Podcasts about Robert Schumann

This Day in Legal History: SEC EstablishedOn this day in legal history, June 6, 1934, the United States Securities and Exchange Commission (SEC) was established as part of the sweeping reforms of the New Deal. The SEC was created by the Securities Exchange Act of 1934 in response to the stock market crash of 1929 and the ensuing Great Depression, which exposed widespread fraud, manipulation, and lack of oversight in the financial markets. Its primary mission was, and remains, to protect investors; maintain fair, orderly, and efficient markets; and facilitate capital formation.President Franklin D. Roosevelt appointed Joseph P. Kennedy, a former stockbroker and businessman, as the SEC's first chairman. The choice was controversial—Kennedy had profited handsomely from some of the same speculative practices the SEC was meant to prevent—but Roosevelt believed that Kennedy's insider knowledge would make him an effective regulator.The SEC was empowered to regulate the securities industry, enforce federal securities laws, and oversee the nation's stock and options exchanges. Among its early duties were requiring public companies to file detailed financial disclosures, registering securities before public offering, and monitoring insider trading. The commission also played a key role in restoring investor confidence in U.S. capital markets during a time of deep financial mistrust.Over time, the SEC expanded its reach, responding to new financial products, trading technologies, and crises. From investigating corporate accounting scandals like Enron and WorldCom, to managing the regulatory fallout of the 2008 financial crisis, the SEC has remained a pivotal force in shaping American financial law. It continues to evolve, now addressing issues such as crypto asset regulation, ESG disclosures, and algorithmic trading.Speaking of the SEC, U.S. District Judge Reggie Walton dismissed a lawsuit challenging the SEC 2020 rule changes that made it more difficult for shareholders to submit proposals at corporate annual meetings. The rules, enacted late in President Trump's term, raised the ownership thresholds and lengthened holding periods required to file shareholder proposals. They also introduced stricter resubmission requirements for proposals previously rejected by shareholders.The plaintiffs, including the Interfaith Center on Corporate Responsibility, As You Sow, and shareholder advocate James McRitchie, argued the changes disproportionately harmed proposals on environmental, social, and governance (ESG) issues and reduced long-term shareholder value. They claimed the SEC failed to assess the benefits of such proposals before implementing the rules.Judge Walton rejected these claims, ruling that the SEC adequately justified the changes under its mandate to promote efficiency, competition, and capital formation. The SEC, which had defended the rules during both the Trump and Biden administrations, argued that the reforms ensured shareholder proposals had broader relevance and potential for meaningful corporate action. The 2020 vote on the rule changes split along party lines, with Republican commissioners in support. While the SEC declined to comment on the ruling, the plaintiffs expressed disappointment and affirmed their commitment to corporate engagement on environmental and social issues.SEC wins dismissal of lawsuit challenging tighter rules on shareholder proposals | ReutersOpenAI filed an appeal challenging a court order that requires it to indefinitely preserve ChatGPT output data in an ongoing copyright lawsuit brought by The New York Times. OpenAI argues the order conflicts with its user privacy commitments and sets a troubling precedent. The preservation directive was issued last month after The Times requested that all relevant log data be maintained and segregated.OpenAI CEO Sam Altman publicly criticized the order on social media, affirming the company's stance against actions it sees as compromising user privacy. The appeal, filed on June 3, asks U.S. District Judge Sidney Stein to vacate the preservation requirement.The lawsuit, filed in 2023, accuses OpenAI and Microsoft of using millions of Times articles without permission to train ChatGPT. In April, Judge Stein ruled that The Times had plausibly alleged that OpenAI and Microsoft may have encouraged users to reproduce copyrighted content. The ruling rejected parts of a motion to dismiss the case and allowed several of the Times' claims to move forward, citing multiple examples of ChatGPT generating material closely resembling Times articles.OpenAI appeals data preservation order in NYT copyright case | ReutersPresident Donald Trump's 2026 budget proposal includes a plan to eliminate the Legal Services Corporation (LSC), an independent agency that funds civil legal aid for low-income Americans. The proposal seeks $21 million for an "orderly closeout" of the organization, which had requested $2.1 billion to meet growing demand. The LSC supports 130 nonprofit legal aid programs that assist with issues such as evictions, disaster recovery, and access to public benefits.Critics warn that the move would devastate legal aid access for millions, particularly in rural areas and the South. In Louisiana, for example, there is just one legal aid lawyer for every 11,250 eligible residents. Legal aid leaders say they already turn away half of those seeking help due to budget constraints, and the proposed funding cut would further limit their reach.Organizations like Southeast Louisiana Legal Services and Legal Aid of North Carolina would lose 40–50% of their funding, jeopardizing services for communities still recovering from recent hurricanes. Legal Services NYC, the largest legal aid provider in the country, has implemented a hiring freeze in anticipation of possible cuts.The proposal revives a long-standing conservative goal. Past Republican efforts to dismantle the LSC date back to the Reagan era, and Trump made a similar attempt in 2018. The Heritage Foundation has accused the LSC of supporting controversial causes, but legal aid advocates argue the organization is vital to community stability and fairness in the justice system.Trump Plan to Ax Legal Aid a Conservative Aim That Targets PoorIn a piece I wrote for Forbes last week, I discuss how the IRS has quietly released the underlying codebase for its Direct File program on GitHub, marking a rare moment of transparency in government software. At the center of this release is something called the “Fact Graph,” a logic engine that models tax rules as interrelated facts rather than a linear checklist. Built using XML and Scala, the Fact Graph interprets ambiguous tax data, identifies contradictions or omissions, and suggests paths forward, all in a transparent, declarative format.What sets this apart is that, unlike proprietary tax software, Direct File's logic isn't hidden—it's open, reviewable, and potentially improvable by anyone. This move not only demystifies some of the inner workings of tax enforcement but also sets a precedent: if algorithms are mediating our legal obligations, we should be able to see and understand the rules they follow.The release is particularly striking in an era of eroding public trust in institutions and increasing reliance on automated decision-making. While Direct File itself remains limited in scope and its future uncertain, the open-sourcing of its logic engine may have laid the groundwork for broader change. Other agencies—from state tax departments to those experimenting with AI-driven policy enforcement—could adopt similar transparency, allowing the public to engage with and even help refine the systems that govern them.Peeking Behind The Code—IRS Just Open-Sourced Direct FileThis week's closing theme is by Robert Schumann and comes courtesy of Christopher Zbinden. This week's closing theme is Robert Schumann's Toccata in C major, Op. 7, a dazzling showcase of Romantic-era pianism and one of the most technically demanding works in the standard repertoire. Composed in 1830 and revised in 1833, the piece earned a reputation early on as a pianist's Everest—Franz Liszt himself dubbed it “the hardest piece ever written.” Clocking in at just over five minutes when played at tempo, it's a relentless whirlwind of perpetual motion, requiring both physical stamina and interpretive precision.The toccata form, traditionally a virtuosic keyboard piece emphasizing dexterity, becomes in Schumann's hands something more cerebral. Beneath its bravura surface lies a structure built on two contrasting themes, developed with intricate counterpoint and rhythmic displacement. The left hand must execute rapid repeated notes and wide leaps with precision, while the right weaves through syncopated figures and chromatic runs, creating a dense musical texture.Schumann dedicated the piece to his friend Ludwig Schuncke, who had recently died at the age of 23. That personal connection adds an emotional layer to a work that might otherwise be heard as pure technical spectacle. Unlike many showpieces of the era, Schumann's Toccata isn't just difficult for difficulty's sake—it's an expression of obsession, energy, and youthful ambition.For a composer better known for lyrical piano miniatures, the Toccata is an early signal of the depth and range Schumann would explore in later works. As this week closes, it offers a fitting sendoff: intricate, driven, and a little manic—in the best Romantic sense of the word.Without further ado, Robert Schumann's Toccata in C major, Op. 7 – enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

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A Nantes, dans un quartier résidentiel mêlant classe moyenne et aisée, le temps s'est arrêté au numéro 55 du boulevard Robert Schumann : voilà plusieurs jours que personne n'a vu ou entendu les occupants de la maison. Les signes extérieurs laissent présager un déménagement soudain, certes, mais dont la logistique aurait sans doute été remarquée… Le scénario ne tient pas, l'appréhension prévaut sur la curiosité et les autorités sont prévenues. En France, à en croire le ministère de l'intérieur, 40 000 individus se volatilisent chaque année, dont les trois quarts sont retrouvés. Sans compter qu'un citoyen majeur a le droit de mettre les voiles du jour au lendemain, sans que les forces de l'ordre ne remuent ciel et terre derrière lui. Ici, le contexte est différent : une famille entière, les Dupont de Ligonnès, s'évapore ensemble. Un couple et ses quatre enfants qui, comme bien souvent au début de ce genre d'affaires, est décrite comme ordinaire, sans histoires...CRIMES EN BRETAGNE • Histoires Vraies est une production Minuit, issue de la collection CRIMES · Histoires Vraies .

durée : 00:13:18 - Le Disque classique du jour du lundi 19 mai 2025 - Cet album marque les débuts discographiques du jeune violoncelliste norvégien Theodor Lyngstad, qui a choisi de réunir l'unique concerto pour violoncelle de Robert Schumann et le deuxième de Dmitri Kabalevsky.

durée : 00:13:18 - Le Disque classique du jour du lundi 19 mai 2025 - Cet album marque les débuts discographiques du jeune violoncelliste norvégien Theodor Lyngstad, qui a choisi de réunir l'unique concerto pour violoncelle de Robert Schumann et le deuxième de Dmitri Kabalevsky.

A Nantes, dans un quartier résidentiel mêlant classe moyenne et aisée, le temps s'est arrêté au numéro 55 du boulevard Robert Schumann : voilà plusieurs jours que personne n'a vu ou entendu les occupants de la maison. Les signes extérieurs laissent présager un déménagement soudain, certes, mais dont la logistique aurait sans doute été remarquée… Le scénario ne tient pas, l'appréhension prévaut sur la curiosité et les autorités sont prévenues. En France, à en croire le ministère de l'intérieur, 40 000 individus se volatilisent chaque année, dont les trois quarts sont retrouvés. Sans compter qu'un citoyen majeur a le droit de mettre les voiles du jour au lendemain, sans que les forces de l'ordre ne remuent ciel et terre derrière lui. Ici, le contexte est différent : une famille entière, les Dupont de Ligonnès, s'évapore ensemble. Un couple et ses quatre enfants qui, comme bien souvent au début de ce genre d'affaires, est décrite comme ordinaire, sans histoires...CRIMES EN BRETAGNE • Histoires Vraies est une production Minuit, issue de la collection CRIMES · Histoires Vraies .

Moin! Wir vom Team um "Philipps Playlist" wollen den Podcast immer weiter verbessern. Um das zu tun, möchten wir gerne Deine Meinung, Deine Ideen und Deine Kritik hören. Und ganz nebenbei möchten wir auch Dich und alle anderen besser kennenlernen. Vielen Dank, dass du an dieser Umfrage teilnimmst, das hilft uns wirklich sehr: https://umfrage-ndr.limequery.com/247836?lang=de-informal Ruhige, fließende Musik löst Gedanken auf wie Nebel am Morgen. Der Atem fließt still. Dein Herz ruht in sich selbst. Diese Musikstücke hast Du in der Folge gehört: Midori Hirano – "Motivational Speech" // Johann Sebastian Bach – "Sarabande / Französische Suite Nr. 4" // Midori Hirano – "His Ambition" // Robert Schumann – "Fantasiestücke – Des Abends" // John Barry – "Ein unmoralisches Angebot" // Hanna Havrylets – "Tropar / Prayer" // Den Podcast "Wir Tier" vom BR findest Du hier: https://1.ard.de/wir-tier Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

It's entirely possible that we would not know the name of Johannes Brahms very well if Brahms hadn't met Joseph Joachim as a very young man. Joachim, who was one of the greatest violinists of all time, had already established himself as touring soloist and recitalist, and he happened to know the musical power couple of Robert and Clara Schumann quite well. Joachim encouraged Brahms to go to Dusseldorf to meet the Schumann's, and the rest is history. I've talked about the Brahms-Schumann relationship dozens of times on the show before, but to keep it very brief, Robert Schumann's rhapsodic article Neue Bahnen(new paths) launched Brahms' career, and until Schumann's deterioration from mental illness he acted as a valued friend and mentor for Brahms. Clara Schumann, as a performer, was a powerful advocate for Brahms' music as well as a devoted and loving friend throughout the rest of their lives. Almost constantly present in this relationship was the sound of Joseph Joachim's violin. Brahms did not have a huge circle of friends, but for the often difficult to get along with composer, Joachim was a musical and spiritual companion. Brahms' legendary violin concerto was written for him, and the two collaborated closely for the entire course of their musical lives, except for one significant break. Brahms and Joachim were estranged for 7 years, until Brahms reached out with a remarkable conciliatory gesture: a concerto for Violin and Cello and that would be dedicated to Joachim. Brahms and Joachim(as well as Brahms and Clara Schumann) had often resolved disputes through music, and this was no exception. Clara Schumann gleefully wrote in her diary after Joachim had read through the piece with cellist Robert Hausmann: "This concerto is a work of reconciliation - Joachim and Brahms have spoken to each other again for the first time in years.” One would expect that a work like this would be beloved, but the Double Concerto has had a checkered history, which we'll also get into later. Clara herself wrote that it lacked "the warmth and freshness which are so often found to be in his works,” It would turn out to be Brahms' last work for orchestra, and one of the few in his later style, which makes It fascinating to look at from a compositional perspective. Partly because of the cool reception it got in its first few performances, and the practical challenges of finding two spectacular soloists who can meet its challenges, the piece is not performed all that often, though I have always adored this piece and am very grateful to Avi who sponsored this week's show from my fundraiser last year before the US election. So let's dive into this gorgeous concerto, discussing the reasons for Joachim and Brahms' break, their reconciliation, the reception this piece got, and then of course, the music itself! Join us!

À l'occasion de la Journée de l'Europe célébrée place de la République, à Paris, nous vous proposons un grand débat public et télévisé, réalisé en partenariat le bureau en France du Parlement européen, la représentation de la Commission européenne et la Mairie de Paris. Il y a 75 ans que la déclaration de Robert Schumann donnait le feu vert à une construction européenne originale et inédite. Aujourd'hui nous allons parler de l'Europe concrète et de problématiques du quotidien : le logement et le climat.

À l'occasion de la Journée de l'Europe célébrée place de la République, à Paris, nous vous proposons un grand débat public et télévisé, réalisé en partenariat le bureau en France du Parlement européen, la représentation de la Commission européenne et la Mairie de Paris. Il y a 75 ans que la déclaration de Robert Schumann donnait le feu vert à une construction européenne originale et inédite. Aujourd'hui, l'Union européenne semble entourée de puissance rivales et agressives, décidées à dicter leur loi - à commencer par la Russie de Vladimir Poutine, qui a envahi l'Ukraine il y a trois ans, et les Etats-Unis de Donald Trump. Le retour de l'ancien président américain aux affaires interroge, cet ami imprévisible et inconstant nous ayant déclaré une guerre commerciale.

À l'occasion de la Journée de l'Europe célébrée place de la République, à Paris, nous vous proposons un grand débat public et télévisé, réalisé en partenariat le bureau en France du Parlement européen, la représentation de la Commission européenne et la Mairie de Paris. Il y a 75 ans que la déclaration de Robert Schumann donnait le feu vert à une construction européenne originale et inédite. Aujourd'hui nous allons parler de l'Europe concrète et de problématiques du quotidien : le logement et le climat.

Robert Schumann (1810-1856) - Trio n. 3 in sol minore per violino, violoncello e pianoforte, op. 1101.       Bewegt, doch nicht zu rasch (00:00)2.       Ziemlich langsam / Etwas bewegter / Erstes Tempo (7:13)3.       Rasch / Etwas Zuruckhaltend bis zum langsameren Tempo / Erstes Tempo (13:21)4.       Kräftig, mit Humor (17:03) The Munich Dvorak TrioGitti Pirner, pianoJanos Maté, violinFranz Amann, cello

À l'occasion de la Journée de l'Europe célébrée place de la République, à Paris, nous vous proposons un grand débat public et télévisé, réalisé en partenariat le bureau en France du Parlement européen, la représentation de la Commission européenne et la Mairie de Paris. Il y a 75 ans que la déclaration de Robert Schumann donnait le feu vert à une construction européenne originale et inédite. Aujourd'hui, l'Union européenne semble entourée de puissance rivales et agressives, décidées à dicter leur loi - à commencer par la Russie de Vladimir Poutine, qui a envahi l'Ukraine il y a trois ans, et les Etats-Unis de Donald Trump. Le retour de l'ancien président américain aux affaires interroge, cet ami imprévisible et inconstant nous ayant déclaré une guerre commerciale.

Robert Schumann - Flower PiecePaul Gulda, pianoMore info about today's track: Naxos 8.550401Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Für Robert Schumann gibt es nur ganz oder gar nicht: Entweder lähmt ihn seine Depression oder er ist buchstäblich nicht zu bremsen. Dann komponiert er ein Klavierquartett auch schon mal in Windeseile. Von Michael Lohse.

durée : 00:28:50 - Laurence Equilbey, chef d'orchestre et de choeur, fondatrice du Choeur Accentus et de l'Insula Orchestra - Alors que paraît son dernier disque Beethoven Wars, Laurence Equilbey revient sur les dix ans d'Insula Orchestra et présente, sur l'Île Seguin où la formation a jeté l'ancre en 2017, un chef-d'œuvre méconnu du répertoire lyrique et symphonique, "Le Paradis et la Péri" de Robert Schumann.

durée : 02:04:41 - Musique matin du lundi 05 mai 2025 - par : Jean-Baptiste Urbain - Alors que paraît son dernier disque "Beethoven Wars", Laurence Equilbey revient sur les dix ans d'Insula Orchestra qu'elle a créé et présente, sur l'île Seguin où la formation a jeté l'ancre en 2017, un chef-d'œuvre méconnu du répertoire : "Le Paradis et la Péri" de Robert Schumann. - réalisé par : Yassine Bouzar

en este episodio de Dirección Coral Online exploro el vínculo artístico entre Clara y Robert Schumann con Johannes Brahms, y cómo esa compleja relación influenció la música del siglo XIX. Analizo fragmentos musicales que revelan un amor contenido, una colaboración profunda y un legado compartido, marcado por la admiración mutua y los límites impuestos por las convenciones de la época. Una historia donde el afecto y la música se entrelazan con intensidad y sutileza.si te interesa te podés anotar en mi newsletter gratuita: https://www.dopplerpages.com/gusespada-D9EA4/Form6-62234

About Ghost MusicIt's only been a month since Dawn's musician husband, Clark, suddenly died. When his former student shows up with missing pages from Clark's unfinished book, voices from the pages are reawakened. A portal from the past cracks open, transporting us back to German Romanticism and renowned pianist Clara Schumann. As she desperately tries to preserve the dignity of her husband, the brilliant composer Robert Schumann, he descends further and further into madness. Separated by a gulf of both time and space, Dawn and Clara grapple with grief and lunacy, and the hope that long-ago melodies can heal their broken hearts.This production is sponsored in part by the AthensWest Emerging Play Grant awarded to the theater program and sabbaticals for both Dr. Greg Partain and Professor Tosha Fowler. The production will feature a team of professional actors and a director working in residence at Transylvania. The production will include the live musical performance of Dr. Greg Partain as an essential component of the play's concept and design. Professor Tosha Fowler will be helming the role of Clara as well as head producer. Professors Daniel Bennett and Melissa Gilbert will lead the design team.For more and to connect with us, visit https://www.artsconnectlex.org/art-throb-podcast.html

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a unique and distinguished career as a soloist, chamber musician, educator, author and broadcaster.As a concerto soloist he appears regularly with the world's leading orchestras and conductors, including the Berlin Philharmonic, National Symphony Orchestra Washington, London Philharmonic and Zurich Tonhalle orchestras. He gives recitals every season in major musical centres, and plays with many of the world's foremost chamber orchestras, including the Australian, Mahler, Norwegian, Scottish, Zurich and St Paul Chamber Orchestras, as well as period-instrument ensembles such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra. Unusually, he also directs chamber orchestras from the cello in classical programmes.Recent and upcoming highlights include performances with the Gewandhausorchester Leipzig, Vienna Philharmonic Orchestra at the Salzburg Mozartwoche; the US premiere of Thomas Adès's Lieux retrouvés with the Los Angeles Philharmonic, following world and UK premieres in Lucerne and at the BBC Proms, and a further performance of the work in Amsterdam with the Britten Sinfonia, conducted by the composer; Prokofiev's Concerto Op. 58 with the London Philharmonic Orchestra under Vladimir Jurowski, in London and at the Dresden Music Festival; and Haydn's C major Concerto with the Orchestra of the Age of Enlightenment under Adam Fischer.As a chamber musician, he has curated series for many of the world's most famous festivals and venues, including the Wigmore Hall, the 92nd St Y in New York, and the Salzburg Festival. These specially devised programmes have included ‘In the Shadow of War', a major four-part series for the Wigmore Hall to mark the centenary of the First World War and the 75th anniversary of the Second World War; explorations of Czech music; the teacher-pupil line of Saint-Saëns, Fauré and Ravel; the affinity of the cello and the human voice; varied aspects of Robert Schumann's life and music; and the music of Sergei Taneyev (teacher of Steven's grandfather, Julius Isserlis) and his students. For these concerts Steven is joined by a regular group of friends which includes the violinists Joshua Bell, Isabelle Faust, Pamela Frank, and Janine Jansen, violist Tabea Zimmermann, and pianists Jeremy Denk, Stephen Hough, Alexander Melnikov, Olli Mustonen, Connie Shih, and Dénes Várjon.He also takes a strong interest in authentic performance. This season's projects include a recording of the Chopin Cello Sonata and other works with Dénes Várjon for Hyperion, using ones of Chopin's own piano; and a recital of Russian sonatas with Olli Mustonen. In recital, he gives frequent concerts with harpsichord and fortepiano. Recent seasons have featured a special performance with Sir Andras Schiff at the Beethovenhaus in Bonn, using Beethoven's own cello; and performances and recordings (selected for the Deutsche SchallplattenPreis) of Beethoven's complete music for cello and piano with Robert Levin, using original or replica fortepianos from the early nineteenth century. With harpsichordist Richard Egarr, he has performed and recorded the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti. This season, they tour together in the US.He is also a keen exponent of contemporary music and has premiered many new works including John Tavener's The Protecting Veil (as well as several other pieces by Tavener), Thomas Adès's Lieux retrouvés, Stephen Hough's Sonata for Cello and Piano, Left Hand (Les Adieux), Wolfgang Rihm's Concerto in One Movement, David Matthews' Concerto in Azzurro, and For Steven and Hilary's Jig by György Kurtág. In 2016, he gave the UK premiere of Olli Mustonen's of Frei, aber einsam for solo cello at the Wigmore Hall.

Mitschnitt des 2. Konzertes von Studierenden der Joseph Haydn Privathochschule im ORF Landesstudio Burgenland vom 23. April. Zwei junge Studierende haben dabei ihre Virtuosität am Klavier zum Besten gegeben: Jack Dauner und Wufan Cao. Sie spannten den musikalischen Bogen von Robert Schumann über Maurice Ravel, Franz Liszt bis Modest Mussorgsky. Moderiert wurde das Konzert vom Rektor der Joseph Haydn Privathochschule Burgenland Gerhard Krammer.

durée : 02:05:11 - Musique matin du lundi 21 avril 2025 - par : Jean-Baptiste Urbain - Découvreuse de futurs talents, Claire Désert ne manque pas d'intuition. C'est d'ailleurs le thème qu'elle explore dans son nouvel album "Pressentiment", où la pianiste rassemble des œuvres nébuleuses de Leoš Janáček, Robert Schumann, Arnold Schoenberg et Johannes Brahms. - réalisé par : Delphine Keravec

durée : 00:28:56 - Claire Désert, pianiste - Découvreuse de futurs talents, Claire Désert ne manque pas d'intuition. C'est d'ailleurs le thème qu'elle explore dans son nouvel album "Pressentiment", où la pianiste rassemble des œuvres nébuleuses de Leoš Janáček, Robert Schumann, Arnold Schoenberg et Johannes Brahms.

Robert Schumann is a big name in classical music. However, in his own lifetime, Robert Schumann wasn't “the” Schumann. His wife was the famous one. Clara Schumann was an internationally known virtuoso who delighted audiences for 60 years, including the periods before, during, and after her eight pregnancies, Robert's illness, and eventual death. Visit the website (herhalfofhistory.com) for sources, transcripts, and pictures. Support the show on my Patreon page for bonus episodes, polls, and a general feeling of self-satisfaction. Or make a one-time donation on Buy Me a Coffee. Join Into History for a community of ad-free history podcasts plus bonus content. Visit Evergreen Podcasts to listen to more great shows. Follow me on Threads as Her Half of History. Music used in this episode include the following free or licensed tracks: · Robert Schumann's Kinderszenen, Op. 15: Träumerei · Clara Schumann's Soirees Musicales Opus 6: Ii. Notturno , performed by David Ezra Okonsar · Robert Schumann's Album for the Young, Op. 68, No. 10 "The Happy Farmer," performed by Trygve Larsen from Pixabay · Clara Schumann's Variations on a Theme by Robert Schumann, Opus 20, performed by David Ezra Okonsar · Clara Schumann's Soirees Musicales Opus 6: I. Toccatina, performed by David Ezra Okonsar Learn more about your ad choices. Visit megaphone.fm/adchoices

«Ein Roman in vier Teilen mit himmlischer Länge» - so bezeichnete Robert Schumann die Sinfonie Nr. 8 in C-Dur von Franz Schubert. Das sinfonische Meisterwerk, auch bekannt als die «Grosse C-Dur», galt mit einer Dauer von etwa einer Stunde zu Schuberts Lebzeiten als das längste Instrumentalwerk überhaupt. Die Sinfonie beeindruckt noch heute mit ihrer epischen Länge und künstlerischen Tiefe. Ihre Entstehungsgeschichte war lange Zeit unklar: Obwohl das Manuskript das Jahr 1828, Schuberts Todesjahr, trägt, geht man davon aus, dass das Werk früher komponiert wurde. Schubert hat die Sinfonie allerdings nie gehört, sie wurde nicht aufgeführt, da sie als «unspielbar» und zu lang galt. Erst 1839 wurde sie von Robert Schumann entdeckt und im gleichen Jahr von Felix Mendelssohn im Gewandhaus Leipzig uraufgeführt. In der Diskothek stehen fünf Interpretationen von Schuberts Grosser C-Dur-Sinfonie zur Diskussion. Gäste von Eva Oertle sind die Musikpublizistin Verena Naegele und der Dirigent Manuel Oswald.

On the latest episode of ‘New Classical Tracks,' countertenor Aryeh Nussbaum Cohen and pianist John Churchwell present music by Korngold, Brahms, and Clara and Robert Schumann, as heard on their most recent recording. Listen now with host Julie Amacher!

Journey up the Rhine River, as lovingly portrayed in Robert Schumann's Rhenish Symphony. Listen for the flowing water and contemplate the majesty of the Cologne Cathedral. To begin, Nikolaj Szeps-Znaider leads and performs the rich and alluring melodies of Bruch's First Violin Concerto. Pierre Boulez's iridescent Livre pour cordes marks the centenary of the composer's birth. This program will also be performed at Wheaton College on Friday, March 28. Learn more: cso.org/performances/24-25/cso-classical/bruch-and-schumann-rhenish

Beethovens Sinfonie Nr. 4: Verschiedene Interpretationen im Vergleich – ein Live-Mitschnitt vor Publikum . Die Dritte ist die Heroische. Die Fünfte die mit dem berühmten Schicksalsmotiv. Und die Vierte? Robert Schumann nannte sie «griechisch schlank», Ludwig Rellstab «ein gereiztes Raubthier». Ja, was nun? Entstanden ist Beethovens 4. Sinfonie im Spätsommer 1806. Ein Jahr später, 1807, wurde sie im Palais Lobkowitz in Wien uraufgeführt: «Ein Werk, sprühend vor Genialität, Feuer und Effect». Mit diesen Worten feierte ein Rezensent der Allgemeinen musikalischen Zeitung das neue Werk. «Allzu bizarr, unverständlich und abschreckend», lautete dagegen das Verdikt in einer anderen Rezension derselben Musikzeitschrift. Ja, was denn nun: genial, bizarr – oder beides zusammen? An Beethovens Vierter scheiden sich offenbar die Geister. Denn sie steckt voller Widersprüche. Und genau das macht die Diskussion darüber so spannend! Annelis Berger vergleicht verschiedene Interpretationen im Gespräch mit der Komponistin und Geigerin Helena Winkelmann und dem Dirigenten und Cellisten Matthias Kuhn.

SynopsisOn today's date in 1908, the Hoffman String Quartet gave a recital at Boston's Potter Hall, opening their program with a Romantic classic, Robert Schumann's String Quartet from 1842, followed by much more modern fare — Debussy's String Quartet written in 1893.And to close their program, the Hoffman Quartet premiered a brand-new contemporary work: a piano quintet by American composer Amy Beach, with the composer at the piano.The Boston Globe's critic noted “the audience was of goodly proportions and very demonstrative in its appreciation of Mrs. Beach's composition,” but (critics being critics), did a little nit-picking, concluding, “The work is thoroughly good, though a little too choppy at times.” The critic from The Boston Evening Transcript had fewer nits to pick, writing: “The quintet begins in the luminous key of F-sharp minor, and throughout Mrs. Beach modulates freely … [she] has sought a modern sonority of utterance … Her rhythms spurred the ear, and her harmonies [have] tang and fancy … In imagination, feeling, and expression, it is distinctly rhapsodic. Mrs. Beach can think musically in truly songful melodies, and such are the themes of her new quintet.”Music Played in Today's ProgramAmy Beach (1867-1944): Piano Quintet; Garrick Ohlsson, piano; Takács Quartet; Hyperion CDA-68295

Robert Schumann und seine innere Zerrissenheit. Vielmehr: Schumann war psychisch krank, vielleicht aufgrund einer Syphilis-Erkrankung, es könnte aber auch eine bipolare Störung gewesen sein. Jedenfalls war es offenbar ein ziemliches Auf und Ab mit Angstzuständen und Wahnvorstellungen, zwischendurch muss er wieder sehr klar gewesen sein. Im Februar 1854, kurz vor Fasching, wurde es ganz plötzlich besonders schlimm und in einem unbeobachteten Moment schlüpft er aus der Düsseldorfer Wohnung, nahe am Rhein. Und landet: mitten im Karnevalszug.

This weekend, Interlochen collaborative pianist Hyemin Kim presents the first recital in a yearlong series at the Music House Museum. It's called "Women's Life and Love," and Kim will perform with soprano Yeseul Choi. Kim and Choi visited IPR's Studio A to give a musical preview of this weekend's recital. They performed two songs from Robert Schumann's cycle "Women's Life and Love," or "Frauenliebe und Leben." The series is called "Classical Voyage: Intimate Musical Storytelling at the Museum" and will include at least three more recitals in 2024.

Robert Schumann - Adagio and AllegroKarine Georgian, celloJan Willem Nelleke, pianoMore info about today's track: Naxos 8.572375Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

On the latest episode of ‘New Classical Tracks,' with host Julie Amacher, French cellist Christian-Pierre La Marca pays tribute to Clara and Robert Schumann on his latest album inspired by their love letters. Listen now!

Robert Schumann schreibt sein einziges Klavierkonzert in der wohl glücklichsten Phase seines Lebens: Endlich ist er mit Clara, der Liebe seines Lebens, verheiratet und kann durchstarten. Aus ihrem Namen leitet er die Töne des Hauptmotivs ab, auf dem das ganze Werk basiert. Eng verzahnt er Klavier- und Orchesterpart und schreibt der Pianistin seines Herzens eine höllisch schwere Solokadenz auf den Leib. Von Michael Lohse.

These days I find myself in a pensive, troubled state, very much in need of the kind of consolation that only music can provide. A number of years ago, I published a pair of episodes featuring the sublime Margaret Price performing music of mourning and consolation. Today's episode presents an expanded and refurbished version of the second of those episodes, in a program composed entirely of art song, moving through a sequence of emotions surrounding loss. Composers include Johannes Brahms, Giuseppe Verdi, Robert Schumann, Enrique Granados, Franz Schubert, Grace Williams, Sergei Rachmaninov, Felix Mendelssohn, Philip Cannon, Hugo Wolf, Alban Berg, Maurice Ravel, Franz Liszt, Peter Cornelius, and Richard Strauss, and collaborating pianists and conductors include Claudio Abbado, Wolfgang Sawallisch, Cyprien Katsaris, Geoffrey Parsons, and Neville Marriner, as well as frequent collaborators James Lockhart and Thomas Dewey. A thorough traversal of the song repertoire by one of the supreme recitalists of the late 20th Century. 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.

From the critically acclaimed artist, designer, and author of the bestsellers The Principles of Uncertainty, My Favorite Things, and Women Holding Things comes a moving meditation in words and pictures on remorse, joy, ancestry, and memory. REGISTER In Conversation with Alex Conner Maira Kalman's most autobiographical and intimate work to date, Still Life with Remorse is a beautiful, four-color collection combining deeply personal stories and 50 striking full-color paintings in the vein of her and Alex Kalman's acclaimed Women Holding Things. Tracing her family's story from her grandfather's birth in Belarus and emigration to Tel Aviv--where she was born--Maira considers her unique family history, illuminating the complex relationship between recollection, regret, happiness, and heritage. The vibrant original art accompanying these autobiographical pieces are mostly still lifes and interiors which serve as counterpoints to her powerful words. In addition to vignettes exploring her Israeli and Jewish roots, Kalman includes short stories about other great artists, writers, and composers, including Leo Tolstoy, Franz Kafka, Gustav Mahler, and Robert Schumann. Through these narratives, Kalman uses her signature wit and tenderness to reveal how family history plays an influential role in all of our work, lives, and perspectives. A feat of visual storytelling and vulnerability, Still Life with Remorse explores the profound hidden in the quotidian, and illuminates the powerful universal truths in our most personal family stories. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! (recorded 10/29/2024)

Robert Schumann - Piano Concerto in A Minor: I. AllegroJeno Jando, piano Budapest Symphony Orchestra Andras Ligeti, conductorMore info about today's track: Naxos 8.556662Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon