Podcasts about Saltarello

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)

...what can one say about the Melancholy Dane that hasn’t already been said? It’s the big one, the work that casts the longest shadow in all of English literature outside of the King James Bible. We quote it without thinking. It helped inspire The Lion King. And its most famous soliloquy has launched a thousand parodies. Will and James break down the epic monologues, the bloody action, the meditations on mortality, depression, mental illness, tortured love affairs, murder, suicide, conspiracy, invasion, and a savagely bloody denouement in which (spoiler alert!) everyone dies. // CREDITS // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: “Tales from the Public Domain,” The Simpsons, dir., Mike B. Anderson (2002); “Hamlet,” feat. Kenneth Branagh, dir. Kenneth Branagh (1996); John Gielgud,“Ages of Man,” Caedmon Records (1959); “Hamlet,” feat. Clarence Smith, dir. Simon Godwin, Royal Shakespeare Company (2016); “Hamlet,” feat. Bill Murray, dir. Michael Almereyda (2000); “Hamlet,” feat. Andrew Scott, dir. Robert Icke (2017); “Hamlet,” feat. David Tennant, dir. Gregory Doran (2009)