profesionales; pero en el siglo XIX nos encontramos uno de los enfrentamientos más sonados del mundo cultural. Brahms y Wagner, Wagner y Brahms, representando dos facciones creativas muy diferentes, hicieron que la prensa, las personalidades culturales o los compositores tomasen parte. Descubrimos el porqué del conflicto y entendemos con ejemplos en qué se diferencian sus estilos. ¿Tú con quién te quedas? Como postre, dejamos el enlace al programa mencionado sobre Rimsky Korsakov y Sherezade: https://www.ivoox.com/fila-01-scheherezade-rimsky-korsakov-audios-mp3_rf_10163033_1.html

Con Mario Mora | Hoy en día existen múltiples enfrentamientos a todos los niveles sociales. En la política, en los deportes, en los campos profesionales; pero en el siglo XIX nos encontramos uno de los enfrentamientos más sonados del mundo cultural. Brahms y Wagner, Wagner y Brahms, representando dos facciones creativas muy diferentes, hicieron que la prensa, las personalidades culturales o los compositores tomasen parte. Descubrimos el porqué del conflicto y entendemos con ejemplos en qué se diferencian sus estilos. ¿Tú con quién te quedas? Como postre, dejamos el enlace al programa mencionado sobre Rimsky Korsakov y Sherezade: https://www.ivoox.com/fila-01-scheherezade-rimsky-korsakov-audios-mp3_rf_10163033_1.html

The South Dakota Symphony Orchestra performs Rimsky-Korsakov's "Scheherezade."

Donald Macleod surveys the life and music of Russian composer Nikolai Rimsky-KorsakovThis week, Donald Macleod traverses the dramatic and vivid musical landscapes of Nikolai Rimsky-Korsakov: a vital, fascinating, and perhaps under-appreciated figure in the evolution of the canon of western art music. His life alone was extraordinary: beginning as a cadet in the Tsar's navy, it ended soon after the tumult of the 1905 revolution; the prospect of far greater upheaval, national and international, looming.Music Featured: Flight of the Bumblebee The Tsar of Sultan Suite, Op 57 (3rd mvt, The Three Wonders) Symphony No 1, Op 1 Capriccio Espangnol, Op 34 (excerpts) The Maid of Pskov: Overture Mussorgsky arr. Rimsky-Korsakov: Night on the Bare Mountain Legend of Sadko, Op 5 Quintet Scheherazade, Op 35 (excerpt) The Golden Cloud Slept, Op 3, No 3 Trombone Concerto in B flat major Symphony No 3, Op 32 (3rd & 4th mvts) The Tatar Captivity, Op 18, No 2 The Octave, Op 45, No 3 Mussorgsky arr. Rimsky-Korsakov: Gopak from Sorochintsi Fair Russian Easter Festival Overture, Op 36 String Quartet in F major, Op 12 (3rd mvt) Mlada Suite The Snow Maiden: Prologue; Dance of the birds Against the Cruel Crag from Sadko The Invisible City of Kitzeh Suite (A Hymn to Nature) The Golden Cockerel Suite Four Songs, Op 2 (No 2, The Nightingale and the Rose)Presented by Donald Macleod Produced by Lyndon Jones for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Rimsky-Korsakov (1844-1908) https://www.bbc.co.uk/programmes/m001z5dz And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Con Isabel Juarez | El mar, la mar, solo la mar. Fuente de inspiración literaria inagotable, nos embarcamos en un periplo musical por episodios marineros de La Odisea y Las Mil y Una Noches. Con música de Monteverdi, Debussy, Rimsky-Korsakov, Haydn, Beethoven, LeClair. La mejor música antigua, en Clásica FM.

Elim Chan leads Rimsky-Korsakov's sumptuous symphonic suite Sheherazade, inspired by the legendary heroine and tales of One Thousand and One Nights. Paul Jacobs, “a virtuoso of dazzling technical acumen” (The New York Times), performs Barber's Toccata festiva, an exuberant showcase for organ containing echoes of J.S. Bach. Learn more: cso.org/performances/23-24/cso-classical/sheherazade

David Mitchell is the author of nine time-traversing, genre-bending novels. His first, Ghostwritten, was published 25 years ago, and his third, Cloud Atlas, made his name around the world, and later became a Hollywood film. It follows six interlocking lives in an ambitious narrative that circles the globe and travels through time from 19th-century New Zealand to a post-apocalyptic future in Hawaii – and back again.Closer to home, he drew on his own childhood in Worcestershire in his coming-of-age tale Black Swan Green, about a teenager attempting to overcome a stammer and negotiate playground hierarchies, all against the backdrop of the Falklands War.His most recent novel, Utopia Avenue, charts the rise of an imaginary rock band in the late 1960s.David's musical choices include Debussy, Rimsky-Korsakov, Sibelius and Hildegard von Bingen.

Leo wants a day off. Frank has other ideas. [The title and description of this episode has been edited since its release - this bonus episode was originally released as S2 E7 for maximum April Foolishness]SFX Warnings: Eating sounds (brief crunching at 2:11 and 2:31, and swallowing at 2:38), intermittent bleeping (between 11:25 and 11:40).Content Warnings: Creepy dolls, some light-hearted physical violence, and completely and utter foolery throughout..Transcript: https://tellnotalespod.com/transcripts/transcript-s2-e7-a-day-where-nothing-weird-happensWritten and produced by Leanne Egan. In this episode you heard the voices of Asher Amor-Train, Leanne Egan, and Phil Thompson.Twin Strangers Productions is partly sponsored by World Anvil, the leading tool for creatives of all varieties. To support TSP and get 51% OFF of a yearly World Anvil subscription, click here (link: https://worldanvil.com/?c=tnt) or use the promo code tnt at checkout.Twin Strangers Productions is partly sponsored by BroadlyEpi, a rapidly growing repository of information and education about public health and epidemiology. To find more information and support Tell No Tales, go to https://www.broadlyepi.com/tsp/Intro and outro music by LumehillThe conveniently public domain music that Leo and Frank chose to listen to today was Grieg's In the Hall of the Mountain King, Tchaikovsky's Waltz of the Flowers, Tchaikovsky's Romeo & Juliet, Rimsky-Korsakov's Flight of the Bumblebee, and Berlioz's Symphonie Fantastique, Op. 14, 3. Scene aux Champs. Performance sourced from Musopen.orgSound effects sourced from Epidemic Sound and Soundsnap.Art by Ana BalaciFind more info on our website tellnotalespod.com or at @tellnotalespod on Tumblr or TwitterDistributed by Twin Strangers Productions Hosted on Acast. See acast.com/privacy for more information.

Lou invented a game called Bag It or Tag it where he generates random characters and the other cast members decide to bag them or tag them. We play it on the Patreon feed from time to time. People like it very much. Here, in its public debut, is the narrative RPG storytelling masterpiece Bag It or Tag It. If you enjoy this (good! smart!) you'd be a fool to not join us by the fireside on our Patreon. This Bag it or Tag It  Public Extravaganza was  Edited and Designed by Kodiak Sandersand Produced by Taylor Moore at Fortunate HorseLudvig Moulin's Le Chasseur et les Fugitifs appears courtesy of Epidemic Sounds.Yasmine Mia Steele's Retro Funk Gameshow appears courtesy of Audio Jungle.Rimsky-Korsakov's Scheherazade appears courtesy of the Public Domain.and of courseThe Bag It or Tag it Theme (feat. Hans Zimmer) appears courtesy of the devil.

The Salisbury Symphony is auditioning candidates for music director. Michelle Di Russo, a candidate for the position, will conduct their "Enchanting Sounds" concert in Keppel Auditorium. She'll lead a program of music by Piazzola, Saint-Saens, and Rimsky-Korsakov. Di Russo is from Argentina, and currently the Associate Conductor in her second season with the North Carolina Symphony. She talks about the music on the program and shares her approach to working with an orchestra for the first time. Learn more about "Enchanting Sounds" with the Salisbury Symphony Pictured: Michelle Di Russo by Roy Cox

SynopsisIn St. Petersburg, Russia, on today's date in 1909, Alexandre Siloti conducted the first performance of a new orchestral work by a 26-year-old composer named Igor Stravinsky. The work was billed as Scherzo Fantastique, but Stravinsky's original title was Bees.Stravinsky had just completed his studies with the great Russian composer Nicolai Rimsky-Korsakov, whose Flight of the Bumblebee was already a famous musical depiction, so perhaps he wanted to impress his teacher — or try to outdo him.In 1907, Stravinsky wrote to Rimsky-Korsakov, “Just now [my wife] Katya and I have read Maeterlinck's Life of the Bees, a partly artistic, partly philosophical book that pleased me, as they say, down to my toes.”Maeterlinck's book offered an anthropomorphized description of the life cycle of bees describing “the innumerable agitations of the honeycomb, the perpetual, enigmatic and crazy jiggling of the nurses on the brood chamber … the invading spirals of the queen, the various and incessant activities of the crowd … the comings and goings overwhelmed with ardor.”Stravinsky's scoring includes three harps and multiple woodwinds, but omits timpani, trombones and tuba, resulting in a light, nimble and air-born orchestral sound for his busy bees.Music Played in Today's ProgramIgor Stravinsky (1882-1971) Scherzo Fantastique; Montreal Symphony; Charles Dutoit, cond. Decca 414 409

You've probably picked up a trick or two from us regarding critical listening over the past several hundred episodes, but this week we want to give you all the tools you need to listen for yourself! Be sure to like and share with a friend!  Jazz Transcriptions on YouTube: https://www.youtube.com/@GeorgeCollier Music: https://imslp.org/wiki/Scheherazade,_Op.35_(Rimsky-Korsakov,_Nikolay) https://creativecommons.org/licenses/by-nc-nd/3.0/legalcode

Spoken word by AlephBa. With background music: Rimsky Korsakov, Sheherezad. Recorded Jan 24, 2024. --- Support this podcast: https://podcasters.spotify.com/pod/show/alephba/support

A new week means new questions! Hope you have fun with these!To which branch of science does the "standard model" theory apply?In the Dr. Seuss book Yertle the Turtle, Yertle held what title?Within 5', how long was the wingspan of the Wright Flyer flown at Kitty Hawk, NC?Peter Ostrum, a veterinarian born in Dallas Tx, had his only film appearance in what 1971 film?Three of the first five Super Bowls were played in which city?Which famous artist who lived from 1907 - 1954 works include "Henry For Hospital", "Memory, the Heart" and "What the Water Gave Me"?Identify the conjunction in the following sentence: I really like to play board games and video games.What species of bird are considered by sailors to be reincarnations of sailors lost at sea?Rose, Blanch, and Dorothy skip the cheesecake and enjoy Thin Mints, Tagalongs and Samosas instead.Which famous classical orchestral work by Rimsky-Korsakov was the theme music for the old radio show The Green Hornet?Who was the first president of all 50 states?Airing its final episode in 1998 to 76 mil viewers, which primetime sitcom was the first in American TV history to charge $1 mil for a 30 second commercial?In terms of discharge, what is the fastest flowing river in the world?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5857487/advertisement

Nigel Simeone discusses his favourite recordings of Rimsky-Korsakov's Scheherazade

A good conductor can lead an orchestra with almost anything — even a chopstick. Leonard Bernstein was known to conduct a full symphony with just his eyebrows. Why, then, in this age of cheap manufacturing, are handmade, customized batons still in demand?Written by JEFF GREENWALDIntroduction by PAULINE BARTOLONENarrated by JEFF GREENWALDProduced by PAULINE BARTOLONEMusic by Town Market by Blue Dot SessionsPalms Down by Blue Dot SessionsBeethoven's Sixth (Pastorale) SymphonyJean-Baptiste Lully: "Armide"  Rimsky-Korsakov's “Scheherazade" by Sinfonia de GaliciaMusic of the Ancient World: Sumerian Music I 

0:00 Intro 0:36 Start 1:26 When did you start your YouTube channel, and when did you shift from recording performances to research into Whole Beat? 6:22 Which composers used the clavichord? 9:01 Did playing the Clavichord change the way you played Organ? 11:06 What is the Clavichord's touch like? 12:55 Piano vs Clavichord 18:21 What if we had to reconstruct jazz without having access to any sound recordings but rely only on written transcriptions 30:21 Weren't there musical mechanical clocks during Haydn's time that captured authentic 18th-century musical performance practice? 34:22 What is the Whole Beat Metronome Principle (WBMP)? 36:45 Wim responds to people playing Czerny at single beat tempo 47:18 If Whole Beat is true, why do students and eye-witnesses of the great composers play so fast? 54:31 Was Beethoven's metronome broken? 57:56 Don't the flyers and concert bills that advertise the concerts of these composers invalidate Whole Beat because the concerts would be too long as opposed to their actual advertised length? 1:03:11 What has been the general response to your research overall? 1:08:57 Injuries: The unspoken dark side of performance careers in Classical music 1:14:55 Beethoven recording gets canned because the musicians' careers got threatened  1:15:48 The most powerful classical music agent Ronald Wilford wouldn't allow Cyprien Katsaris to record/perform piano transcriptions if under contract 1:16:22 What does Wim think of partimento and classical improvisation? 1:20:46 Wim's favorite composers 1:23:13 Great compositions sound great slowed down, maybe even better than how they are typically played fast today 1:30:46 Whole Beat can't work because vocal music is impossible if singers have to hold notes that long 1:38:42 Carl Czerny: Whole Beat or Single Beat? 1:38:46 Beethoven: Whole Beat or Single Beat? 1:38:50 Mozart: Whole Beat or Single Beat? 1:39:04 Franz Liszt: Whole Beat or Single Beat? 1:39:14 Did Paris Conservatory graduates historically think in terms of Whole Beat? 1:39:28 Alkan: Whole Beat or Single Beat? 1:39:39 Tchaikovsky: Whole Beat or Single Beat? 1:39:49 Rachmaninoff: Whole Beat or Single Beat? 1:40:54 Debussy and Ravel: Whole Beat or Single Beat? 1:43:50 Rimsky-Korsakov and Stravinsky: Whole Beat or Single Beat? 1:44:13 What tempo should people play Bach? 1:45:23 Wrapping Up 1:47:10 Outro

Musicians from the Texas Music Festival perform music by Rachmaninoff and Rimsky-Korsakov.

Flight of the Bumblebee from Nikolai Rimsky-Korsakov's opera  "The Tale of Tsar Saltan"--is at the heart of a fantastical tale which includes a large cast of characters including a king and a queen, a magical swan, and a prince turned bumblebee. It's a dazzling colorful encore piece, instantly recognizable and adopted by all kinds of instrumentalists, from string players, to pianists and of course flutists. The buzzier and the faster, the better!Georg Philip Telemann, Fantaisie No. 12  for solo flute by Karen Kevra Nikolai Rimsky-Korsakov, Flight of the Bumblebee by the Russian National OrchestraNikolai Rimsky-Korsakov, Scheherazade, Op. 35 - I. The Sea and Sinbad's Ship,  André Previn · Rainer Küchl · Wiener Philharmoniker Nikolai Rimsky-Korsakov, Flight of the Bumblebee by Karen Kevra photo credit: Karen KevraSupport the show

What conversation could possibly encompass extremely sentimental movie theme songs, the 1978 ‘Superman' Kryptonian costume design style, Mark Twain, Puck from ‘A Midsummer Night's Dream', ‘The Flight of the Bumblebees' by Rimsky-Korsakov, Technotronic's ‘Pump Up the Jam', Christmas mornings, and a baby's first blanket?  Oh yes, and everpresent childhood toys as well!!  Why “Back Through The Basement”'s Episode 67, of course!!  Delay no further!! Hit play and enjoy Tom Antonellis and Julee Antonellis in “Playmobil and Marked ‘Fragile'”!   Now in their forties, Julee and Tom Antonellis are reconnecting as brother and sister in THE MOST distant a socially-distant podcast can be in the United States.  While recording on each coast (and seeing each other over FaceTime) all the way from Los Angeles (Tom) to Boston (Julee), they start unearthing the core lessons, laughs and connections of their childhood.  Plus, Julee has to fight her fear of cobwebs while Tom enjoys the comfort of his office -- yet he CAN'T touch his beloved toys like she can.On their Instagram for this Voice Arts Awards-nominated podcast, [ @backthroughthebasementpod ] you can follow along to see pictures of everything they unearth.  As the bio there indicates: Tom & Julee (actors, comics, voiceover artists & siblings), children of the 80s, must go through all their toys and belongings in their parents' basement. Oh boy![Season 6 of “Back Through The Basement” is sponsored by AirTamer.]Support the show

A program of music, by a slew of composers. Bach, “Preis und Dank,” from the Easter Oratorio Bach, “Mache dich, mein Herze, rein,” from the St. Matthew Passion Mascagni, Easter Hymn, from “Cavalleria rusticana” Trad., arr. Bonds, “You Can Tell the World” Handel, “I know that my Redeemer liveth,” from “Messiah” Rimsky-Korsakov, “Russian Easter Festival Overture” Fauré, Pie Jesu, from Requiem East... Source

Synopsis Many music lovers will confess they prefer to hear symphonies or operas in the comfort of their own home rather than live in person at a concert hall or theater. On today's date in 1911, the famous French novelist, hypochondriac, and notorious homebody Marcel Proust wrote to his friend, the composer Reynaldo Hahn, that he had just listened to a live afternoon performance of the whole first act of Wagner's opera Die Meistersinger tucked up in bed and planned to hear Debussy's still-new opera Pelléas and Mélisande later that same evening, once again snugly secure in his Parisian apartment. Now, these days with radio, TV, and multiple live-streaming devices, this would be no big deal – but in 1911 how could that be possible? Well, for 60 francs a month -- a small fortune in 1911 -- wealthy Parisians could hear live performances of operas and plays relayed by a special phone line to a home receiver called the “théâtrophone.” First demonstrated in Paris in 1881, by 1890, the “théâtrophone was commercialized and the service continued 1932. Of course, even an enthusiastic subscriber like Proust had to admit the phone line sound quality was “très mal” (“really bad” in plain English) and hardly the same as being there in person. Music Played in Today's Program Claude Debussy (1862-1918) Pelléas et Mélisande Symphonie Suite (arr. Marius Constant) Orchestre National de Lyon; Jun Märkl, conductor. Naxos 8.570993 On This Day Births 1801 - Czech composer Johann Wenzel Kalliwoda, in Prague; 1836 - French composer Léo Delibes, in St. Germain du Val, Sarthe; 1844 - French composer and organist Charles Marie Widor, in Lyons; Deaths 1996 - American composer and conductor Morton Gould, age 82, in Orlando, Fla. Premieres 1727 - Bach: Sacred Cantata No. 52 ("Ich habe genug") performed on the Feast of the Purification as part of Bach's third annual Sacred Cantata cycle in Leipzig (1725/27); 1744 - Handel: oratorio “Semele,” in London (Julian date: Feb. 10); 1749 - Handel: oratorio “Susanna” in London (Julian date: Feb. 10); 1886 - Mussorgsky (arr. Rimsky-Korsakov): opera “Khovanschchina,” posthumously, in St. Petersburg (Julian date: Feb. 9); 1907 - Delius: opera, "A Village Romeo and Juliet," in Berlin; 1909 - Liadov: “Enchanted Lake” for orchestra, in St. Petersburg (Julian date: Feb. 8); 1917 - Rachmaninoff: “Etudes-tableaux,” Op. 39 (Gregorian date: March 6); 1920 - Milhaud: ballet "Le Boeuf sur la toît," in Paris; 1929 - Respighi: orchestral suite, "Roman Festivals," by the New York Philharmonic, Toscanini conducting; 1946 - Roy Harris: "Memories of a Child's Sunday," by the New York Philharmonic with the composer conducting; 1948 - Cowell: Suite for Woodwind Quintet, by an ensemble at the McMillan Theater of Columbia University in New York City; This work was written in 1933 for the French flutist Georges Barrère, but the score and parts remained lost until 1947. Links and Resources On Debussy On the Théâtrophone

Synopsis Today marks the birthday of the American pianist and composer Donald Shirley, who was born in Pensacola, Florida, in 1927, to Jamaican immigrant parents: a mother who was a teacher and a father an Episcopalian priest. Young Donald was a musical prodigy who made his debut with the Boston Pops at age 18, performing Tchaikovsky's First Piano Concerto. If Shirley had been born 20 years later, he might have had the career enjoyed by Andre Watts, who born in 1946. But in the late 1940s, when Shirley was in his 20s, impresario Sol Hurok advised him that America was not ready for a black classical pianist, so instead Shirley toured performing his own arrangements of pop tunes accompanied by cello and double-bass. His Trio recorded successful albums marketed as “jazz” during the 1950s and 60s, but Shirley also released a solo LP of his piano improvisations that sounds more like Debussy or Scriabin, and he composed organ symphonies, string quartets, concertos, chamber works, and a symphonic tone poem based on the novel Finnegans Wake by James Joyce. The 2018 Oscar-winning film “Green Book” sparked renewed interest in Shirley's career as a performer, but those of us curious to hear his organ symphonies and concert works hope they get a second look as well. Music Played in Today's Program On This Day Births 1715 - Austrian composer Georg Christoph Wagenseil, in Vienna; 1782 - French composer Daniel-François-Esprit Auber, in Caen; 1852 - British composer Frederic Hymen Cowen, in Kingston, Jamaica; 1862 - English composer Fritz (Frederick) Delius, in Bradford, Yorkshire; 1876 - English composer Havergal Brian, in Dresden, Staffordshire; 1924 - Italian composer Luigi Nono, in Venice; Deaths 1946 - British composer Sydney Jones, age 84, in London, age 84; 1962 - Austrian composer and violinist Fritz Kreisler, age 86, in New York City; Premieres 1728 - Gay & Pepusch: ballad-opera, “The Beggar's Opera,” at Lincoln's Inn Fields, London; This work, mounted by the London impresario John Rich, proved so popular that it was staged 62 times that season; As contemporary wags put it, the wildly successful work “made Gay Rich and Rich Gay&rdquo(Gregorian date: Feb. 9); 1781 - Mozart: opera, "Idomeneo" in Munich at the Hoftheater; 1826 - Schubert: String Quartet in D minor, "Death and the Maiden," as a unrehearsed reading at the Vienna home of Karl and Franz Hacker, two amateur musicians; Schubert, who usually played viola on such occasions, could not perform since he was busy copying out the parts and making last-minute corrections; 1882 - Rimsky-Korsakov: opera "The Snow Maiden," in St. Petersburg (Gregorian date: Feb. 10); 1892 - Chadwick: “A Pastoral Prelude,” by the Boston Symphony. Arthur Nikisch conducting; 1916 - Prokofiev: "Scythian" Suite ("Ala and Lolly"), Op. 20, at the Mariinsky Theater in Petrograd, with the composer conducting (Julian date: Jan. 16); 1932 - Gershwin: "Second Rhapsody" for piano and orchestra, in Boston, with the Boston Symphony conducted by Serge Koussevitzky and the composer as soloist; 1936 - Constant Lambert: "Summer's Last Will and Testament" for chorus and orchestra, in London; 1981 - John Williams: first version of Violin Concerto (dedicated to the composer's late wife, actress and singer Barbara Ruick Williams), by Mark Peskanov and the St. Louis Symphony conducted by Leonard Slatkin; Williams subsequently revised this work in 1998; This premiere date is listed (incorrectly) as Jan. 19 in the DG recording featuring Gil Shaham; Links and Resources On Donald Shirley

Synopsis The first Piano Concerto by Brahms received its premiere public performance on today's date in 1859 with the Hanover Court Orchestra under the direction of Brahms's close friend Joseph Joachim and its 25-year composer as soloist. That first night audience had never heard anything quite like it. In his biography of Brahms, Jan Swafford describes what was expected of a piano concerto back then, namely “virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and nothing] too tragic.” “To the degree that these were the rules,” writes Swafford, “[Brahms] violated every one of them.” His concerto opens with heaven-storming drama, continues with deeply melancholic lyricism, and closes with something akin to hard-fought, even grim, triumph. Rather than a display of flashy virtuosity, Brahms's concerto comes off as somber and deeply emotional. A second performance, five days later in Leipzig, was hissed. "I am experimenting and feeling my way,” Brahms wrote to his friend Joachim, adding, "all the same, the hissing was rather too much." Now regarded a dark Romantic masterpiece, it's important to remember how long it took audiences to warm to Brahms' music. The American composer Elliott Carter recalled that even in the 1920s, Boston concert goers used to quip that the exit signs meant, "This way in case of Brahms." Music Played in Today's Program Johannes Brahms (1833-1897) Piano Concerto No. 1 in D Minor, Op. 15 - I. Maestoso - Poco più moderato Maurizio Pollini, piano; Berlin Philharmonic; Claudio Abbado, cond. DG 447041 On This Day Births 1899 - Russian-born American composer Alexander Tcherepnin, in St. Petersburg (Julian date: Jan. 9); Deaths 1851 - German opera composer Albert Lortzing, age 49, in Berlin; 1948 - Italian composer Ermanno Wolf-Ferrari, age 72, in Venice; Premieres 1713 - Handel: opera "Teseo" (Julian date: Jan. 10); 1725 - Bach: Sacred Cantata No. 111 ("Was mein Gott will, das g'scheh allzeit") performed on the 3rd Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1816 - Cherubini: "Requiem," in Paris; 1880 - Rimsky-Korsakov: opera "May Night," in St. Petersburg, Napravnik conducting (Julian date: Jan. 9); 1904 - Janácek: opera "Jenufa" in Brno at the National Theater; 1927 - Roussel: Suite in F for orchestra, in Boston; 1929 - Schreker: opera "Der Schatzgräber" (The Treasure Hunter), in Frankfurt at the Opernhaus; 1930 - Shostakovich: Symphony No. 3 ("May First"), in Leningrad; 1936 - Gershwin: "Catfish Row" Suite (from the opera "Porgy and Bess"), by the Philadelphia Orchestra, Alexander Smallens conducting; 1947 - Martinu: "Toccata e due canzona" for chamber orchestra, in Basel, Switzerland; 1968 - Bernstein: song "So Pretty" (a song protesting the Vietnam War) at Philharmonic Hall (now Avery Fisher Hall) in New York City, with singer Barbra Streisand and the composer at the piano; 1968 - Allan Pettersson: Symphony No. 6, in Stockholm; 1988 - Christopher Rouse: Symphony No. 1, by the Baltimore Symphony, David Zinman conducting; Links and Resources On Brahms

In 1906, the impresario Sergei Diaghilev created a sensation in Paris with an exhibition of Russian Art. This was the first time a major showing of Russian art had appeared in Paris, and from this point forward, the city was obsessed with Russian art, literature, and music.  Diaghilev, ever the promoter, then put together the Ballets Russes, the Russian Ballet, in 1909, a company based in Paris that performed ballets composed, choreographed, and danced, by Russians.  Over the next 20 years, the Ballets Russes became one the most influential and successful ballet companies of the entire 20th century, and a young composer that Diaghilev plucked from obscurity named Igor Stravinsky had a lot to do with their success.    The first season of the Ballet Russes relied on the big names of Russian music, like Borodin, Tchaikovsky, Rimsky Korsakov, but Diaghilev was always restlessly searching for something new.  For many years, Diaghilev had wanted to bring not only new Russian art, but also new Russian music to the West, and now he had found the perfect combination -  Diaghilev brought together the Russian artist and writer Alexandre Benoit and the Russian choreographer Michel Fokine to create a Russian nationalistic ballet based on Russian folk tales and mythology.  He then took a risk, giving the commission for the music to Igor Stravinsky.  The result?  The Firebird, a ballet that provoked an ecstatic reaction, a score that would propel Stravinsky to worldwide popularity, 3 different orchestral suites played almost every year by orchestras all over the world, and a 19 year collaboration and friendship between Stravinsky and Diaghilev which only ended in Diaghilev's death and resulted in 8 original ballets, including The Rite of Spring and Petrushka. But, let's not get too ahead of ourselves.  All of this had to start somewhere, so lets explore the Firebird, in all of its different versions and orchestrations, along with the folk tales and stories that go along with it. Join us!

Synopsis Today's date in 1904 marks the birthday of Richard Addinsell, a versatile British musician who became one of the most famous film score composers of his generation. Addinsell was born in London, studied music at the Royal College of Music, and pursued additional studies in Berlin and Vienna before heading off to America in 1933 for some practical education at Hollywood film studios. He put both his theoretical and practical learning to good use when he returned to England, where he began composing for a series of successful British movies, like the Oscar-winning 1939 film “Goodbye, Mr. Chips.” Addinsell also became a popular songwriter and accompanist for British comediennes and cabaret singers of the day. But Addinsell is best known as the composer of the Warsaw Concerto, a piano concerto consciously modeled on the big Romantic scores of Rachmaninoff. This music originally appeared in the 1941 British adventure film “Dangerous Moonlight,” retitled “Suicide Squadron” when it was released in the States in 1942. After that mega-hit, Addinsell's fluent and versatile writing continued to grace a goodly number of Post-War British films and TV dramatizations, ranging from historical epics to psychological thrillers, gritty “slice-of-life” dramas, and whimsical, light-hearted comedies. Addinsell died in London at the age of 73 in 1977. Music Played in Today's Program Richard Addinsell (1904 –1977) Goodbye Mr. Chips BBC Concert Orchestra; Kenneth Alwyn, conductor. Marco Polo 8.223732 Richard Addinsell (1904 –1977) Warsaw Concerto Cristina Ortiz, piano; Royal Philharmonic; Moseh Atzmon, conductor. London 414 348 On This Day Births 1690 - German composer Gottfried Heinrich Stölzel, in Grünstadtl; 1866 - Russian composer Vassili Sergeievitch Kalinnikov, in Voin (Julian date: Jan 1.); 1904 - British composer Richard Addinsell, in London; Deaths 1864 - American composer Stephen Foster, age 37, in Bellevue Hospital, New York; 1980 - Russian-born American conductor and arranger André Kostelanetz, age 78, in Port-au-Prince, Haiti; Premieres 1726 - Bach: Sacred Cantata No. 32 ("Liebster Jesu, mein Verlangen") performed on the 1st Sunday after Epiphany as part of Bach's third annual Sacred Cantata cycle in Leipzig (1725/27); 1775 - Mozart: opera "La finta giardiniera" (The Feigned Gardener), in Munich at the Opernhaus St. Salvator; 1873 - Rimsky-Korsakov: opera "The Maid of Pskov" (first version) in St. Petersburg, Napravnik conducting; This was Rimsky-Korsakov's first opera (Julian date: Jan.1); 1904 - Bartók: tone-poem “Kossuth,” in Budapest; Bartók's parody of the German national hymn in this work caused an uproar at the work's premiere; 1944 - Stravinsky: "Circus Polka" (concert version) and "Four Norwegian Moods," in Cambridge at the Garden Theatre, with the Boston Symphony conducted by the composer; 1945 - Prokofiev: Symphony No. 5, by the Moscow State Philharmonic, with the composer conducting; 2000 - Danielpour: "Voices of Remembrance" for string quartet and orchestra, in Washington, D.C. with the Guarneri String Quartet and the National Symphony, Leonard Slatkin conducting. Others 1910 - Lee De Forest relays experimental Met Opera performances via a radio transmitter (see also Jan. 12). Links and Resources On Richard Addinsell Richard Addinsell filmography

Pour faire plaisir à son mari, une vieille dame lui prépare un petit bonhomme de pain d'épice. Mais quand elle ouvre le four, le petit bonhomme s'enfuit ! Un malicieux conte pour les tout-petits, sur la musique endiablée de Rimsky Korsakov. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Curtis Studio kicks off with the Curtis Symphony Orchestra, conducted by Finnish Maestro Osmo Vänskä, performing Rimsky-Korsakov's Scheherazade (releasing December 6, 2022). The performance was recorded as part of Curtis's imaginative new performance installation–Immersive Scheherazade, which invited audiences to sit alongside live musicians performing the work while surrounded by 30-foot-high projections of the orchestra. “Scheherazade demands musical virtuosity and highlights the magnificent artistry of the Curtis Symphony Orchestra. These musicians represent a very bright future for classical music. We are thrilled to share their performances through Curtis Studio,” says Vince Ford, executive producer of Curtis Studio.Scheherazade(48:27)I. The Sea and Sinbad's Ship(11:21)II. The Tale of Prince Kalendar(12:49)III. The Young Prince and the Princess(11:41)IV. The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock(12:36)Help 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.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Synopsis On this day* in 1888, the orchestral suite “Scheherazade,” the most famous work of the Russian composer Nicolai Rimsky-Korsakov, was first performed in St. Petersburg. The suite evokes episodes from “The Arabian Nights.” Though Rimsky-Korsakov was Russian, and most often concentrated on operas based on RUSSIAN history and fable, it's ironic that his most popular work was inspired by folklore and fables from the Middle East. Until recently, Western knowledge of the Middle Eastern music was mostly limited to such second-hand accounts. But today, we're discovering first-hand both the traditional music of the Middle East and new works by contemporary composers from that part of the world. One of these is Iranian-born American composer Reza Vali, who was born in Ghazvin, Iran in 1952 and began his musical studies at the Teheran Conservatory. In 1972, he moved to Vienna and studied at the Academy of Music, and then came to America to study at University of Pittsburgh. Despite his training in Western technique, Vali has returned to the instruments and traditions of Persian music for inspiration. “Music is like the ocean,” he once said in an interview. “It moves between cultures. It doesn't have boundaries. But that doesn't mean that you have to lose your identity … you can have a pluralistic approach by also keeping your identity.” *Julian calendar date: October 22 Music Played in Today's Program Nikolai Rimsky-Korsakov (1844-1908) Scheherazade, Op. 35 Atlanta Symphony; Robert Spano, conductor. Telarc 80568 Reza Vali (b. 1952) Folk Songs Set No. 9 Alberto Almarza, flute; Alvaro Bitran, cello New Albion 077

Synopsis On today's date in 1909, “The Golden Cockerel,” the last opera of the Russian composer Nikolai Rimsky-Korsakov, had its premiere in Moscow. Rimsky-Korsakov had died the previous year, after a bitter battle with government censors who objected to the opera's thinly disguised satire against the bumbling administration of Czarist Russia. For the premiere, the censors won – the opera was performed with all the changes that Rimsky-Korsakov had so stubbornly resisted while alive. The original text was not restored until after the Russian revolution of 1917. Closer to our own time, in October of 1987, American composer John Adam's “Nixon in China,” debuted at Houston Grand Opera. Alice Goodman's libretto depicts the historic visit to Red China of President Nixon and then Secretary of State, Henry Kissinger. Adams says he was completely indifferent to what the real-life personages in his opera might have thought of it. No government censors objected, in any case, but Adams said that Richard Nixon's lawyer, Leonard Garment, did attend a performance of “Nixon in China,” and probably reported back to the former President. Nixon's reaction is not known – nor that of Henry Kissinger. We're happy to report, however, that according to John Adams, Leonard Garment did subsequently became something of a fan of his music. Music Played in Today's Program Nikolai Rimsky-Korsakov (1844-1908): The Golden Cockerel Suite –Russian National Orchestra; Mikhail Pletnev, cond. (DG 447 084) John Adams (b. 1947): The Chairman Dances –San Francisco Symphony; Edo de Waart, cond. (Nonesuch 79453)

In this week's episode of Sound Unbound, Josie Long introduces actress Bonnie Greer, as she introduces us to Rimsky-Korsakov's Scheherazade, which draws inspiration from the Middle Eastern legends in One Thousand and One Nights. Hosted on Acast. See acast.com/privacy for more information.

Alex Ludwig AKA the Dies Irae Guru AKA  @Film Music Tropes  is back to discuss minutes 111-115 of Solo: A Star Wars Story! Spoiler: Alex and Xanthe noticed one Dies Irae reference each in these minutes, but they were completely different spots... In this episode, we also discuss "Jason Bourne in Space," fawn over the Secrets motif progression, and give John Powell a retrospective A on his voice leading homework.

TSO Music Director Alain Trudel (pictured) joins us by phone along with panelist Felecia Kanney to discuss the many different ways that composers (including Alain) can add color to a piece of music. Our point of departure is the upcoming WGTE Presents: TSO in HD program which features Rimsky-Korsakov's Tale of Tsar Saltan suite; Smetana's The Moldau; selections by Mendelssohn, Tchaikovsky, Grieg, and Mahler – plus Alain Trudel's own Greek mythology-related fanfare for orchestra, Rhea. As an added bonus: we take the Color Personality Test! What's your favorite color?

We preview the TSO's Colors concert, which includes the world premiere of Samuel Adler's Tuba Concerto with TSO Principal Tuba David Saltzman (both Sam and David join us for this episode). Also, fun bumblebee facts and our insect music quiz — all inspired (of course) by another work on the program: Rimsky-Korsakov's Flight of the Bumblebee.

In this episode we introduce you to a few activities from our free “5 Under 5” musical play resource we created for you. We'll be sharing 3 of our favorite songs and activities: 1. Baby Kangaroo: a Clap for Classics! Original and one of our favorite movement songs. (Found in our Carnival of the Animals course) 2. Hey Diddle Diddle, a classic nursery rhyme with a twist 3. Classical Music Freeze dance with “Flight of the Bumblebee” Our free musical play series designed for busy parents is called “5 Under 5” and was developed to help stressed parents have fun with their kids and ensure they're learning, too. You'll receive 5 days of short musical activities right to your inbox. In addition to the videos you'll receive a bunch of ideas on how to expand the learning if you so choose. Grab it at www.clapforclassics.com/5under5 Each video is: ✅ Less than 5 minutes - perfect to squeeze in between laundry or to avoid a meltdown ✅ Educational, entertaining, and helps kids develop their skills and knowledge ✅ Ready to go - no prep, planning, or explanation from you. Just press “play” and it's time for play! Sign up now at www.clapforclassics.com/5under5 and get ready to play along! Baby Kangaroo- one of our favorite movement songs. You'll alternate between snuggling up and hopping up and down for this one. Listen carefully to the song to know what to do! Baby kangaroo is snuggled up with mama Inside her warm and cozy pouch One sunny day, baby kanga wants to play Says “knock knock knock - mama let me out!” (OK!) So… Out she pops, hoppity hop Hoppity hoppity hop - a- don't stop Hop hop hop until she drops Ouch! Should she try again? Up she pops, hoppity hop Hoppity hoppity hop - a- don't stop Hop hop hop until she drops Baby kangaroo is tired… Baby kangaroo goes hopping to her mama Into her warm and cozy pouch It is time for sleep, but baby wants to keep on Hopping, though she's really worn out So… Out she pops, hoppity hop Hoppity hoppity hop - a- don't stop Hop hop hop until she drops Baby kangaroo goes hopping to her mama Into her warm and cozy pouch Now she snuggles in, and hugs her mama tight She'll dream of those hops - all night - goodnight! In the morning… Out she pops!... Hey Diddle Diddle. Nursery rhymes have tons of benefits for young children! To learn more about the benefits of nursery rhymes, and to watch a video with this activity in it click here: https://www.clapforclassics.com/blog/language Hey Diddle diddle the cat and the fiddle The cow jumps over the moon The little dog laughs to see such sport And the dish runs away with the spoon Classical Freeze Dance- this one is a classic and the simplicity of it is not to be underestimated! Music was “Flight of the Bumblebee” by Rimsky Korsakov. This recording is part of the public domain. Other classical music played on this podcast are licensed to us by Classical.com We would love to hear from your kids and feature them on the podcast! Leave Forte a joke, or just call in and say hi and tell us where you're from: www.speakpipe.com/clapforclassics If you'd like to help your little ones develop an appreciation for classical music, make musical memories with your family, enjoy flexibility of an at-home program, and learn right alongside your kiddos, come join us in our All Access Membership. Check out details and get signed up at www.clapforclassics.com/join