Podcast appearances and mentions of saint sa

durée : 01:28:47 - par : Lionel Esparza - Danse lente à trois temps, plutôt baroque mais pas seulement, la sarabande et ses déclinaisons traversent les siècles et font danser Haendel, Britten, Saint-Saëns... - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:47 - par : Lionel Esparza - Danse lente à trois temps, plutôt baroque mais pas seulement, la sarabande et ses déclinaisons traversent les siècles et font danser Haendel, Britten, Saint-Saëns... - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:28 - par : Aurélie Moreau - Brillant soliste et chambriste inspiré, Edgar Moreau se joint à ses frères David, violoniste et Jérémie, pianiste, pour interpréter les Trios de Schubert (nouvel album Erato). Egalement au programme : Korngold, Saint-Saëns, Platti, Tchaïkovski… - réalisation : Cécile Bonnet des Claustres, Anthony Maillet de Santis - invités : Edgar Moreau Violoncelliste (1994, Paris), Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:31 - par : Lionel Esparza - Figure majeure de la mythologie, Hercule a inspiré de nombreux compositeurs, de Haendel à Gluck et Saint-Saëns, qui en ont proposé des lectures musicales variées à travers les siècles. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:31 - par : Lionel Esparza - Figure majeure de la mythologie, Hercule a inspiré de nombreux compositeurs, de Haendel à Gluck et Saint-Saëns, qui en ont proposé des lectures musicales variées à travers les siècles. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Après un premier album commun aux accents plutôt romantiques, Gabriel Pidoux et Jorge Gonzalez Buajasan nous invitent à un nouveau voyage au cœur du répertoire français du 20ème siècle. Ce programme, publié par le label Oktav Records, met à l'honneur des compositeurs qui ont contribué au renouveau du hautbois en France. Ils nous offrent ainsi leurs lectures des sonates de Saint-Saëns, Poulenc et Dutilleux complétées par deux trios pour hautbois, basson et piano enregistrés avec la bassoniste Marie Boichard. Les deux musiciens nous éclaireront sur ce programme et sur leurs projets respectifs eux qui sillonneront cet été la France des festivals avec différents partenaires, dont les musiciens d'un tout nouvel ensemble, Le Chapitre, fondé par Gabriel Pidoux. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:16:28 - par : Lionel Esparza - Gravé à Detroit le 12 octobre 1957 pour Mercury Living Presence, cet enregistrement de la Symphonie n° 3 avec orgue de Saint-Saëns réunit le chef Paul Paray et son ami d'enfance Marcel Dupré dans une version technicolor devenue culte. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:16:28 - par : Lionel Esparza - Gravé à Detroit le 12 octobre 1957 pour Mercury Living Presence, cet enregistrement de la Symphonie n° 3 avec orgue de Saint-Saëns réunit le chef Paul Paray et son ami d'enfance Marcel Dupré dans une version technicolor devenue culte. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:07 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le Kaleidoscope Chamber Collective met en lumière la compositrice croate Dora Pejačević, contemporaine de Brahms. Ce matin également, de la musique française avec l'unique symphonie de Chausson et le violon virtuose de Saint Saëns. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:28:07 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le Kaleidoscope Chamber Collective met en lumière la compositrice croate Dora Pejačević, contemporaine de Brahms. Ce matin également, de la musique française avec l'unique symphonie de Chausson et le violon virtuose de Saint Saëns. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Das Publikum ist überwältigt von dem gerade einmal zehn Jahre alten Pianisten: Camille Saint-Saëns. Als "neuer Mozart" wird er gefeiert. Nur einer kann sich nicht so recht darüber freuen: Saint-Saëns selbst.

Donald Macleod explores the life and music of Camille Saint‑Saëns, a composer whose career was shaped as much by personality and circumstance as by precocious talent. Raised in Paris by strong‑minded women who recognised his gifts early, Saint‑Saëns grew into a formidable pianist and an alert observer of the musical world around him. He moved easily through the city's salons, where reputations were made, ideas exchanged, and music absorbed as a social force as much as an art. Alongside influential relationships, including a lasting creative bond with Gabriel Fauré, Saint‑Saëns was drawn into a life increasingly shaped by travel.Music featured includes: Danse macabre, Op. 40 Calme des nuits (Deux Chœurs, Op. 68 No. 1) Violin Sonata No. 1 in D minor, Op. 75 Oratorio de Noël, Op. 12 (Movements 1–4) Symphony No. 1 in E flat major, Op. 2 Tarantelle in A minor, Op. 6 Piano Quintet in A minor, Op. 14 Violin Concerto No. 1 in A major, Op. 20 Piano Concerto No. 2 in G minor, Op. 22 Le timbre d'argent (extract) Marche héroïque, Op. 34 La jeunesse d'Hercule, Op. 50 A Voice by the Cedar Tree Romance in C major, Op. 48 Romance, Op. 36 Le Déluge: Prelude Samson et Dalila: “Mon cœur s'ouvre à ta voix” Requiem, Op. 54 (extracts) Suite algérienne, Op. 60: Prélude Étienne Marcel: Ballet Music (extracts) Cello Concerto No. 1, Op. 33 Le carnaval des animaux Oboe Sonata in D major, Op. 166Presented by Donald Macleod Produced by Ellie Ajao 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 Camille Saint-Saëns (1835-1921) https://www.bbc.co.uk/programmes/m002v8nk.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.

Camille Saint-Saëns (1835 -1921) – Settimino in Mi bemolle maggiore, Op. 651.      Préambule - 0:032.      Menuet - 3:543.      Intermède - 8:014.      Gavotte et Final - 12:52 André Previn, pianoforteThomas Stevens, trombaJulie Rosenfeld, violinoAni Kavafian, violinoToby Hoffman, violaCarter Brey, violoncelloJack Kulowitsch, contrabasso

durée : 01:28:04 - par : Aurélie Moreau - Né en 1835, Saint-Saëns fut enfant prodige, organiste virtuose et compositeur prolifique. De Samson et Dalila au Carnaval des animaux, il marqua la musique française et créa la Société nationale de musique pour défendre les jeunes talents. - réalisation : Cécile Bonnet des Claustres, Florian Ditre - invités : Aurélie Moreau Productrice Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Il est l'un des premiers contrebassistes à se lancer dans une carrière exclusive de soliste. Marc André est en train de relever un sacré défi : mettre son instrument sur le devant de la scène en déployant ses capacités lyriques mais aussi sa douceur et sa tendresse. Son premier album, « Mirage » sorti chez Warner est ainsi empreint de nostalgie et témoigne d'une grande subtilité. Car si la contrebasse est imposante, elle ne doit pas, pour autant, être uniquement associée à la lourdeur d'un éléphant comme l'a fait Saint-Saëns dans son Carnaval des animaux. Le jeune musicien nous racontera ce soir sa démarche, lui qui a toujours cherché à faire chanter la contrebasse et a fait rajouter une cinquième corde à son instrument pour lui donner davantage de clarté et élargir sa tessiture. C'est ainsi qu'il aborde dans cet album, à travers la transcription, un répertoire particulièrement varié, de Gluck à Piazzolla, en passant par Dvorak, Schumann, Debussy ou encore la musique de film. Marc André sera en concert le 12 juin au Festival de Saint-Denis en compagnie du guitariste Gabriel Bianco. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:14:01 - par : Lionel Esparza - En 1976-1977, deux jeunes pianistes français — Michel Béroff, 26 ans, et Jean-Philippe Collard, 28 ans — enregistrent à Paris le Carnaval des animaux de Saint-Saëns pour EMI, entourés d'une brochette de solistes français de premier plan. Un disque qui reste aujourd'hui une référence. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:14:01 - par : Lionel Esparza - En 1976-1977, deux jeunes pianistes français — Michel Béroff, 26 ans, et Jean-Philippe Collard, 28 ans — enregistrent à Paris le Carnaval des animaux de Saint-Saëns pour EMI, entourés d'une brochette de solistes français de premier plan. Un disque qui reste aujourd'hui une référence. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Malgrat que no

Berlioz, Gounod, Franck o Saint-Sa

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Tiziano Mazzoleni, solo trombone artist from Italy, living in Germany.  U.S. listeners can see his tour dates in the US here.     About Tiziano: Tiziano excels as a virtuoso of the tenor trombone, whose career spans from classical music to film and video game scores. He studied primarily in Italy and Germany, under the guidance of respected mentors such as Gianluca Scipioni, Matthias Gromer, Ulrich Flad, and Martin Schippers. Active also in chamber music, he has collaborated with various ensembles across Europe. His solo career has led him to perform with prestigious orchestras such as the Philharmonie Südwestfalen and with renowned conductors. He was also an Associate Member of the Civic Orchestra of Chicago. His orchestral experience has brought him to work with world-renowned conductors such as Johan De Meij, Markus Stenz, and Duncan Ward, and to perform with distinguished orchestras like the Orchestra Sinfonica Nazionale dei Conservatori Italiani, the Miami Music Festival Orchestra, the Moritzburg Festival Orchestra as well as several other international orchestras. Tiziano has played in numerous high-profile recordings. Among these, the world premiere of the Cello Concerto by Enrique Casals with SONY Classical stands out, as well as the album Saint-Saëns: Cello Concerto, Baccanale & Symphony No.1 with Alpha Classics. His studio career also includes his contribution to the soundtrack of the popular video game Joe Dever's Lone Wolf, which has passed the 2.5 million downloads. In addition to these recordings, Tiziano has played with internationally renowned artists such as Hans Zimmer on the European tour "Hans Zimmer Live" and alongside musicians like Alligatoah and Moein. His collaborations span from orchestral music to pop music, from film scores to video games, demonstrating his ability to adapt to various musical genres. Beyond his concert and recording career, Tiziano is constantly involved in new musical projects. He recently released a video clip featuring the first-ever recording of an original sonata for solo trombone, which was appreciated by both audiences and critics. In addition to this, he is working on new ideas for unpublished pieces and innovative projects, always striving to push the traditional boundaries of the trombone. His creations explore new sound possibilities, ranging from contemporary music to the exploration of new musical languages. Tiziano is also a languages enthusiast, speaking Italian, English, German, and Spanish fluently, with a growing interest in Japanese. In addition to these linguistic skills, he is a virtuoso on the tenor trombone, playing an Antoine Courtois Creation 421 New York model, an instrument that allows him to explore a wide range of musical expressions.

Today's featured artist is, I hope, a name that some of you will at least have heard of: the French mezzo-soprano Germaine Cernay, born Germaine Pointu in Le Havre in 1900 and dying tragically young of an epileptic event in war-torn Paris at the age of only 43. Here is an artist who strikes a balance between poise and white heat, with a voice of exquisite timbre anchored by a flawless technique. Between making her debut at the Opéra-Comique in 1927 and her early retirement from her singing career the year before her death with the intention of becoming a nun, Cernay was a prodigious recording artist and a habituée of both the operatic stage and the concert platform. Today's episode presents her in her core operatic repertoire (Debussy, Fauré, Mascagni, Bizet, Thomas, and Saint-Saëns), with a strong emphasis on the works of Jules Massenet (Werther, Don Quichotte, Thérèse, Le Cid, Hérodiade, Sapho). Cernay is also heard at the outer edges of the mélodie repertoire, singing songs by Charles Bordes, Xavier Leroux, and Georges Dandelot, alongside the more familiar Lalo, Chabrier, and Brahms, not to forget a smattering of operetta. Some of her strongest recordings feature stellar contributions by fellow singers Georges Thill, Arthur Endrèze, André d'Arkor, Roger Bourdin, and Charles Friant. In recent years, even without a sytstematic reissue of her recorded oeuvre, her reputation has only increased, and she is now recognized as a standard-bearer of the French mezzo-soprano repertoire. Countermelody is the 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 author 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.  

durée : 00:05:39 - Classic & Co - par : Anna Sigalevitch - "Ma mère l'oye" de Ravel, livre disque paru aux éditions Villanelle que vous pouvez entendre, en scène le 28 mars salle Cortot à Paris et le "Carnaval des animaux" de Saint-Saëns avec notamment Gauthier Capuçon et Frank Braley. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Zu einer Karnevalsfeier steuert Camille Saint-Säens 14 kurze Stücke bei. Während die Partygäste begeistert von der Komposition sind, schwant Saint-Säens Schlimmes. Er verbietet jede weitere Aufführung - mit einer Ausnahme.

The Sound Chaser Progressive Rock Podcast is on the air. . This time I am exercising my professorial privilege to get just a bit educational. Much of progressive rock, especially in the early days, was based on classical music, including rock and jazz-rock versions of classical pieces. I dedicated show 24 all the way back in 2014 to spotlighting the prog-rock versions of classical music. In this show, I am turning the idea around. I will be playing the actual pieces of classical music that became the inspirations for progressive rock transcriptions. I will be discussing the prog rock versions with the help of excerpts from many favorite prog rock acts. With this audio essay, it is time truly to get in touch with the Classics on Sound Chaser. Featured composers include Holst, Mussorgsky, Smetana, Hermann, Jarre, Glass, Adams, Debussy, Beethoven, Wagner, Hovhannes, Janáček, Prokofiev, Rodrigo, Ligeti, Khatchaturian, Handel, Mozart, Tárrega, Saint-Saëns, Satie, Ravel. PodOmatic limits the number of characters for episode descriptions, and I could not cut enough to make it under the limit. So, I will be posting the fully detailed playlist on the Sound Chaser Progressive Rock Podcast Facebook page https://www.facebook.com/people/The-Sound-Chaser-Progressive-Rock-Podcast/61577332305605/, and in the comments on this page. 

Nog twee dagen kun je het staartje van carnaval beleven. Zoek je wat kalmte in het feestgedruis? Uit het geliefde Carnaval der dieren van Camille Saint-Saëns, koos ik twee langzame carnavalskrakers: de schildpad en de olifant.  Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

Camille Saint-Saëns (1835 - 1921) - Quartetto per archi n. 1 in mi minore1.      Allegro 2.      Molto allegro quasi presto - 10:173.      Molto adagio - 15:404.      Allegro non troppo - 22:58 Joachim QuartetZbigniew Kornowicz, ViolinoGuillaume Plays, ViolinoMarie-Claire Méreaux, Viola Jean-Luc Bourré, Violoncello

durée : 01:29:04 - Relax ! du lundi 19 janvier 2026 - par : Lionel Esparza - 1868 est un grand millésime pour la musique romantique. De Munich à Paris, les salles de concert vibrent au rythme de créations majeures : le triomphal Requiem allemand de Brahms, l'éclatante première des Maîtres Chanteurs de Wagner, la 1ère Symphonie de Bruckner et le Concerto n°2 de Saint-Saëns. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Dan, James and Andy discuss YOUR facts, including Batman, Tim Horton and Saint-Saëns.  We chat about cinema classics like Cruel Intentions 2 and Indiana Jones 4, and meet eight new Custodians of Fish Facts. Join Club Fish for ad-free episodes and exclusive bonus content at apple.co/nosuchthingasafish or nosuchthingasafish.com/patreon

durée : 00:23:45 - Disques de légende du jeudi 01 janvier 2026 - Jeune pianiste prodige, Philippe Entremont devient rapidement l'un des solistes majeurs de son époque. Ses enregistrements de Rachmaninov et Saint-Saëns avec Eugene Ormandy et l'Orchestre de Philadelphie sont reconnus pour leur qualité. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:45 - Relax ! du jeudi 01 janvier 2026 - par : Lionel Esparza - Lieu de costumes, de masques, de déguisements et autres travestissements, le carnaval, dont l'origine se perd dans les siècles lointains, est célébré de Venise à Rio. Cette fêtes où tout devient possible a inspiré de nombreux compositeurs, parmi lesquels Dvorak, Schumann, Saint-Saëns ou Campra... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:42 - Bella Davidovich, un grand nom du piano au féminin - par : Aurélie Moreau - Bella Davidovich a beaucoup joué le répertoire romantique, tout particulièrement Chopin. Elle joint à une maîtrise technique souveraine, une palette de couleurs exceptionnelle. Aujourd'hui : Beethoven, Chopin, Prokofiev, Saint-Saëns et Schumann. - réalisé par : Lionel Quantin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:27:11 - France Musique est à vous junior du samedi 13 décembre 2025 - par : Gabrielle Oliveira-Guyon - Rendez-vous ce samedi avec un épisode de l'un des Contes de la Maison Ronde, une œuvre de jeunesse de Saint-Saëns, la proposition d'Alice, et enfin, le labo de Nico. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 02:28:42 - France Musique est à vous du samedi 13 décembre 2025 - par : Gabrielle Oliveira-Guyon - Ce samedi, pour débuter votre week-end, rendez-vous avec Pergolese, Rossini, Bach, Saint-Saëns mais aussi Edith Piaf et Charles Trenet. - réalisé par : Emmanuel Benito Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

En La Alboreá con Andrés Salado, la música se convierte en puente entre la sala de conciertos y la magia del cine. Sonarán partituras que, aunque nacieron en el universo clásico, fueron concebidas expresamente para acompañar historias en la gran pantalla.Grandes compositores, en momentos singulares de su trayectoria, aceptaron el desafío de escribir para el séptimo arte. Así, nombres como Honegger, Shostakovich o Saint-Saëns dejaron huellas sonoras que aún hoy vibran con fuerza, demostrando que la música clásica también sabe dialogar con la emoción cinematográfica.Escuchar audio

durée : 01:28:39 - Yevgeny Sudbin, l'imagination et la sensibilité - par : Aurélie Moreau - Vivant à Londres, le pianiste Yevgeny Sudbin est né à St-Pétersbourg. Son jeu virtuose d'inspiration symphonique, peut se faire très raffiné, des œuvres russes aux sonates de Scarlatti. Aujourd'hui : Saint-Saëns, Rachmaninov, Scriabine, Beethoven… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:21:55 - Disques de légende du mercredi 19 novembre 2025 - Gravé le 8 janvier 1954 à Londres, ce disque mythique du "Carnaval des Animaux réunit l'énergie d'Igor Markevitch, la splendeur du Philharmonia Orchestra, et le dialogue virtuose de deux pianistes hongrois exceptionnels : Géza Anda et Béla Síki. Une fantaisie zoologique devenue un classique. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This Day in Legal History: Nevada Admitted as 36th StateOn October 31, 1864, Nevada was officially admitted as the 36th state of the United States, a move driven as much by wartime politics as by the territory's readiness for statehood. With President Abraham Lincoln seeking re-election and needing support for the proposed 13th Amendment to abolish slavery, the Republican-controlled Congress saw strategic value in adding another loyal Union state. Although Nevada's population was below the threshold typically required for statehood, its vast mineral wealth and political alignment with the Union helped accelerate the process. To meet the tight timeline ahead of the 1864 election, Nevada's leaders moved quickly to draft a state constitution.Facing logistical challenges in sending the document from Carson City to Washington, D.C., Nevada officials made the unprecedented decision to transmit the entire text—over 16,000 words—via telegraph. The transmission took over 12 hours and cost more than $4,000, making it the longest and most expensive telegram ever sent at the time. The decision proved effective: the telegram reached the capital in time, and Congress formally approved Nevada's admission on the same day.The speed and cost of Nevada's telegraphic constitution became a symbol of the urgency and improvisation of Civil War-era governance. The state's motto, “Battle Born,” reflects both its literal birth during the Civil War and the political battle over slavery and Union preservation. Nevada's admission also helped secure support for Lincoln's re-election and for the 13th Amendment, which passed Congress in January 1865.In a recently disclosed legal filing, Immigration and Customs Enforcement (ICE) sought taxpayer information on over 1.28 million individuals from the IRS, though only about 47,000 records matched. The request, part of a broader effort to access data on individuals under final removal orders, was submitted under a carve-out in Section 6103 of the Internal Revenue Code, which permits limited disclosures during criminal investigations. The IRS initially rejected ICE's requests citing legal constraints, but a memorandum of understanding in April allowed for limited data sharing. A subsequent refined request from ICE in June targeted a smaller group of 1.27 million, but again, only a small percentage matched IRS records, and many failed to meet legal standards for processing.The case arose from a lawsuit filed by taxpayer advocacy groups and unions, which argue that these disclosures violate the Tax Reform Act, the Privacy Act, and the Administrative Procedure Act. Plaintiffs are seeking a preliminary injunction to halt further sharing. Internal emails reveal IRS officials were concerned about the unprecedented scale and legality of the request, and officials emphasized the need to keep the data sharing confidential. The IRS typically handles about 30,000 such data requests a year, each requiring detailed justification and high-level agency approval. Critics warn that this massive data handover poses urgent threats to taxpayer privacy and due process rights.ICE Sought Records on 1.3 Million Taxpayers, Filing Shows (1)U.S. District Judge Carl Nichols praised two federal prosecutors, Samuel White and Carlos Valdivia, for their handling of a case against Taylor Taranto, despite both being suspended by the Justice Department the day before. The suspension followed their reference to January 6 rioters as “a mob of rioters” and mention of Donald Trump allegedly sharing Barack Obama's address in a sentencing memo. Judge Nichols commended their work as professional and exemplary, stating they upheld the highest prosecutorial standards.Taranto was sentenced to 21 months in prison for firearm and hoax-related charges after being arrested near Obama's D.C. residence in 2023. However, he will not serve additional time due to pretrial detention. Though originally charged for participating in the Capitol riot, those charges were dropped under President Trump's mass clemency order for January 6 defendants issued at the start of his second term. Taranto's defense claimed his statements about explosives were meant as “dark humor” and that he hadn't committed any violence.After White and Valdivia's suspension, a revised sentencing memo—stripped of January 6 and Trump references—was filed by two replacement prosecutors, including a senior DOJ official. The incident reflects broader tensions under the Trump administration, which has repeatedly moved to minimize references to Capitol riot violence and penalize prosecutors involved in politically sensitive cases.US judge praises prosecutors who were suspended after referring to January 6 ‘mob' | ReutersA federal judge allowed the Trump administration to move forward with firing nearly all remaining employees of the Department of Justice's Community Relations Service (CRS), an agency established in the 1960s to mediate racial and ethnic conflicts. U.S. District Judge Indira Talwani, while denying a temporary restraining order sought by civil rights groups, noted that the plaintiffs failed to show immediate, irreparable harm. However, she also stated that the groups are likely to succeed in proving that the executive branch cannot lawfully dissolve a congressionally created agency.The lawsuit, brought by 11 organizations including the NAACP and the Ethical Society of Police, challenges the Justice Department's recent “reduction in force” that would leave just one CRS employee. The move follows a pattern under the Trump administration, which has rejected all new requests for CRS services and proposed no funding for the agency in its budget. Plaintiffs argue that a termination notice stating the layoffs aim to “effectuate the dissolution” of CRS confirms unlawful intent.Although Talwani's ruling allows the firings to proceed, she emphasized that the final outcome may favor the plaintiffs as the case continues. The layoffs coincide with a government shutdown that began October 1, meaning the employees would have been furloughed regardless. The DOJ claims it is merely reorganizing, not eliminating, the agency, though it concedes that only Congress has the authority to formally abolish it.Judge allows Trump administration to fire most of DOJ race-relations agency's employees | ReutersHagens Berman Sobol Shapiro, a prominent plaintiffs' law firm, is under scrutiny in two high-profile class actions, facing judicial criticism and potential sanctions. In Seattle, a federal judge sanctioned the firm for over $223,000 after finding it misled the court and opposing counsel about its client's withdrawal from an antitrust case against Apple and Amazon. The judge said Hagens Berman failed to disclose that their client, who later disappeared from proceedings, had expressed his intent to exit the case months earlier. The firm argues it acted ethically under client confidentiality rules and has asked the judge to revise her dismissal ruling.In a separate matter in Philadelphia, the firm faces possible new sanctions in long-running litigation over thalidomide-related birth defect claims. A special master found misconduct, including altering an expert report and advancing claims lacking legal merit. While Hagens Berman disputes the findings, calling them outside the master's authority and biased, U.S. District Judge Paul Diamond upheld the report. The firm has now requested that Diamond recuse himself, citing an appearance of bias due to his close coordination with the special master.In both cases, Hagens Berman maintains its actions were in good faith and within legal and ethical bounds, while critics and courts point to patterns of misrepresentation and overreach.Law firm Hagens Berman battles sanctions in Apple, thalidomide cases | ReutersThis week's closing theme is by Camille Saint-Saëns.Camille Saint-Saëns was a French composer, organist, conductor, and pianist whose long career spanned the Romantic era and touched the early 20th century. Born in Paris in 1835, he was a child prodigy who began composing at the age of three and gave his first public performance at ten. Saint-Saëns was celebrated for his extraordinary versatility, writing symphonies, concertos, operas, chamber music, and choral works. Though deeply rooted in classical forms, he was an early supporter of contemporary composers like Liszt and Wagner, even as he remained skeptical of more radical modernism. His music often combined technical brilliance with elegance, and his clear, structured style made him a bridge between tradition and innovation. He was also a prolific writer and amateur astronomer, and his intellectual breadth sometimes earned him criticism from those who found his music too refined or academic. Still, Saint-Saëns maintained influence across Europe, and his works remain staples of the concert repertoire.This week's closing theme is Saint-Saëns' Danse Macabre. Originally a song for voice and piano based on a poem by Henri Cazalis, Saint-Saëns later reworked Danse Macabre into a tone poem for orchestra. It depicts Death summoning the dead from their graves at midnight on Halloween for a wild, skeletal waltz. A solo violin—tuned unconventionally to evoke a harsh, eerie sound—plays Death's dance theme, while xylophone rattles mimic clacking bones. The piece was controversial at its premiere in 1875 but quickly became a concert favorite, especially around Halloween. With its vivid orchestration and playful macabre imagery, Danse Macabre is one of classical music's most iconic musical depictions of the supernatural, perfectly capturing the spirit of the season.Without further ado, Saint-Saëns Danse Macabre—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

Invité : -Suzana Bartal, pianiste pour son disque Grieg, Saint-Saëns, piano concertos chez Channel Classics Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Invités : -Alexandre Léger, expert en joaillerie, directeur du patrimoine de la Maison Vever -Laurence Morel, professeure de science politique à l'Université de Lille, auteure de La question du référendum aux Presses de Sciences Po -Suzana Bartal, pianiste pour son disque Grieg, Saint-Saëns, piano concertos chez Channel Classics Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 01:28:49 - Aldo Ciccolini, le maître des atmosphères - par : Aurélie Moreau - L'intégrale des enregistrements Erato d'Aldo Ciccolini parue cet été nous permet de redécouvrir l'élégance et l'émotion de son jeu, inspiré dès sa jeunesse par Busoni, Liszt et le Bel Canto. Aujourd'hui : Liszt, Rachmaninov, Satie, Saint-Saëns… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:23 - Kazuki Yamada, précision et sens des couleurs - par : Aurélie Moreau - Parmi ses mandats, Kazuki Yamada est à la tête du Philharmonique de Monte-Carlo et du Symphonique de la Ville de Birmingham, chef principal désigné de l'Orchestre Symphonique Allemand de Berlin. Aujourd'hui: Mendelssohn, Bizet, Strauss, Saint-Saëns… Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

It's time for a spooky (but silly!) musical adventure as we wrap up our 3-part series on the brilliant French composer Camille Saint-Saëns. In today's episode of Busy Kids Love Music, we're exploring one of Saint-Saëns' most imaginative and well-known pieces: Danse Macabre — or “Dance of Death.” But don't worry — while the title sounds a bit eerie, this piece is more like a playful Halloween dance party than a fright fest. With dancing skeletons, chiming midnight bells, and a dramatic story told entirely through music, Danse Macabre is the perfect mix of spooky and fun. Inside this episode, your child will: Learn the meaning behind the title Danse Macabre Discover how Saint-Saëns uses musical instruments like the xylophone, violin, and oboe to paint a vivid scene Hear how a spooky-sounding interval called a tritone helps set the mood Use their imagination to picture the skeleton dance party in full swing Listen for musical clues like midnight chimes and a rooster crowing at dawn Don't forget to download your FREE Audio Treasure Hunt! I've hidden six questions throughout the episode for your child to uncover as they listen.

durée : 01:28:04 - Une heure et plus, un compositeur : Camille Saint-Saëns - par : Aurélie Moreau - Né en 1835, Saint-Saëns fut enfant prodige, organiste virtuose et compositeur prolifique. De Samson et Dalila au Carnaval des animaux, il marqua la musique française et créa la Société nationale de musique pour défendre les jeunes talents. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Get ready to explore a musical zoo like no other! In this episode of Busy Kids Love Music, we're diving into one of Camille Saint-Saëns' most imaginative and beloved works—Carnival of the Animals. This whimsical suite features 14 short movements, each representing a different animal or creature, from regal lions and squawking roosters to gliding swans and even... piano students!  You'll hear musical excerpts that bring each animal to life and learn: Why Saint-Saëns wrote Carnival of the Animals in secret What instrument represents the elephant Why The Swan was the only movement published during his lifetime How this suite became one of his most popular works after his death PLUS: It's an Audio Treasure Hunt episode! Hidden throughout today's episode are six musical clues. Download your free Treasure Hunt printable and see if you can answer them all as you listen. Want to explore even more? Sign up for my FREE 5-Day Online Music Camp inspired by Carnival of the Animals! Each day features music exploration, fun piano activities, and creative ways to bring the animals to life. Perfect for music-loving kids of all ages!

We're kicking off a brand-new composer series—and this one's all about the brilliant French composer Camille Saint-Saëns!

If the exceptional Illinois-born contralto Carol Smith (20 February 1926 – 06 June 2021) has previously escaped your notice, now is the perfect opportunity to get to know her better. She began her career singing the music of Bach with the legendary Bach Aria Group, founded in 1946 by philanthropist, scholar, and collector William H. Scheide. Smith then went on for further vocal training in Italy, making her operatic stage debut in 1961 in Napoli. There followed a glorious operatic career as one of the world's leading dramatic mezzo-sopranos, with performances throughout Italy and Germany as well as with her home company in Zürich. She went on to become an esteemed and highly respected voice teacher on two continents. This episode digs deep into her recorded legacy, featuring cantata arias of Bach, Lieder of Brahms, arias by Gluck, Verdi, and Saint-Saëns, and scenes from Cavalleria rusticana, Roberto Devereux, and Penthesilea, a hidden early 20th-century masterpiece by Swiss composer Othmar Schoeck. No matter what repertoire Smith was singing, she was, by virtue of her chocolate-timbred voice, dramatic flair, and vocal glamour, power, and flexibility, a true Queen of Song. 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.

A teenage oboist honors a loved one's memory through performance and a 17-year-old harpist shares her musical journey.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Consider a paid subscription to The Piano Maven podcast via our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomavenThe teenage Grigory Sokolov's recordings of the Tchaikovsky 1st and Saint-Saëns 2nd Concertos reveal how this gifted pianist already was "Sokolov" at such a tender age - everything is there: the impeccable technique, utmost control of sonority and balance, and almost scientific awareness of his instrument's mechanical and expressive potential.Here are links to the performances:https://www.prestomusic.com/classical/products/9445142--grigory-sokolov-plays-beethoven-chopin-schumann-saint-saens-brahms-tchaikovskyhttps://open.spotify.com/album/62qe7ekY5UygTnFaiNE8RR

Don't Miss This Freebie! Head over to www.clapforclassics.com/episode67 to download a FREE printable that brings today's episode to life! What's Inside? A lyric sheet for our fun, interactive song "I Am a Fossil" A musical map to help your little one follow along with Fossils from Carnival of the Animals It's the perfect way to extend the learning and play beyond the podcast! ✨

SynopsisToday's date in 1886 marks the premiere in Paris of The Carnival of the Animals, the most popular work of French composer Camille Saint-Saëns, who steadfastly refused to allow it to be published until after his death, fearing its frivolity might damage his reputation as a “serious” composer.Saint-Saëns had a point. The work was first heard at a pre-Lenten house concert, and a few days later at Émile Lemoine's exclusive members-only chamber music series, where it became an annual Shrove Tuesday Carnival tradition. Once the famous pianist Harold Bauer was one of the Shrove Tuesday performers, as he recalled in his autobiography: “Everyone who participated had to wear makeup representing the animal whose music he was supposed to be playing. The flutist had a carboard head showing him as a nightingale. The cellist was a very flabby swan; the distinguished players of the string quartet were shown as donkeys of various breeds. Saint-Saëns and I were the two pianists — he made up to look like our host Lemoine, and I, furnished with a wig and beard, disguised as Saint-Saëns. [We two] pianists were provided with immense carboard hands and feet that were clipped off at the moment of performance, which was extremely hilarious.”Music Played in Today's ProgramCamille Saint-Saëns (1835-1921): Carnival of the Animals; David Owen Norris, piano; I Musici Montreal; Yuli Turovsky, conductor; Chandos 9246