Podcasts about Saltarello

00:22:28 Trauner, Martin full Credits Autor/in dieser Folge: Martin Trauner Regie: Martin Trauner Redaktion: Thomas Morawetz Interviews mit:  Prof. Winfried Nerdinger (Architekturhistoriker, ehem. Leiter des   Architekturmuseum der TU München)  Prof. Egon Johannes Greipl - ehemaliger (seit 30-11-2013) bayerischer   Generalkonservator Geschichte: Noch mehr Interesse an Geschichte? Dann empfehlen wir: Alles Geschichte – Der History-Podcast Wir freuen uns über Feedback und Anregungen zur Sendung per Mail an radiowissen@br.de. Radiowissen finden Sie auch in der ARD Audiothek: ARD Audiothek | Radiowissen JETZT ENTDECKEN Das vollständige Manuskript gibt es HIER. Lesen Sie einen Ausschnitt aus dem Manuskript: ERZÄHLERIN Endlich, nach beinahe 16 Jahren Planungs- und Bauzeit ist es soweit. - Jetzt, 1843, ist sie fertiggestellt: Die königliche Hof- und Staatsbibliothek in München.   ZITATOR (Architekturführer) Dieser in den großartigsten Verhältnissen angelegte Bau wurde im italienischen-mittelalterlichen Style ausgeführt. -    ERZÄHLERIN - schreibt ein zeitgenössischer bautechnischer Führer -   ZITATOR (Architekturführer) - In seinen ausgedehnten Räumlichkeiten umschließt das Gebäude die außerordentlich reiche, gegenwärtig 1.300.000 Bände zählende Staatsbibliothek.   MUSIK    1. ZUSPIELUNG (Greipl) Da denkt man - riesengroß - da müssen alle Bücher der Welt hineinpassen -   ERZÄHLERIN Sagt Egon Greipl, (ehemaliger) oberster Denkmalschützer in Bayern. -   2. ZUSPIELUNG (Greipl) - und dann geht man hinein und sieht, da ist eine Menge Platz verschenkt worden für eine Treppe und solche repräsentative Sachen.   MUSIK    ERZÄHLERIN Eine Prachttreppe, die seinerzeit nur der König benutzen durfte. An ihr hat man bis zuletzt gearbeitet. 54 Stufen muss die Majestät überwinden, um aus dem dunklen Eingangsbereich in das Licht, zu den Büchern, zur Wissenschaft zu gelangen. - Obwohl der König in den letzten Jahren meist ein schwieriger Auftraggeber gewesen ist, ständig an den Plänen etwas ändert oder ändern lässt, die Treppe findet selbst der Architekt so schlecht nicht:   ZITATOR GÄRTNER Für die Haupttreppe stehe ich gut, das ist die pompöseste die wenigstens in Deutschland existiert. Diese gefällt mir selbst.   MUSIK    ERZÄHLERIN Und das ist der Baumeister des 152 Meter langen und 24 Meter hohen Monumentalbaus: Friedrich von Gärtner. Die Bibliothek: sein erster Auftrag für König Ludwig I. - Vor 16 Jahren, 1827, ließ Ludwig den gar nicht mehr so jungen Architekten gewähren: Gärtner soll nun endlich sein erstes Gebäude überhaupt bauen. Und dann gleich ein so großes.   3. ZUSPIELUNG (Nerdinger) Ein riesiger Bau. Und die besondere Pointe oder Gemeinheit könnte man auch sagen, liegt darin, dass er diesen Bau an der von Klenze geplanten Ludwigsstraße vorgesehen hat...   ERZÄHLERIN - so Winfried Nerdinger, Architekturhistoriker aus München. - Die Ludwigsstraße, sie ist des Königs Lieblingskind, sie soll seine Prachtmeile werden...     4. ZUSPIELUNG (Nerdinger) Klenze hat ja diese Straße komplett geplant, das war "seine Straße", er hat den ganzen südlichen Teil bereits mit Neubauten bestückt und jetzt mitten hinein in seine Straße, der größte Bau überhaupt bis dahin, die Staatsbibliothek, da bekommt ausgerechnet sein Konkurrent den Auftrag. Und das war sicherlich für Klenze ein Schlag.   MUSIKAKZENT   ERZÄHLERIN Friedrich Gärtner und Leo Klenze, zwei Baumeister in königlichen Diensten - ein Berufsleben lang lauern sie wie Skylla und Charybdis, die beiden Ungeheuer, an der Meerenge von Messina. Und, um im mythologischen Bild zu bleiben, kein königlicher Auftrag soll an ihnen ungeschoren vorbei kommen.   5. ZUSPIELUNG (Nerdinger) Die waren beide nicht von Pappe, um es mal salopp zu formulieren und haben mit allen Mitteln sich gegenseitig bekämpft und für ihre Karriere gekämpft.   ERZÄHLERIN 26 Jahre ist er alt, da wird der junge begabte Nachwuchsarchitekt Friedrich Gärtner Ludwig vorgestellt. Und wer bringt ihn zum Kronprinzen? Der 7 Jahre ältere Klenze. Der, ein protestantischer Preuße, ist schon seit einem Jahr in Diensten des Königshofs.   ZITATOR GÄRTNER Dass dieser zum Faktotum geworden ist, ersah ich schon längst, den Grad aber ersah ich da näher.   6. ZUSPIELUNG (Nerdinger) Als drittes muss man immer noch den König mit einbeziehen, genauer gesagt, den Kronprinzen, der beide letztlich wie Schachfiguren in seinem Spiel benutzt hat.   ZITATOR GÄRTNER Ich sah nur zu deutlich, dass einem schlechten Schachspieler leicht eine Figur genommen und die andere dafür hingesetzt werden kann.   MUSIKAKZENT    ERZÄHLERIN Über Gärtners Karriereleiter sind wir Sprosse um Sprosse relativ gut informiert. Denn mehr als 30 Jahre lang schreibt er Briefe, an Martin von Wagner. -    7. ZUSPIELUNG (Nerdinger) Nun: der Martin von Wagner war eigentlich der Kunsthändler des Kronprinzen in Rom.   ERZÄHLERIN Martin von Wagner ist der Freund von Friedrichs Vater, dem Hofbauintendanten Andreas Gärtner. Und auch wenn die Mutter Bedenken gegenüber Wagner äußert, Friedrich beschwichtigt:   ZITATOR GÄRTNER Deine Warnung, gute Muttern über Wagner ist recht gut, allein sei versichert, sie war nicht nötig. So kenne ich meine Leute noch. Wagner ist ein guter, ernsthaft rechtschaffener Mann, allein nie für einen Freund geschaffen.   ERZÄHLERIN Friedrich Gärtner und Wagner werden trotzdem Freunde, gute Freunde. Netter Nebeneffekt für Gärtner: Wagner hat einen sehr guten Draht zum Kronprinzen. - Gärtner macht in seinen Briefen aus seinem Herzen keine Mördergrube. Winfried Nerdinger:   8. ZUSPIELUNG (Nerdinger) Ich glaube auch, dass man natürlich mit gewissen Abstrichen diesen Briefwechsel als ziemlich wichtige authentische Aussage nehmen kann, weil er sich da einem Freund geöffnet hat - Wir können da doch relativ tiefe Einblick in das Gefühlsleben Gärtners tun und in das Intrigenspiel bei Hofe.   ERZÄHLERIN Über 100 Mal wird die Post von Gärtner die Zeiten überdauern, die Post von Wagner retour dagegen nicht. - Kennen gelernt haben sich die beiden in Rom. -   ZITATOR GÄRTNER Rom ist nebenbei gesagt der herrlichste Ort, um einem als Mensch die besten Lebensregeln zu erteilen!   MUSIK  ERZÄHLERIN Im Oktober 1814 kommt Gärtner nach Rom. Nach seinem Architekturstudium in München bei Carl von Fischer, nach Lehrjahren in Paris, zieht der 22-Jährige in die deutsche Künstlerkolonie. "Quartiere degli Infedeli", "Viertel der Abtrünnigen", nennen es die Römer, wegen der vielen deutschen Protestanten. Der Katholik Gärtner kennt bald alle Trattorien und Weinstuben rund um seine Wohnung in der Via Sistina, nahe der spanischen Treppe. Jetzt will er wieder lernen, dieses Mal aber das Leben: MUSIK    ZITATOR GÄRTNER Der Durst war groß, der Wein war gut und so wurde allgemeiner Jubel unter der Gesellschaft. Eine Gitarre, die uns begleitete, spielte bald ihren Saltarello, bald ihren Walzer...   ERZÄHLERIN Martin von Wagner nimmt Friedrich in seine Obhut, im Auftrag von Andreas Gärtner, dessen Vater. Er zeigt ihm die mediterrane Lebensart, er bringt ihn in die Kreise der Rom-liebenden deutschen Künstler. Die feiern sich und "ihren" bayerischen Kronprinzen, den Kunstmäzen, am liebsten im Caffè Greco - keine zwei Minuten von der Wohnung Gärtners entfernt. Hier treffen sich auch die Mitglieder eines von Martin von Wagner initiierten Geheimbundes: "Nemesis" heißt er : MUSIK    9. ZUSPIELUNG (Nerdinger) Diese Künstler haben sich die Nemesianer genannt. - Die Nemesis als ihre Göttin, die dem einzelnen das Geschick zuweist, dem einen das Gute, dem anderen das schlechte. So etwas, was für Künstler ja ganz wichtig ist: Der eine steigt auf, der andere steigt ab...   ERZÄHLERIN Nemesis gibt sich zunächst wankelmütige, was das Schicksal des jungen Friedrich betrifft. Der "Orlando furioso", wie ihn seine Freunde jetzt rufen, genießt zwar in Rom das süße Leben in vollen Zügen, ganz untätig ist er freilich nicht. Er zeichnet etliche antike Ruinen, fährt nach Pompeji und Sizilien, besteigt die Vulkane Italiens. Und er beteiligt sich - auf sanftes Drängen seines Vaters -  am Wettbewerb zum Bau der Münchner Glyptothek. Mit Hilfe seines Vaters, der die Pläne ein wenig korrigiert und nachbessert, wird sein Entwurf vom Preisgericht als der für den Bau geeignetste befunden. Den Auftrag bekommt, allem zu Trotz, wie kann es anders sein, Leo Klenze.    MUSIK    ZITATOR GÄRTNER Thermometer 5 Grad Beaumont - Pluvianopolis am 12ten des 8. Regenmonats 1817 nach Christi Geburt - Parameter (wie gewöhnlich): Regen, Hagel, Wind.   ERZÄHLERIN Gärtner ist nach fast drei Jahren Sommer, Sonne, Kaktus wieder in München. In Pluvianopolis, der Regenstadt. Er schreibt an Wagner nach Rom:   ZITATOR GÄRTNER Der ewigen Nemesis zum Gruße! Ohne Nachrichten aus Rom bin ich ein geschlagener Mensch. Oh große Nemesis! Was habe ich verschuldet, dass du gerade jetzt mich ins Exil geschickt, wo ich dickes Bier um 12 Uhr saufen muss. MUSIK    ERZÄHLERIN Nemesis meint es tatsächlich nicht gut mit ihm. Nicht nur dickes Bier und saurer Wein schlagen ihm auf den Magen: In München, im Exil, findet er keine adäquate Anstellung, obwohl sein Vater immer noch königlich bayerischer Hofbauintendant ist, also de facto der oberste Baumeister. Und er würde so gerne in dessen Fußstapfen treten.   ZITATOR GÄRTNER Es ist traurig, wenn  man mehrere Jahre sich bemüht, um etwas zu lernen und am Ende wieder dort hingestellt ist, von wo man ausgegangen. Seit meiner Zurückkunft sitze ich da und lege die Hände in den Schoß.   ERZÄHLERIN 26 Jahre ist Gärtner mittlerweile. Er sehnt sich nach Rom. Hier im kalten Norden, in München: -  "Ein Windloch". Die Mutter stirbt. Er fühlt sich dazu verpflichtet, die Familie finanziell zu unterstützen, lebt aber im Gegenteil vom Geld des Vaters. Und dann auch noch das:   ZITATOR GÄRTNER Mit unverändertem Gemüte durchlas ich heute die Entlassung meines alten und würdigen Vaters von seinem treuen Dienste und dessen Erstattung durch Klenze mit einer vermehrten Besoldung von 3000 fl.   10. ZUSPIELUNG (Nerdinger) Aus den Briefen, die er an seinen Freund Martin von Wagner schrieb, kommt ganz klar heraus, dass diese Verdrängung seines Vaters als Hofbauintend

Wat bieden wij u in deze uitzending aan? Wel, een Ave Maria, een Driedelig Concerto voor 2 of 3 piano’s met orkest, een Vocalise op een strijkkwartetdeel, een Saltarello voor piano, een Bach Cantate BWV 95 “Christus der ist Mein Leben” en, “La Valse Perdu” op bandoneon. Dit alles op tonen van da Victoria, Mozart, […]

Felix Mendelssohn-Bartholdy (1809 - 1847)- Le Ebridi "La grotta di Fingal"·         Allegro moderato. Animato in tempo10'46”- Sinfonia n. 4 in la maggiore "Italiana" , op. 90 Allegro vivaceAndante con moto Con modo moderato Saltarello. PrestoBerliner PhilharmonikerHerbert von Karajan

Bentornati e bentornate su Azure Italia Podcast, il primo podcast in italiano su Microsoft Azure!Per non perderti nessun nuovo episodio clicca sul tasto FOLLOW del tuo player

Dead Can Dance es de esos proyectos artísticos poseedores de una mística obsesiva y una admirable capacidad de emocionar desde los sonidos del pasado y dedicamos la emisión a uno de los discos fundamentales de Lisa Gerrard y Brendan Perry: Aion, publicado en 1990. Ricardo Portman nos cuenta su historia. Escucharemos The Arrival and the Reunion, Saltarello, Mephisto, The Song of the Sibyl, Fortune Presents Gifts Not According to the Book, As the Bell Rings the Maypole Spins, The End of Words, Black Sun, Wilderness, The Promised Womb, The Garden of Zephirus y Radharc + Bonus track. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com/ LH Magazin (Madrid) jueves 12:00 Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Distancia Radio (Córdoba) jueves y sábados 19:00 Radio Free Rock (Cartagena) viernes 18:00. Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú)

Jeder Zeit ihren Tanz. Im Mittelalter wird der Saltarello. in der Renaissance die Pavane getanze, im 19. Jahrhundert ist der Galopp angesagt und im 20.: Charlston, Foxtrott, Rock'n'Roll. Und dann kommen Metal und Punk und fertig ist mit adrettem Paartanz. Jetzt wird gerempelt. Und zwar im Moshpit

Esta semana o maestro João Maurício Galindo respondeu perguntas dos ouvintes da Rádio Cultura FM se Chopin não tinha versatilidade para compor para outros instrumentos, apresentou também o significado da palavra "Saltarello", falou também sobre o patronato musical à época do duque Gonzaga, importante patrono da música italiana, falou um pouco sobre o que é "música descritiva" e por fim respondeu se "opereta" é um diminutivo de "ópera". Descubra as respostas no resumo do "Pergunte ao maestro" desta semana. O programa ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pergunte ao Maestro⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, vai ao de segunda a sexta-feira, às 10h e às 15h da tarde pela ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rádio Cultura FM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ de São Paulo, 103,3.

Quando pensiamo alle renne di Babbo Natale, ci vengono in mente le nove renne più famose: Ballerina, Cometa, Cupido, Donato, Donnola, Freccia, Fulmine, Saltarello e Rudolph. In pochi però conoscono la storia della renna Scooter. Scooter non era la renna più veloce, ma era sempre costante, proprio come un piccolo scooter. Un giorno però la sua magia si era esaurita. Beh, aveva lavorato per Babbo Natale per tantissimi anni. Adesso era anziano e doveva andare in pensione. Così ha dato la triste notizia ai suoi colleghi: «Miei cari amici, sono anziano e non ho più magia. Sono diventato una comune renna! Purtroppo, non posso più lavorare con voi. Ma adesso cosa farò? Mi annoierò se non lavoro!» . . Leggi la storia completa e scarica gli esercizi gratuiti in pdf, ecco i link:

Questa settimana è tornato a trovarci un amico. Abbiamo con noi Andrea Saltarello CTO di Managed Designs e: Professor @ GSoM Politecnico di Milano, Founder @ Cloud Champions, Depeche Mode uberfanCon lui abbiamo provato a dare una fotografia sul mondo del cloud e ei cloud providers.- sito del nuovo EU/USA Data Privacy Framework (in vigore dal 10 luglio): https://www.dataprivacyframework.gov/- sito del podcast Cloud Champions con i link alle varie piattaforme: https://www.cloudchampions.tech/cloudtv/2691/Cloud-Champions - sito del Cloud Day: https://www.cloudday.it/ - sito di Microsoft con il materiale per l'inclusive design: https://inclusive.microsoft.design/## Supportaci suhttps://www.gitbar.it/support## Paese dei balocchi- https://inclusive.microsoft.design/- https://www.youtube.com/watch?v=NPEsD6n9A_I&list=PLGjZwEtPN7j-Q59JYso3L4_yoCjj2syrM- https://amzn.to/4469bDi## Link amazon affiliatohttps://amzn.to/3XDznm1## Per favore ascoltaci usando una di queste app:https://podcastindex.org/apps## Contatti@brainrepo su twitter o via mail a https://gitbar.it.## CreditiLe sigle sono state prodotte da MondoComputazionaleLe musiche da Blan Kytt - RSPNSweet Lullaby by Agnese ValmaggiaMonkeys Spinning Monkeys by Kevin MacLeod

Da intervistatore ad intervistato, Andrea Saltarello risponderà alle domande di Roberto Messora (Head of Architecture di Jakala) spaziando dai progetti ai quali collabora in qualità di CTO di Managed Designs alla value proposition delle piattaforme cloud in tema di Intelligenza Artificiale, tematica della quale è docente per la Graduate School of Management del Politecnico di Milano.E poi FinOps, community e tanto altro ancora in questa puntata speciale di Cloud Champions.

Trio Dimorphosen concert unique le :dimanche 18 juin 2023récitalRenée GEOFFRION, ocarinaMartine VIALATTE, pianoLouis-Philippe RIVET, basse électrique3 transcriptions sur guitare basse électro-acoustique par Louis-Philippe RIVET :Niccolo PAGANINI : Ghiribizzi per chitarra : n°1 allegretto et n° 2 andanteet Vicenzo GALILEO : Pièce de la renaissance pour luth : Saltarello (allegro)deux compos de Martine Vialatte :PlénitudeHommage à Bach Astor PIAZZOLLA : Histoire du tango

Trio Dimorphosen concert unique le :dimanche 18 juin 2023récitalRenée GEOFFRION, ocarinaMartine VIALATTE, pianoLouis-Philippe RIVET, basse électrique3 transcriptions sur guitare basse électro-acoustique par Louis-Philippe RIVET :Niccolo PAGANINI : Ghiribizzi per chitarra : n°1 allegretto et n° 2 andanteet Vicenzo GALILEO : Pièce de la renaissance pour luth : Saltarello (allegro)deux compos de Martine Vialatte :PlénitudeHommage à Bach Astor PIAZZOLLA : Histoire du tango

Felix Mendelssohn-Bartholdy (1809 - 1847)- Le Ebridi "La grotta di Fingal"Allegro moderato. Animato in tempo******Inizia a 10'46”- Sinfonia n. 4 in la maggiore "Italiana" , op. 90 Allegro vivace  Andante con moto  Con modo moderato  Saltarello. Presto  Berliner PhilharmonikerHerbert von Karajan

Franz Schubert - Sinfonia n. 8 Incompiuta D 7591.       Allegro Moderato2.       Andante con moto*********Inizia a 25'58”Felix Mendelssohn-Bartholdy - Sinfonia n. 4 op. 90 Italiana1.       Allegro vivace 2.       Andante con moto 3.       Con moto moderato 4.       Saltarello. Presto New York PhilharmonicLeonard Bernstein, conductor

Several dozen plays later, Will and James host a wrap-up episode where they revisit, revise, and criticize one another's rankings, recognize the greatest and most outlandish characters with awards, and reflect on the experience of reading Shakespeare cover to cover over the past several years as they finish Season One of Bard Flies.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “Pomp and Circumstance” (Edward Elgar); “First Blood,” dir. Ted Kotcheff (1982); “Austin Powers: International Man of Mystery,” dir. Jay Roach (1997); “Friends: The One Where Phoebe Runs,” dir. Gary Halvorson (1999); “Top Gun,” dir. Tony Scott (1986); “Star Wars: Episode V - The Empire Strikes Back,” dir. Irvin Kershner (1980); “Goodfellas,” dir. Martin Scorsese (1990); John Gielgud, “Ages of Man,” Caedmon Records (1959); “Robin Hood,” dir. Wolfgang Reitherman and David Hand (1973); “Henry IV, Part One,” dir. Clive Brill (1998)

In Shakespeare's final -- yes, final -- play, he returns to where he started with the plight of noblemen in love with the same woman. Working again with John Fletcher, Shakespeare borrows from Chaucer for a tale set in ancient Greece featuring duels, delusions, exposure therapy, and prayers to the gods that get answered like the wishes on a monkey's paw -- but all in the service of a story that ends happily. (Except for the guy who gets thrown from his horse and dies in his hour of triumph.)CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: Arkangel / BBC, “The Two Noble Kinsmen” (2006)

Felix Mendelssohn-Bartholdy (1809 - 1847)- Le Ebridi "La grotta di Fingal"·         Allegro moderato. Animato in tempo *********Inizia a 10'46”- Sinfonia n. 4 in la maggiore "Italiana" , op. 90 Allegro vivace  Andante con moto  Con modo moderato  Saltarello. Presto Berliner PhilharmonikerHerbert von Karajan

Franz Schubert Sinfonia n. 8 Incompiuta D 7591.       Allegro Moderato2.       Andante con moto*******Inizia a 25'58”Felix Mendelssohn-BartholdySinfonia n. 4 op. 90 Italiana1.       Allegro vivace 2.       Andante con moto 3.       Con moto moderato 4.       Saltarello. Presto New York Philharmonic - Leonard Bernstein

In the final of the history plays, Shakespeare and his collaborator John Fletcher take on Henry VIII, the story of his first two wives, the birth of the future queen Elizabeth, and the establishment of the Church of England. In this episode, Will and James discuss why people have found the politics of Henry's court so compelling across the ages from Showtime's The Tudors to Hilary Mantel's Wolf Hall to Broadway's Six, unpack the downfall speeches of Cardinal Wolsey and Katherine of Aragon, and consider whether you could pull it off today.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: Herman's Hermits, “Henry the Eighth, I Am,” The Ed Sullivan Show (1965); Arkangel / BBC, “History of Henry VIII” (1998); Bea Segura, “Henry VIII,” dir. Hannah Khalil, Shakespeare's Globe (2022)

Magic, monsters, sprites, witches, shipwrecks, betrayal, love stories on an enchanted isle, and emotional catharsis driven by a puppet master pulling all the stings: no, dear listeners, it's not a Dungeons & Dragons campaign but Shakespeare's The Tempest! Will and James discuss the play know as Shakespeare's affectionate late-career farewell to the theatre, portrayals of Caliban throughout the years, its possible setting in the New World, and whether a play with an almost all-powerful protagonist can be truly dramatic.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “The Tempest,” dir. Julie Taymor (2010); John Gielgud, “Ages of Man,” Caedmon Records (1959)

Avui hem sentit: Quartet de corda en mi bemoll major; "Sehnsucht nach Italien", can

In this week's minisode, the pod features a conversation on Cymbeline with Dr. Dan Normandin, postdoctoral fellow in Early Modern English Literature at George Mason University and, even more importantly, a former classmate of James and Will. Dr. Normandin offers his insight on some of the topics James and Will debated about Cymbeline and shares war stories on his time teaching Shakespeare before a controversial lightning round.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)

With plot twists that depend on poor facial recognition, one-sided bets over cuckoldry, one of the most idiotic kings in Shakespeare, and a truly villainous stepson whose beheading we are unfairly denied on stage, Shakespeare's “Cymbeline” is an interesting and often forgotten play in the Shakespeare canon. Will and James discuss which of these twists is most incredible as well as the Bard's portrait of Cloten, the aforementioned stepson whose incel tendencies lead to depravity, and what we should make of the play's British patriotism and ambivalent relationship to the Roman Empire.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “Cymbeline,” dir. Michael Almereyda (2014); “Cymbeline,” dir. Cylan Brown, Shakespeare by the Sea, (2016); “Cymbeline,” dir. Laura Gordon, Band of Brothers Shakespeare Company (2019)

Dalla Blazor Conference 2022 - Durante la keynote Andrea Saltarello ha fatto un annuncio bomba introducento Improove. In questa registrazione abbiamo provato a carpire le informazioni salienti che potrebbero interessare riguardo ad una iniziativa che sembra voler cambiare completamente il concetto di formazioneLink al sito di Improove: https://lets.improove.tech/Link al canale telegram di Improove: https://t.me/improoveitLink alla keynote: https://youtu.be/F3ue8WctBwQ

Dead Can Dance es de esos proyectos artísticos poseedores de una mística obsesiva y una admirable capacidad de emocionar desde los sonidos del pasado y dedicamos la emisión a uno de los discos fundamentales de Lisa Gerrard y Brendan Perry: Aion, publicado en 1990. Ricardo Portmán nos cuenta su historia. Escucharemos The Arrival and the Reunion, Saltarello, Mephisto, The Song of the Sibyl, Fortune Presents Gifts Not According to the Book, As the Bell Rings the Maypole Spins, The End of Words, Black Sun, Wilderness, The Promised Womb, The Garden of Zephirus y Radharc + Bonus track. Si os gusta el programa podéis apoyar Ecos del Vinilo Radio siendo patrocinadores ¡por lo que vale un café al mes! desde el botón azul de iVoox. Recuerden que nuestros programas los pueden escuchar también en: Nuestra web https://ecosdelvinilo.com Distancia Radio (Córdoba) miércoles 18:00 y domingos 23:00. Radio Free Rock (Cartagena) viernes 18:00. Radio M7 (Córdoba) lunes 18:00 y sábados 17:00. Generación Radio (Medellín, Colombia) jueves y domingos 19:00 (hora Col.) Radio Hierbabuena (Lima, Perú) jueves 20:00 (hora Perú).

Parlare di accessibilità è una cosa necessaria e va fatto con una certa sensibilità. Lo abbiamo provato a fare con Andrea Saltarello, uno dei co-fondatori di Accessibility Days.Se vuoi sapere di più trovi tutto cliccando play!## Ricordati di iscriverti al gruppo telegramQuesta settimana dobbimao ringraziare: **Valentina Benedetti** che ci invita 3 birre con questo messaggio _Grazie mille per Gitbar, lo consiglio ad ogni occasione! Ottimi spunti, esperienze ed appartenere al gruppo è fortemente motivante: mi ricorda quanto è figo fare la sviluppatrice, un driver per continuare a migliorare come come professionista =^_^=_https://t.me/gitbar## Supportaci su## Paese dei balocchi - https://accessibilitydays.it/2022/it/- https://www.cloudchampion.it/- http://ugidotnet.org/- https://www.deque.com/shift-left/- https://www.tiktok.com/discover/Video-cecato- ## Contatti@brainrepo su twitter o via mail a info@gitbar.it.## CreditiLe sigle sono state prodotte da MondoComputazionaleLe musiche da Blan Kytt - RSPNSweet Lullaby by Agnese ValmaggiaMonkeys Spinning Monkeys by Kevin MacLeod

In a land ruled by a paranoid and jealous king hell-bent on destroying his own family and buffeted by violent storms, miracles, and a very large and hungry bear, Shakespeare's characters go from intense melodrama to comedy to redemption in the five wild acts of The Winter's Tale. In this week's episode, Will and James find themselves surprised by how much they liked this romance and debate what makes it so much more successful than some of the Bard's later plays.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “The Winter's Tale,” dir. Gregory Doran, Heritage Theatre (1999); “The Winter's Tale,” dir. Kenneth Branagh, Garrick Theatre (2015)

In this week's minisode, Will interviews Dr. Eliot A. Cohen, former Counselor at the Department of State, professor at the Johns Hopkins School of Advanced International Studies (SAIS), and co-host of the podcast Shield of the Republic. Dr. Cohen talks about his latest book project on Shakespeare and politics, the best stage to see the Bard come to life, what we can learn about war and peace from Coriolanus, and why Henry V is both the best and worst person to have in your foxhole. CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)

What happens when a virtuous general gets drafted to run for office after defeating Rome's enemies in battle? Nothing good! In this classic tale of martial virtue, popular politics, banishment, and treason, Shakespeare explores the divide between soldiers and the public, martial honor and private wounds, and some of the most epic “mommy issues” this side of Hamlet. Will and James discuss the protagonist Coriolanus's “great resignation” in this potent but lesser known tragedy.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “Coriolanus,” dir. Ralph Fiennes (2011); “Coriolanus,” dir. Allen Fletcher, Oregon Shakespeare Festival (1953); “Coriolanus,” dir. Howard Sackler, Shakespeare Recording Society (1962)

On a tour with the least linear ports of call since The Odyssey, Shakespeare's Pericles tries to win the hand of a princess in an incestuous relationship with her father by solving a riddle, ends a famine, gets into a shipwreck, wins a different bride in a tournament, and loses his family to a storm and pirates involved prostitution, only to miraculously reunite with them in the end. Will and James discuss this strange epic, the possible identity of its co-author, and whether Marina's destruction of prostitution in Mytilene is the best brothel scene in Shakespeare.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “Pericles,” dir. Howard Sackler, Shakespeare Recording Society (1964)

Giochi di una volta,(Parte seconda) i ghiochi da tavolo! Curiosità ed aneddoti personali semiseri sull'intrattenimento dei"ragazzi"di una volta! Come sempre tanta buona musica.

In one of the most famously torrid love affairs of all time, defined by extramarital cheating, lavish outfits, histrionics, and the shadow of collapsing empires, this episode's main characters define obsession and the insanity of passion. No, not Elizabeth Taylor and Richard Burton! Antony and Cleopatra! Picking up where “Julius Caesar” left off, Shakespeare cranks up the operatic dialogue and battle scenes as Rome tears itself asunder. Will and James discuss why Cleopatra is one of the most fascinating women in Shakespeare, the amazing language throughout the play, and whether their relationship represents puppy love or a clichéd midlife crisis.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “Cleopatra,” dir. Joseph Mankiewicz (1963); “Antony & Cleopatra,” dir. Iqbal Khan, Royal Shakespeare Company (2017); “Antony & Cleopatra,” dir. Trevor Nunn, Royal Shakespeare Company, (1974); “Casablanca,” dir. Michael Curtiz (1942); “Antony and Cleopatra,” dir. Lawrence Carra (1984); “Antony and Cleopatra,” dirs. Gary Griffin/Barry Avrich, Stratford Festival (2015)

In this film club minisode, Will and James talk about what happens when two great masters collide in director Akira Kurosawa's adaptations of Shakespeare to the samurai epics of medieval Japan. Kurosawa's adaptation of "Macbeth" in his moody and gore-spattered "Throne of Blood" in 1957 and "King Lear" in his vivid, colorful 1985 masterpiece "Ran" are classics that take the Bard's plots and characters and mix them with katanas, castles, and visual spectacle beyond belief. // Credits // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)

Double, double toil and trouble! Fire burn and cauldron bubble! Haunted by witches, ghostly daggers, murder, Macbeth is an obvious classic. But why? Will and James discuss Shakespeare's finest marriage story, the power of ambition and guilt, and a short play packed with an improbable concentration of amazing soliloquies, phrases, and speeches. // Credits // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: Judi Dench, "Thames Shakespeare Collection: Macbeth", dir. Philip Casson (1979); "Macbeth," dir. Roman Polanski (1971); Alan Cumming, "Macbeth," dirs. John Tiffany and Andrew Goldberg (2013); Patrick Stewart, "Macbeth," dir. Rupert Goold (2010)

Felix Mendelssohn-Bartholdy (1809 - 1847)- Le Ebridi "La grotta di Fingal"•Allegro moderato. Animato in tempoInizia a 10'46”- Sinfonia n. 4 in la maggiore "Italiana" , op. 901.Allegro vivace 2.Andante con moto 3.Con modo moderato 4.Saltarello. PrestoBerliner PhilharmonikerHerbert von Karajan

Awkward meetings abound as our heroes are drawn together. Gail writes an email. Vanessa is standoffish, but she really cares. Janus decides to not back down. And we are all certain that Gail's shack is not a love shack. Cast and Crew: Game Master: Jordan Green (they/them) Vanessa the Witch (she/her): played by Fay Onyx (ze/hir) Janus the Ghoul (she/her): played by Tobi Hill-Meyer (she/her) Gail the Ghost (she/her): played by William (Billie) Rain (ze/hir) Audio Editing: Ryan Boelter (he/they) Sound Design: Fay Onyx Transcription: Nikki Yager (she/her), with help from Fay Onyx, using Otter.ai Content warnings are listed at the bottom of these show notes. TRANSCRIPT For maximum accessibility, each transcript has four formats. Online transcript: https://writingalchemy.net/2021/11/22/transcript-of-inside-the-first-responders-training-program-part-2/ Word doc with low-vision friendly font Veranda: Writing Alchemy E41 Transcript Pdf with dyslexia friendly font OpenDyslexic3: Writing Alchemy E41 Transcript OpenDyslexic3 Low contrast blue on black pdf: Writing Alchemy E41 Transcript blue on black Main transcripts page: https://writing-alchemy.net/podcast-2/transcripts/ Transcription by: Nikki Yager (she/her), with help from Fay Onyx, using Otter.ai LINKS Game System Monsterhearts 2: https://buriedwithoutceremony.com/monsterhearts Podcast Recommendation Hit the Bricks: https://hitthebricks.com/ Support Writing Alchemy Patreon page: https://www.patreon.com/WritingAlchemy Ko-fi donation: https://ko-fi.com/S6S4BFL0 Tee Public Store: https://www.teepublic.com/stores/writing-alchemy?ref_id=8162 Writing Alchemy Links Website: https://writing-alchemy.net/ Twitter: https://twitter.com/@writing_alchemy Contact Fay: https://writingalchemy.net/about/contact-form/ Podcast RSS feed: https://writing-alchemy.net/feed/podcast Jordan's Link Twitter: https://mobile.twitter.com/jordonaut Tobi's Link Website: https://tobihillmeyer.com/ William's (Billie's) Links Website: http://www.billierain.com/ Twitter: https://twitter.com/billierain Ryan's Link Twitter: https://twitter.com/lordneptune Nikki's Link Linktree: https://linktr.ee/BeholdertoNoOne MUSIC AND SOUND EFFECT CREDITS Intro: Kickin' in the Turbo (Alasdair Cooper) / CC BY-NC-SA 4.0 Game theme: Levels Of Greatness by Scott Holmes Music is licensed under a Attribution License Light medieval music: Pippin the Hunchback (Kevin MacLeod) / CC BY 3.0 Humorous guitar music: My Lady Carey's Dompe composed by Anonymous and played by Jon Sayles and available at http://www.jsayles.com/familypages/earlymusic.htm Gail's crush wonder music: The Forest and the Trees (Kevin MacLeod) / CC BY 3.0 Tinkly crush music: The Flight of the Lulu by Possimiste from Free Music Archive Soft piano music: Touching Moments Two - Higher (Kevin MacLeod) / CC BY 3.0 Uplifting slow piano music: There Is Romance (Kevin MacLeod) / CC BY 3.0 Optimistic guitar music: Green Fields by Scott Holmes Music is licensed under a Attribution-NonCommercial 4.0 International License Mid-roll music: The Place Where I'll Return To (Alasdair Cooper) / CC BY-NC-SA 4.0 Humorous guitar music: Saltarello by Anonymous and played by Jon Sayles and available at http://www.jsayles.com/familypages/earlymusic.htm Sensual jazz music: Isolated (Kevin MacLeod) / CC BY 3.0 Dramatic folk music: Kings of Tara (Kevin MacLeod) / CC BY 3.0 Hip and spooky synthetic track: Spellbound (Kevin MacLeod) / CC BY 3.0 Geiger counter sounds : Radioactive Machine by leonelmail | License: Creative Commons 0 Outro: Everybody's Got Problems That Aren't Mine (Chris Zabriskie) / CC BY 4.0 CONTENT WARNINGS Social awkwardness and anxiety, uncomfortable public displays of affection, discussion of recent violence  

Franz Schubert - Sinfonia n. 8 Incompiuta D 7591.Allegro Moderato2.Andante con motoInizia a 25'58”Felix Mendelssohn-Bartholdy - Sinfonia n. 4 op. 90 Italiana1.Allegro vivace 2.Andante con moto 3.Con moto moderato 4.Saltarello. Presto New York Philharmonic - Leonard Bernstein

In a classic riches-to-rags story, the wealthy and generous Timon goes from commissioning artwork and giving interest free loans to subsisting on roots and railing against humanity in Shakespeare's bleak comedy. The atmosphere is lightened somewhat by how he seeks revenge on his faithless creditors and his city as a whole through practical jokes, the machinations of a dishonored general, and a cadre of women working in the world's oldest profession. Will and James discuss just how sorry we should actually feel for Timon, how to deal with bosses that don't want to hear bad news, and what the Bard can teach us about the National Security Council. // Credits // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: Al Jolson, “Brother, Can You Spare a Dime?” NBC (1932); "Timon of Athens," dir. Robert B. Loper, Oregon Shakespeare Festival (1955); Nia Gwynne, "Timon of Athens," dir. Simon Godwin, Royal Shakespeare Company (2018)

"La esgrima ha desempeñado siempre un gran papel en la educación; en otros tiempos constituía un elemento indispensable, cuando no el primer elemento. Esto se consigue fácilmente, ya que la espada era entonces una parte integrante del traje: en la calle, en la corte y los saraos, la espada jamás se separaba del caballero. Pero poco a poco los hábitos, las costumbres han variado; el uso continuo de la espada se ha perdido, y con ella, el estudio de la esgrima ha dejado de ser una necesidad, pasando a ser un arte de adorno y una ampliación de los ejercicios gimnásticos " (Teoría y método de la esgrima de bastón, Maestros Larribeau y Leboucher, 1876) Capítulo final de la serie “De re spatha”, donde nuestro “dúo de Flandes” (Juan Molina y David Nievas) nos hablan de la historia de la esgrima como arte marcial y luego deporte en occidente. Después de conocer la esgrima medieval en “Caballeros y fardabroqueles” https://www.ivoox.com/51400475 , nos contaron como se desarrolló la “Edad de oro de la esgrima” y el surgimiento del duelo de a dos entre los siglos XVI y XVII https://go.ivoox.com/rf/51613045. En este último capítulo hablarán de la aparición del espadín y el auge de la escuela francesa, así como del largo ocaso del resto de “escuelas nacionales”. La esgrima se volverá un asunto de militares y caballeros de clase alta, para poco a poco convertirse en un deporte que inaugurará las primeras olimpiadas modernas, y que evoluciona hasta nuestros días. Además, desde el siglo XIX se intentará rescatar “el antiguo arte”, y en tiempos modernos surgirá una nueva disciplina: la esgrima antigua o histórica. Créditos musicales: - “Saltarello” Musica Vagantium - “Vuestros ojos tienen d'amor no sé qué”, anónimo (S.XVII), Raquel Andueza, soprano. -------------------------------------------------------------------------------------------------------------------- Si queréis apoyar a Bellumartis Historia Militar e invitarnos a un café o u una cerveza virtual por nuestro trabajo, podéis visitar nuestro PATREON https://www.patreon.com/bellumartis -------------------------------------------------------------------------------------------------------------------- No olvidéis suscribiros al canal, si aún no lo habéis hecho. Si queréis ayudarnos, dadle a “me gusta” y también dejadnos comentarios. De esta forma ayudaréis a que los programas sean conocidos por más gente. Y compartidnos con vuestros amigos y conocidos. SIGUENOS EN TODAS LAS REDES SOCIALES ¿Queréis contactar con nosotros? Puedes escribirnos a bellumartishistoriamilitar@gmail.com Nuestra página principal es: https://bellumartishstoriamilitar.blogspot.com

Pro tip from King Lear to parents of all varieties, especially those running hereditary monarchies and dictatorships: retirement ain't all that it's cracked up to be! The British ruler's efforts to step away to enjoy his dotage by dividing his kingdom among his daughters backfires horribly in a dark play chronicling vanity, aging, madness, and favoritism among siblings. Will and James discuss how actors have tackled Shakespeare's greatest role for thespians with AARP cards, whether Cordelia should have just humored her dad to spare everyone pain, and the bleakness of one of Shakespeare's darkest plays. // Credits // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: “King Lear,” dir. Jonathan Miller, BBC (1975); “King Lear,” dir. Gregory Doran, Royal Shakespeare Company (2016); “King Lear,” dir. Richard Eyre (2018)

In a plot worthy of a day-time reality show, All's Well that Ends Well tells the story of a low-born ward named Helena who cures an ailing king and asks for the hand of a young nobleman who will do just about anything to avoid marrying her. Of course, she finds a way to snare the cad with some clever dece -- a plot development that leads Will and James to discuss who the real villain is in this play and whether anyone really learns anything in the end. // Credits // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: “The Maury Povich Show”; “The Jerry Springer Show”; “All's Well that Ends Well,” dir. Robert B. Loper, Oregon Shakespeare Festival (1955)

Lust, jealousy, rage, race, and one very inconveniently misplaced handkerchief lie at the center of Shakespeare's "Othello," an emotional tour de force that takes manipulation and evil to new levels. Will and James discuss where Iago falls in the pantheon of Shakespearean villains, their visceral reactions to the breakdown of Othello and Desdemona's marriage, and the role that Othello's race and status as an outsider in Venice play in his downfall. // Credits // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: "Inception," dir. Christopher Nolan (2010); "Othello," dir. Oliver Parker (1995); Eileen Atkins, “If wives do fall,” The Guardian (2016).

In the darkest episode of “Undercover Bosses” of all time, the Duke of Vienna announces he's taking a vacation and disguises himself as a monk, to see how his seemingly pious deputy Angelo runs the city -- only to find out that he's a hypocritical autocrat with a penchant for sexually blackmailing nuns. In order to depose Angelo and right his wrongs, our heroes develop a crazy scheme that strains credulity. Will and James discuss what Shakespeare was doing with this “problem play” and what it has to say about #MeToo, sex and the public square, and the point at which a plot requires just a little too much suspension of disbelief. // CREDITS // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: John Gielgud, Ages of Man, Caedmon Records (1959); “Measure for Measure,” Brown Box Theater Project, dir. Kyler Taustin (2019); “Before Sunrise,” dir. Richard Linklater (1995)

Picking up where Homer left off, Shakespeare’s little known Troilus and Cressida tells the story of the Trojan War with contemptuous aplomb. All the heroes are here, in their worst possible lights: the vainglorious Achilles refuses to fight, his noble opponent Hector laments the stupidity of war, the title characters fall in lust only to torn asunder, and Ulysses devises a sly scheme to win that doesn’t involve a gigantic wooden horse. Will and James dissect this messy “problem play” that mocks the very ideas of love and martial glory amid plenty of ribaldry, debasement, and gore. Featuring a very special guest performance from Dileep Rao! // CREDITS // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous) // Outro Music: Jon Sayles, “Saltarello” (composed by anonymous) // Illustrative Excerpts: “Troy,” dir. Wolfgang Petersen (2004); Dileep Rao, “On Degree,” 2021

This film club minisode tackles the most sampled movie on Bard Flies: “Shakespeare in Love,” starring (deep breath) Joseph Fiennes, Gwyneth Paltrow, Judi Dench, Colin Firth, Ben Affleck, Geoffrey Rush, Rupert Everett, Tom Wilkinson, and a coterie of other great actors. John Madden’s portrait of the starving artist as a young man tackles the big questions, including how to avoid your creditors, workshop a script, placate prima donna actors, fend off obnoxious producers, and conduct an illicit affair with a noblewoman with a penchant for the stage. Listen in to Will and James debate whether this is a faithful portrait of what makes Shakespeare great and whether it should have won Best Picture at the Academy Awards. // Credits // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: “Shakespeare in Love,” dir. John Madden (1998)

Introducción de Infierno, el primer libro de la "Divina Comedia" de Dante Alighieri (1265-1361), Música: Kyrie Cunctipotens genitor Deus (Codex Faenza), Saltarello y Ecco la primavera (Francesco Landini) Voz y edición: David Martínez Selección musical: Carlos Arbelo Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Rita Gatta compone poesie in dialetto non per rifugiarsi in un sentimento vanamente nostalgico verso il passato. I lavori di Rita servono a riportare in luce la voce genuina di luoghi e sentimenti; per porli al confronto con i linguaggi nuovi sorti o importati a Rocca Di Papa e più in generale nei Castelli Romani. Anche i ricordi che riemergono, leggendo attentamente, servono a salvare il passato per porlo a disposizione di chi vive nel presente; perché, come giusto e necessario, possa essere trovato il vero senso della nostra storia soprattutto in prospettiva futura. Abbiamo scelto, come prima volta dei nostri podcast, quattro componimenti tratti dalla raccolta “Svrìnguli svrànguli” (Edizioni Controluce, Monte Compatri, 2010) che riguardano altrettanti momenti di reale interesse nella vita dei tempi “antichi” o della prima età di Rita stessa. Testo e voce di Rita Gatta – Note introduttive di Filippo Roncaccia Nell’immagine: fiori della pianta detta “Berretta del Prete” (a Rocca di Papa : “Svringuli svranguli”) Musiche: 1) Saltarello tarantella Evento ad Artena 2012 – 2) ‘Ecco la Primavera’ di Francesco Landini (1325?-1397), interpreti non precisati – 3) Marin Marais Le Basque – Flauto traverso Lenka Molčányiová Flauto Zorka Mrvová – 4) Thomas Walsh: Inisheer – Irish Traditional Music – Eseguono gli alunni di una scuola di musica di Visingsoe in Svezia. AudioRivista.it, prima di pubblicare foto o testi reperiti in rete, compie le opportune verifiche per accertarne il libero regime di circolazione e non violare i diritti di autore o altri diritti esclusivi di terzi. Per segnalare alla redazione eventuali errori nell’uso del materiale riservato, scrivere a redazione@audiorivista.it: si provvederà prontamente alla rimozione del materiale lesivo di diritti di terzi.

Rita Gatta compone poesie in dialetto non per rifugiarsi in un sentimento vanamente nostalgico verso il passato. I lavori di Rita servono a riportare in luce la voce genuina di luoghi e sentimenti; per porli al confronto con i linguaggi nuovi sorti o importati a Rocca Di Papa e più in generale nei Castelli Romani. Anche i ricordi che riemergono, leggendo attentamente, servono a salvare il passato per porlo a disposizione di chi vive nel presente; perché, come giusto e necessario, possa essere trovato il vero senso della nostra storia soprattutto in prospettiva futura. Abbiamo scelto, come prima volta dei nostri podcast, quattro componimenti tratti dalla raccolta “Svrìnguli svrànguli” (Edizioni Controluce, Monte Compatri, 2010) che riguardano altrettanti momenti di reale interesse nella vita dei tempi “antichi” o della prima età di Rita stessa.Testo e voce di Rita Gatta - Note introduttive di Filippo RoncacciaNell'immagine: fiori della pianta detta "Berretta del Prete" (a Rocca di Papa : "Svringuli svranguli")Musiche: 1) Saltarello tarantella Evento ad Artena 2012 - 2) 'Ecco la Primavera' di Francesco Landini (1325?-1397), interpreti non precisati - 3) Marin Marais Le Basque - Flauto traverso Lenka Molčányiová Flauto Zorka Mrvová - 4) Thomas Walsh: Inisheer - Irish Traditional Music - Eseguono gli alunni di una scuola di musica di Visingsoe in Svezia.AudioRivista.it, prima di pubblicare foto o testi reperiti in rete, compie le opportune verifiche per accertarne il libero regime di circolazione e non violare i diritti di autore o altri diritti esclusivi di terzi. Per segnalare alla redazione eventuali errori nell'uso del materiale riservato, scrivere a redazione@audiorivista.it: si provvederà prontamente alla rimozione del materiale lesivo di diritti di terzi.

Shipwrecks, women disguised as men, scolds getting their comeuppance, mismatched love matches, and twins! If you’re sensing some common themes in Shakespeare’s comedies, dear listener, you’d be correct. Yet Will and James do not find the combination becomes more charming with repetition despite the play’s reputation as one of the Bard’s best light-hearted laugh riots. In this rip-roaring lightning episode, they question whether the comedies are, as a rule, generally bad or whether it’s just them... // CREDITS // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: “Shakespeare in Love,” dir. John Madden (1998)