Podcasts about Robert Schumann

Donald Macleod explores Robert Schumann's years in Dusseldorf – the city where he would spend the final years of his life. Despite often being portrayed as a creative disaster, during this period, Schumann was greatly inspired by the city and by the countryside which surrounded it, and would write some of his greatest music.Music featured: Marchenbilder, Op 113 (1st mvt, Nicht schnell) Symphony No 3 in E-flat major ‘Rhenish' Op 97 5 Lieder, Op 40 (No 4, Der Spielmann) Geistervariationen in E-flat major for piano, WoO 24 Violin Concerto in D minor, WoO 23 (2nd & 3rd mvts) Konzertstück for 4 Horns and Orchestra, Op 86 (1st mvt) Lieder und Gesange aus Wilhelm Meister, Op 98a Scenes from Goethe's Faust, Part 3 (excerpt) The Bride of Messina Overture Kinderszenen, Op 15 (No 7 Träumerei) Genovera Overture Op 81 Sechs Gesange, Op 107 (No 6 Abendlied) Adventlied (excerpt) Mass in C minor, Op 147 (Gloria) Symphony No 4 in D minor, Op 120 (1st mvt) Manfred Overture, Op 115 Cello Concerto in A minor, Op 129 Violin Sonata No 1 in A minor, Op 105 (2nd mvt) Der Rose Pilgerfahrt, Op 112 Marchenerzahlungen, Op132 (No 3) Fantasy for Violin and Orchestra in C major, Op 131 Introduction and Concert Allegro, Op 134 Blumenstuck in D-flat Major, Op 19 Wenn mein Stundlein vorhanden istPresented by Donald Macleod Produced by Sam Phillips for BBC Audio Wales & 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 Robert Schumann (1810-1856) https://www.bbc.co.uk/programmes/m002hwtc 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

This Day in Legal History: SCOTUS Rejects Challenge to BrownOn September 12, 1958, the U.S. Supreme Court issued a unanimous decision in Cooper v. Aaron, firmly rejecting a challenge by the State of Arkansas to the enforcement of Brown v. Board of Education. In the wake of Brown, which declared racial segregation in public schools unconstitutional, Arkansas officials sought to delay desegregation efforts in Little Rock, citing violent resistance and the need to preserve public order. The state's governor and legislature argued they were not bound by the Court's ruling.The Supreme Court rejected that claim unequivocally. In a rare decision signed by all nine justices, the Court reaffirmed the supremacy of the Constitution and the binding nature of its interpretations. It stated that the Constitution is the "supreme law of the land," and that the Court's rulings are final and must be followed by all states, regardless of political disagreement or local unrest.The ruling was a direct rebuke to Governor Orval Faubus, who had used the Arkansas National Guard to block the entry of nine Black students into Little Rock Central High School in 1957. President Eisenhower had responded by sending federal troops to enforce the desegregation order. Cooper v. Aaron underscored the federal judiciary's power to enforce constitutional rights, even in the face of open defiance by state authorities.The Court's opinion in Cooper was a pivotal moment in the civil rights movement, signaling that federal law could not be nullified by state action. It also clarified that resistance to judicial decisions, especially on constitutional matters, was itself unconstitutional. By reasserting its own authority and that of the federal government, the Court helped ensure that desegregation would proceed, however slowly, across the South.Senate Republicans pushed through a rule change aimed at speeding up the confirmation of President Donald Trump's executive-branch nominees. In a 53-45 vote, the GOP majority limited the ability of Senate Democrats to slow the process, allowing groups of nominees to be confirmed together rather than individually. The change does not apply to Cabinet heads or federal judges.Senate Majority Leader John Thune defended the move, saying the chamber was being bogged down by procedural delays. In contrast, Democratic Senator Adam Schiff warned the rule change weakens institutional checks on presidential power, calling it a further erosion of Senate independence. Senate Democratic Leader Chuck Schumer criticized it as enabling a “conveyor belt of unqualified nominees.”This is the third significant alteration in 12 years to Senate rules that weaken the minority party's influence, a trend that began with Democrats in 2013 and continued under Republicans in 2017. Critics argue the Senate is drifting away from its traditional role as a stabilizing body in the legislative process. The first group of Trump nominees could see expedited confirmation as early as next week. Stephen Miran's Federal Reserve nomination will proceed under the prior rules.US Senate loosens rule to speed confirmation of some Trump nominees | ReutersA federal judge in Seattle issued a nationwide injunction blocking the Trump administration from enforcing a policy that would have barred undocumented children from enrolling in Head Start, a federal preschool program for low-income families. Judge Ricardo Martinez ruled that the U.S. Department of Health and Human Services (HHS) lacked the authority to impose immigration-based restrictions on access to Head Start, criticizing the agency for failing to follow proper rulemaking procedures.The decision followed a similar ruling one day earlier from a federal judge in Rhode Island, which halted the policy in 21 Democratic-led states and the District of Columbia. The Seattle lawsuit was brought by Head Start associations from Illinois, Pennsylvania, Washington, and Wisconsin, along with two parent advocacy groups. They challenged a July directive that expanded the interpretation of the 1996 Personal Responsibility and Work Opportunity Reconciliation Act (PRWORA) to include Head Start among programs limited to legal residents.Since 1998, HHS had interpreted the law as not applying to non-postsecondary education programs like Head Start. Judge Martinez stated that Congress had effectively endorsed that interpretation by not altering the law and had even broadened access to Head Start over time. Despite recent limits by the U.S. Supreme Court on nationwide injunctions, Martinez justified his decision as necessary to provide uniform relief.Trump policy barring migrants from Head Start blocked nationwide | ReutersThe U.S. Department of Justice filed a lawsuit against Uber Technologies, accusing the company of violating the Americans with Disabilities Act (ADA) by discriminating against riders with disabilities. Filed in federal court in San Francisco, the complaint alleges that Uber drivers have routinely denied rides to passengers who use service animals or wheelchairs, and sometimes insulted or mistreated them.The DOJ claims that Uber also imposed illegal fees on disabled riders, including cleaning charges for service animals and cancellation fees for rides that drivers refused to complete. The lawsuit details incidents involving 17 individuals, such as a 7-year-old amputee denied a ride due to his wheelchair, a veteran with a service dog who missed a flight after being refused service, and a blind man in New Jersey whose ride requests were repeatedly canceled.The government is seeking an injunction to stop further violations, mandatory improvements to Uber's policies and training, monetary damages for those affected, and a civil penalty. In response, Uber denied the allegations, stating it has a zero-tolerance policy for discrimination and is committed to accessibility and inclusion for riders with disabilities.US sues Uber, alleges discrimination against disabled riders | ReutersWe'll see you back here on Monday and, until then, note. We like to close out the week of shows with a featured musical piece. That will make these Friday episodes seem especially long. We hope you'll stick it out and enjoy the featured piece but, if music – specifically classical music – isn't your bag, we get it. Our mouth sounds unrelated to the week's closing music ends here.This week's closing theme is by Clara Schumann.This week's closing music features a brilliant piece by Clara Schumann, a composer, pianist, and musical force whose work was often overshadowed by the men around her—most notably her husband Robert Schumann and close friend Johannes Brahms. Yet Clara was a prodigy in her own right, performing across Europe and composing with a clarity and emotional depth that demanded attention in a male-dominated 19th-century musical world.Her Scherzo No. 2 in C Minor, Op. 14, written in 1845, is a striking example of her compositional voice—bold, technically challenging, and emotionally complex. The piece opens with stormy, rapid-fire passages that give way to more lyrical interludes, showcasing Clara's mastery of contrast and dramatic pacing. It's music that demands virtuosity but also rewards listeners with its structural elegance and passionate energy.As you listen, consider how Clara's work stood alongside—and at times surpassed—that of her more famous peers. Her Scherzo No. 2 is not just a curiosity from a historical figure, but a work of enduring artistic merit that more than earns its place in the canon.Without further ado, Clara Schumann's Scherzo No. 2 in C Minor, Op. 14, 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

durée : 01:28:24 - Jonas Kaufmann, célèbre ténor passionné par le lied - par : Aurélie Moreau - Un nouveau disque de Jonas Kaufmann : les Dichterliebe et Kerner-Lieder de Robert Schumann, accompagnés par le pianiste Helmut Deutsch (Sony Classical). Au programme aujourd'hui, ainsi que des airs et lieder de Verdi, Puccini, Wagner et Schubert. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:42 - Jonas Kaufmann par Charlotte Landru-Chandès - En compagnie de Charlotte Landru-Chandès de France Musique, rencontre avec Jonas Kaufmann à l'occasion de la parution de son nouveau disque. Le plus célèbre des ténors de la planètes a enregistré deux cycles de Robert Schumann : les Dichterliebe et les Kerner-Lieder. Enfin ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:57:34 - Musique matin du mardi 09 septembre 2025 - par : Jean-Baptiste Urbain - En compagnie de Charlotte Landru-Chandès de France Musique, rencontre avec Jonas Kaufmann à l'occasion de la parution de son nouveau disque. Le plus célèbre des ténors de la planète a enregistré deux cycles de Robert Schumann : les Dichterliebe et les Kerner-Lieder. Enfin ! - réalisé par : Yassine Bouzar Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Yefim Bronfman will perform at Howland Center Akiko Sasaki, music director of the Howland Chamber Music Circle, is crushing it. For the second year in a row, she has booked a pianist used to performing in the world's grandest halls for a recital on the music circle's Steinway grand at the Howland Cultural Center in Beacon. Last year, she landed Emanuel Ax. On Feb. 4, Yefim Bronfman will arrive in Beacon after touring Asia and Europe and playing Carnegie Hall. Bronfman, 67, who was born in the Soviet Union and immigrated to Israel at age 15, has been nominated for six Grammy Awards and won in 1997 for a recording with Esa-Pekka Salonen and the Los Angeles Philharmonic of the three Bartók piano concerti. His program will be announced later. In October, Ax performed two Beethoven pieces and another by Robert Schumann - consisting of thousands of notes - off the top of his head. He also played two modern pieces by Arnold Schoenberg. The season, which features a bunch of other Grammy winners, opens Sept. 14 with a Beethoven tribute by violinist Joseph Lin and Friends that has already sold out. Bronfman's visit is on top of the Music Circle's annual piano series-within-a-series. Sasaki, a pianist herself, is featuring Fei Fei (Jan. 11), Timo Andres and Aaron Diehl (Jan. 25), Jeremy Denk (Feb. 15, also sold out) and Isata Kanneh-Mason (May 17). Sasaki has also arranged some wild combos - for classical music. Two Grammy winners will appear onstage together on April 26 when mezzo soprano Fleur Barron (2025 for Best Opera Recording) teams up with the Parker Quartet (2011 for Chamber Music Performance). "Voice and string quartet collaborations are not common, but they do exist and can be very powerful," says Sasaki. Another unusual pairing will take place Oct. 12 when Stephen Banks joins the Verona Quartet on saxophone, an instrument more commonly associated with jazz, soul and funk. The quartet appeared at the Howland Center in 2022, and Sasaki learned that it had worked with Banks on a composition by Christopher Theofanidis. In addition to Banks' adaptation of a Mozart work and an original piece, the concert will include Theofanidis' Visions of the Hereafter (after Hieronymus Bosch). The Akropolis Reed Quintet, the first ensemble of its kind to win a Grammy, presents another unorthodox combination: oboe, clarinet, bassoon, saxophone and bass clarinet (Nov. 2). Brazilian guitarist Plinio Fernandes will appear with flutist Brandon Patrick George (a Grammy winner with Imani Winds) on May 3. Although guitar ensembles are a thing, the Galvin Cello Quartet (March 29) is a rare bird consisting of young musicians from diverse backgrounds playing the same instrument. As some fans fret about the future of classical music, almost all the performers during the 2025-26 season demonstrate that the genre is adapting. The Howland Cultural Center is located at 477 Main St. in Beacon. Tickets are $25 ($10 for students younger than 26) at howlandmusic.org/tickets; those for the Bronfman performance are $60 ($15 for students). Each concert is followed by a reception

Was lange währt, wird endlich gut. Die Reaktionen auf Robert Schumanns 2. Sinfonie von Publikum und Verlagswelt sind zunächst zurückhaltend bis ablehnend. Zehn Jahre und zwei veröffentlichte Sinfonien später, holt der Komponist sie aus der Schublade hervor und überarbeitet die Instrumentierung. Wie die nun 4. Sinfonie ankommt, erfahren Sie in der kurzen Werkeinführung mit Yaltah Worlitzsch. Schon gewusst? Zahlreiche Konzerte der NDR Ensembles finden Sie auf YouTube im Channel "ARD Klassik" oder in der ARD Mediathek. https://www.youtube.com/@ARDKlassik https://www.ardmediathek.de/kultur_klassik Abonnieren Sie "Klassik to Go" und finden Sie weitere spannende Angebote des NDR in der ARD Audiothek! https://www.ardaudiothek.de/sendung/klassik-to-go/10778959/

durée : 00:06:51 - Musique matin - par : Max Dozolme - «Embrasse-moi, embrasse-moi beaucoup», «Besame, besame mucho»... Derrière ce boléro composé en 1941 par la pianiste mexicaine Consuelo Velazquez, se cache une beauté classique qui se souvient peut-être d'un air d'opéra et d'un célèbre concerto romantique... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

O Concerto para Piano em Lá menor, Op. 54 de Robert Schumann possui três movimentos tocados sem pausas entre si (attacca), formando uma estrutura contínua. Os tempos de cada movimento variam um pouco de acordo com a gravação, mas geralmente seguem este padrão aproximado:A estreia do primeiro movimento ( Phantasie ) ocorreu em 13 de agosto de 1841 no Gewandhaus em Leipzig, com Clara Schumann como solista. A versão completa em três movimentos foi estreada em Dresden em 4 de dezembro de 1845, novamente com Clara Schumann e o maestro Ferdinand Hiller, que a dedicou , como maestro. Menos de um mês depois, em 1º de janeiro de 1846, o concerto foi apresentado em Leipzig, sob a regência de Felix Mendelssohn .Apresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg e Rafael Hassan.

Einst komponiert als Hochzeitsgeschenk: Christian Gerhaher und Julia Kleiter überzeugen bei den Münchner Opernfestspielen mit Robert Schumanns "Myrthen"-Liederkreis.

Robert Schumann - BrautgesangAquarius Marc Michael de Smet, conductorMore info about today's track: Naxos 8.570456Courtesy 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

Interpreten: Anna ReichertLabel: Prospero ClassicalEAN: 4262353970638Johann Carl Eschmann – ein Name, der selbst eingefleischten Klassikliebhabern kaum geläufig sein dürfte. Und doch war der Schweizer Komponist ein hochgeschätzter Zeitgenosse von Mendelssohn und Brahms, letzterer empfahl ihn sogar persönlich seinem Verleger. Klaviermusik aus seiner Feder gibt es auf der jüngsten CD der Pianistin Anna Reichert kennenzulernen, die auch heute wieder Michael Gmasz näher vorstellt.Geboren in Winterthur, stammte Johann Carl Eschmann aus einer musikalischen Familie. Studiert hat er am renommierten Leipziger Konservatorium, unter anderem bei Felix Mendelssohn-Bartholdy und Ignaz Moscheles. Darüber hinaus pflegte Eschmann enge Kontakte zu bedeutenden Musikern seiner Zeit – darunter Richard Wagner, der ihm eine Serenade widmete, und Johannes Brahms, der ihn geschätzt und sogar seinem Verleger Simrock empfohlen hat. Und doch ist es ihm ähnlich ergangen, wie so vielen anderen auch. Er ist mehr oder weniger in Vergessenheit geraten. Seine Musik? Fein ziseliert, lyrisch, zurückhaltend – beeinflusst von Robert Schumann und seinem Lehrer Mendelssohn-Bartholdy. Seiner Wiederentdeckung hat sich nun die junge Schweizer Pianistin Anna Reichert verschrieben.Auf ihrem neuen Album „Licht und Schatten“ präsentiert Reichert eine Auswahl von Eschmanns Klavierwerken. Und das tut sie mit einer Hingabe, die berührt: charmant, nuancenreich, mit spürbarer Vertrautheit zur Musik. Jeder Ton wirkt durchdacht, jeder Phrasierungsbogen liebevoll gestaltet. Besonders hervorzuheben ist die Suite Licht und Schatten op. 62, die mit poetischen Titeln wie Sommernacht in der Veranda (am Zürichersee), Durch Wald und Flur oder Phantome eine fast bildhafte Klangwelt eröffnet. Auch die Werke aus den Zyklen Grillenfang, Trösteinsamkeit und Frühlingsblüten zeigen Eschmanns Gespür für Stimmungen und musikalische Miniaturen. Ihre intensive Beschäftigung mit ihrem Landsmann Eschmann drückt Anna Reichert auch im selbstverfassten Beihefttext aus, in dem sie uns den Komponisten auch persönlich ein wenig näherbringt. Wer also Lust hat, einen Komponisten neu zu entdecken, der einst von den Großen geschätzt wurde, sollte unbedingt reinhören. (mg)

Cette semaine, "Le Paris des Arts" pose ses caméras à Vienne, ville impériale où la tradition musicale flirte avec la modernité. Nous allons à la rencontre de celles et ceux qui font vibrer la capitale autrichienne, à commencer par notre invitée, la cheffe d'orchestre Laurence Equilbey. Pour la première fois, elle s'est produite dans la mythique salle dorée du Musikverein avec son chœur Accentus et son orchestre Insula Orchestra, pour interpréter "Le Paradis et la Péri" de 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

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!

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.

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

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

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

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.

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!

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)