Podcasts about schumann

Die schockierende Wahrheit über Long COVID und seine Verbindung zu Giften in unserem Körper! In diesem bahnbrechenden Interview mit Benjamin Börner, dem medizinischen Leiter des Börner Lebenswerk, gehen wir den Ursachenchronischer Erschöpfung und multi-systemischer Probleme auf den Grund. Benjamin erklärt detailliert, wie Toxine wie Aluminium, Blei und Quecksilber unsere Zellstrukturen, DNA und Mitochondrien schädigen und warum selbst eine gesunde Lebensweise oft nicht ausreicht, um diese Last zu bewältigen. Er beleuchtet die erschreckende Synergie zwischen diesen Giften und den Effekten der g-therapeutischen Injektionen, die er als "potenzierendes Mittel" beschreibt - ein "Waldbrand", der das System überrollt. Aber es gibt einen Ausweg! Benjamin und Sören Schumann haben einen umfassenden Online-Kurs entwickelt, der dir die notwendigen Werkzeuge und Strategien an die Hand gibt, um deinen Körper gezielt zu entgiften und zur Selbstregulation zurückzufinden. Erfahre, warum "oral" oft nichtmehr reicht und welche Rolle Infusionen und spezielle Therapien spielen. Einabsolutes Muss für alle, die wirklich verstehen wollen, was in ihrem Körper vorgeht und aktiv etwas dagegen tun möchten! Hol dir jetzt den ultimativen Schutz für deinen Darm und dein Immunsystem mit Gut Care von Braineffect. Mit dem Gutscheincode “bio360” bekommst du einen satten Rabatt! >>>Jetzt anschauen

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

Psalm 93,The Lord reigns; he is robed in majesty; the Lord is robed; he has put on strength as his belt.Yes, the world is established; it shall never be moved.2 Your throne is established from of old; you are from everlasting.3 The floods have lifted up, O Lord, the floods have lifted up their voice; the floods lift up their roaring.4 Mightier than the thunders of many waters, mightier than the waves of the sea, the Lord on high is mighty!5 Your decrees are very trustworthy; holiness befits your house, O Lord, forevermore. Most mornings in the Schumann household start out the same way. Following time in the word, we make a round of toast with peanut butter and honey for everyone at the table. Next, if it's nice, we go outside for a walk or scooter ride around the block. After that, I get ready for work, grab my lunch, and then right before leaving, ask each of our kids three questions. They are the exact same questions every single morning.Who is the king of the world?Who are the king's people?And, What is better than being the king's people?Just about every morning in our house starts out this way and has now for quite some time. There are easier, simpler ways we start out a morning. For one, we could just skip the questions. I mean, the same three questions every single morning? Is that really necessary? Is that really worth slowing your progress out the door? I think it is. And the reason I think that is because none of us ever truly knows what the day ahead of us is really going to bring — it may be a whole set of circumstances that leave you feeling completely disorienting. Significantly unsteadied. Life can tend to do that kind of thing, you know. It can tend to knock-us-off-balance just when we're least expecting it. Each day carries with it the potential for quite the barrage of disorienting experiences: A suddenly fractured friendship you thought would stand the test of time, shocking news of a failed marriage you believed stood as solid as a pillar, an unforeseen illness in place of ongoing health, an unexpected accident in place of continued safety, loss of trust in someone you had thought trustworthy, or loss of life in someone you had thought invincible.Life can be disorienting. Any given day can leave you feeling turned totally upside down. And that's why, coffee in hand, backpack on shoulders, about to head to work, I ask our kids the questions: Who is the king of the world?Who are the king's people?And, What is better than being the king's people?And then, I listen for the answers we've taught them. Who is the king of the world? God is the king of the world.Who are the king's people? We are the king's people.And, What is better than being the king's people? There is nothing better than being the king's people. That is the message I hope to give my kids every single morning, and it is the message I believe Psalm 93 aims to give us this morning. Cities Church: God is the king of the world. Psalm 93 invites us to anchor ourselves to that truth, that we might be able to ride out all life's disorienting storms.Let's pray and ask for God's help before going any further. King Over the WorldSo, Psalm 93 — God is king over the world. More specifically, God is king over the world's future, its floods, it's faithful. Let's begin with what it means for God to be king more generally, then we'll consider his kingship over the future, floods, and faithful. So, God is king over the world. Beginning with verse one:“the Lord reigns.” The Lord reigns. He reigns. He does not merely manage or supervise — he reigns. As a verb, reign pertains to the realm of royalty. Reigning involves sitting upon a throne, wielding complete authority, and bearing the title “king.”And, this is something God does by right, for his kingly throne is “from of old.” Verse 2,“Your throne is established from of old; you are from everlasting.”So, verse one, God is king, and, verse two, his status as king is no new thing. He is king and he has been king, and there has never been a time, or a world, in which God was not King.Go ahead, take all of reality, all that has ever been, bind it all together into a single book. Turn to its very last pages and then start flipping backward. You'll just keep seeing it over and over again — God seated upon a throne. Brothers and sisters, the empires of our world are as a blink of an eye compared to the reign of God. Entire royal lines — a snap of the fingers. The timeline of the universe is the timeline of God's reign.So, God is king. God reigns as king, and he does so, still verse one, “robed in majesty.”“The Lord reigns; he is robed in majesty;” You've all seen movies or books where ancient kings have been depicted. Sometimes they're clothed in garments of purple laced with gold, or a cloak of red with white and black-dotted collar. King Aragorn kind of ends up with this cool black cloak with the white tree insignia — that one's pretty cool. Take all those images together, the basic idea is the same: kings set themselves apart from others by way of clothing. They choose, from all the finest clothing in the land, garments to signify their unique position. They adorn themselves, and they do so with articles of clothing that are exterior, outside themselves.The image here of God, the true High King, is similar — but not the same. Verse one describes the Great King's attire, but with one major difference. Here, it seems the Lord, the true reigning King, does not go looking for something exterior himself to wear. He doesn't go searching for outward, purchasable splendor. Rather, it seems he possesses within himself an inherent majesty, inherent greatness, which emanates out from him so real and so palpable that it is to him his robe.In other words, he's robed not in the majesty of man. Majesty is his very essence. He is what it means to be majestic.We see much of the same in terms of his belt. The text reads, still verse one,“He has put on strength as his belt.”Now, remember, we're talking about God here. God who does not borrow strength from elsewhere. Does not increase in strength, as if some form of it could even exist outside of him. He's what all forms of strength depend upon. And so when we read, God has put on strength, or God has robed himself in majesty, I believe we are meant to understand it as not suggesting God is adding anything to himself, but rather that God is revealing something of himself to us. Put another way: His putting on of strength, robing himself with majesty is simply what God looks like, from our angle, whenever he reveals himself to us.Brothers and sisters: God is king over the world. And, more specifically, God is king over the future of the world. King Over the FutureTake another look at verses one and two, and notice what's sandwiched between the words on God's kingship. See it with me, on one side of the sandwich, verse one:“The Lord reigns; he is robed in majesty; the Lord is robed; he has put on strength as his belt.”All thoroughly Godward statements, yes? All concerning God's kingship. On the other side, verse 2:“Your throne is established from of old; you are from everlasting.”Again, thoroughly Godward statements. All concerning God's kingship.But then, in the middle, a statement that doesn't immediately seem to fit. End of verse one:“Yes, the world is established; it shall never be moved.”Nothing thoroughly Godward here, right? The world is what's in view. Not God's kingship, but the world and the promise that it shall never be moved.Now, how does that fit here? What is the connection? God, God, God on one side. God, God, God on the other. Earth sandwiched in the middle. I think the point is this: We don't know what tomorrow will look like for our world, do we? We don't know the world's future. From a purely scientific angle, it doesn't look great. Think about it: We are literally standing on a ball, that's currently hurling through space, and held in the orbit of an even bigger ball, that's burning like a furnace, so massive and so powerful, that it makes nuclear reactors look like candle sticks.Will the sun go out tomorrow? Will the earth erode? Will a gigantic asteroid smash into us and break our planet in two? Will food run scarce? Will the waters dry up? Will the temperature rise too high?What will the future of our world hold? Any future at all?Psalm 93:“Yes, the world is established; it shall never be moved.”And the reason it won't ever be moved is because God is king over its future. He is king over the world's tomorrow. The world does not exist independently from God. The world is not a clock simply wound up by God and left to tick away on its own.God has told us his son is coming back to this world. God has told us he is going to free this world from its bondage to decay. Till he does, he has also told us his Son is the one who upholds the universe by the word of his power (Heb. 1:3). God is not going to let this world turn to dust. Psalm 93: “Yes, the world is established; it shall never be moved.” God is king over the future of the world.You feel flipped upside down by certain reports in the news. You feel disoriented, confused, by the possibility of chaos or catastrophe. Take heart, God is king over the future of the world. No one gets to decide what tomorrow will bring save him.God is king over the future of the world. And, God is King over the floods of the world.King Over the FloodsVerse 3,“The floods have lifted up, O Lord, the floods have lifted up their voice; the floods lift up their roaring.”Certainly seems significant, given recent events. Last I read, the death count from the recent flooding in Texas has reached 134 people. The floods have certainly lifted up their roaring, and it's not the first time. Now its true, the term “floods” here could also be translated as rivers. NIV has “seas.” So we want to be careful here to not interpret this too narrowly. Waters is the idea. Bodies of water. Whether in the form of an ocean threatening deep sea fishing boats far from land, or a rising tide that breaks over embankments and floods into a city. Bodies of water, and all the potential energy amassed within them — that's the idea here. And in the ancient world, these bodies of waters were regularly feared as extremely threatening and unpredictable. Thought by many to be the realm of worldly chaos.In fact, so threatening, unpredictable, and chaotic were these bodies of water that the term itself — whether rivers, waters, or floods — became synonymous for enemy nations.Isaiah 8:7, with regard to Assyria:“The Lord is bringing up against them the waters of the River, mighty and many, the king of Assyria and all his glory. And it will rise over all its channels and go over all its banks,”Jeremiah 46:7, with regard to Egypt:“Who is this, rising like the Nile, like rivers whose waters surge? Egypt rises like the Nile, like rivers whose waters surge.”Revelation 12:15, with regard to Satan himself:“The serpent poured water like a river out of his mouth after the woman, to sweep her away with a flood.”So, floods here, could mean literal floods, like that which recently swept over parts of Texas. Or it could mean figurative floods, like warring nations that have swept over our world. Truth be told, I think both are in mind here in Psalm 93, because what follows is just as true concerning both. See it with me, verse 4: “Mightier than the thunders of many waters, mightier than the waves of the sea, the Lord on high is mighty!”God is king over the world's floods — it's literal floods (think Noah and the Ark) as well as its figurative floods (think Egypt's watery grave). God is king, and can be king, over the world's floods because he is mightier than they. His power far exceeds their own. The floods are to him as freshly poured tar upon the road, where he is to them the steamroller. He drives his will right on through without the least degree of resistance.Does he, at times, allow the floods to wreak havoc? Yes, according to his all-knowing, loving, and perfect wisdom, he does. But that's the key word, allows. And the moment he stops allowing, the floods must cease. Jesus slept for a time in the boat, yes? The waves crashed, the waters roared. But when Jesus woke, and spoke: “quiet, be still.” The waves were forced to bow to him. Our Psalm 93 king is mightier than the floods. Friends, no matter how out-of-control things look. No matter how in-control the enemy may seem to be. In seasons of disorientation and confusion, step away from the tilt-a-whirl of circumstances. And steady yourself upon the truth that God is king over the floods of the world.Anchor yourself to that truth, and ride out the storm from there. God is king over the floods of the world.Lastly, God is king over the faithful of the world.King Over the FaithfulVerse 5:“Your decrees are very trustworthy; holiness befits your house, O Lord, forevermore.”Key terms here — decrees, think Laws. And House, think household, or family. In other words, what's in view here is the church. The faithful who are in Christ. After all, it is we who are the members of his house, “holiness befits your house.” It is we who are the possessors of his decrees, “Your decrees are very trustworthy.” We, the church, the faithful in Christ, we are in view here. Which means, God is king over us as well. God is king over the faithful of the world.And I want us to really think for a moment about what that means. God is king over us. Kings, as we said, sit upon a throne. They wield complete authority. They reign. And as they do, their citizens do what? They obey. They submit. They endeavor to do what the king tells them.In the church, we call Jesus our friend, and we should, because Jesus first called us his friend (John 15:15).We call Jesus our Good Shepherd, and we're right to, because Jesus told us that's who he is (John 10:11).We call the Father our Father, because Jesus invites us to call him Father (Matt. 6:9).We call Jesus our Savior because that's just what he came to — save us from our sin (Matthew 1:21). We call Jesus, Jesus, because though fully God, he also became fully human, even to the point of taking on a human name, Jesus. How often do we call Jesus king? How often do we call him king and really mean it? To call Jesus king means you intend to submit to him, right? You intent to obey him. You intend to abide by the rules of his kingdom.Are you winking at any of King Jesus' commands in this season? Are you taking lightly any of King Jesus' words? Friends, in all our love for, nearness to, and enjoyment of Jesus, don't forget, this same Jesus is also King. A King deserving of our obedience to him.DecreesAnd now, two quick words concerning your King: First, verse 5, his decrees are very trustworthy. Speaking to the king,“Your decrees [think testimony, Law — the words of this book he's given us called the Bible] are very trustworthy.”His decrees are very reliable. And that's important, because his word is also very challenging, “better to pluck out your eye than with two eyes to be thrown into hell.” Pluck out my eye? Am I really to take sin that seriously? His word is also not always intuitive, “whoever loses his life for my sake will find it” (Matthew 16:25). Really, I have to lose it, to find it? How can that be? His word is also humbling, “no one is righteous, no not one.” Ouch. Self-help books don't talk that way. His word is also very candid and to the point, “Here you have no lasting city.” Phew, kind of sobers you to reality just a bit, huh.So, given the challenging, not always intuitive, humbling, and to-the-point nature of God's word, we could tend to find ourselves sifting through it a bit, don't you think? Customizing it — I like this part, not that part. But these are not the words of a common citizen. Advice from the guy on the corner to either be taken or dismissed. They are the words of your King. And your king is telling you that they are very worth your trusting them.The world would have you to doubt God's word. Your sin would have you ignore it. Follow the king's word. Submit to it by faith. His decrees are very worth your trust.HolinessSecond, and lastly, holiness befits his house. Speaking to him in verse 5, “Holiness befits your house.”Whether his kingdom in heaven, his church here on earth. Holiness befits his house.And, look, this ought to be such a relief. Such an encouragement. I mean, a King can be a frightening thing. All that power, handed over to one single person? Turn the pages of history, human kings have wreaked havoc on the world. There's a reason most countries don't want them anymore.But, here's good news of a good King. One who is purely, perfectly, unchangeably holy. A king who is set apart and entirely untouched by sin, unmarred by evil, unendingly good.“Holiness befits your house.”You need not ever fear this King acting capriciously, selfishly, or deceptively like human kings. This King has no sin for you to worry about. He is radiant in holiness and it decks the walls of his house. No sin or evil ever touches this king. And the fact that holiness befits his house, means that everyone he calls near to it, he too makes holy. 1 Peter 2:9,“But you are a chosen race, a royal priesthood, a holy nation,”Christian, God has made you holy, that he might bring you near. So, be holy, because you're headed to his house in heaven. And, don't miss this, be holy now, because you are his house on earth. 1 Cor. 3:17,“If anyone destroys God's temple [God's house], God will destroy him. For God's temple is holy, and you are that temple.”Holiness befits his house. You are that house. Therefore, be holy.Application for you: What is one step you can take today toward greater holiness? One sinful habit you can drop. One godless activity you can quit. One decision by which you can say, “God, you've made me holy by your Son, you've called me to live holy in this world. You are my king, and as a member of your household, I will choose holiness here. What is here for you this morning?Christian, we've got good news about a good king. It's news we can anchor our souls to in the midst of stormy weather and disorienting seasons.Who is the king of the world? God is the king of the world.Who are the king's people? We are the king's people.And, What's better than being the king's people? There is nothing better than being the king's people.The TableNow, what brings us to the table this morning is the fact that none of us here deserve to be the king's people. Had the king done nothing, and we continued in our sin just as before, we could expect nothing but rightful judgment from him. But, King Jesus did, in fact, do something. He left heaven, came to earth, took on the form of a servant, was mocked, beaten, scorned, and then hung upon a cross to die for us. Our King purchased our citizenship into his kingdom, by his life, death, and resurrection. So, because that's what this table represent, if you're here today and you've trusted in Jesus as your Savior King by faith, then we invite you to take and eat with us. If you've not put your trust in Jesus, we ask that you'd let the bread and cup pass, and in this moment, turn from your trust in all other things, give your full allegiance to Jesus. Say “Jesus, be my king.”

Bottle films, films made predominately in one location, are like playing with fire. There's not a lot of room to make a good film if you don't cast well, for instance, or if the location of your bottle isn't fantastic. My guest, director Nicolai Schumann, understood all this….because he watched a bunch of the previous bottle films…and went ahead with THE LONELY MUSKETEER (2024) anyway. And I'm so glad that he did. The film tells the story of “the psychological downfall of a man who is highly traumatized by life.” Along the way, it's earned numerous awards, including cinematography at the 2025 Raindance Film Festival. And Nico is here to talk about it with me today. In this episode, Nico and I discuss:The clausterphobic nature of his film and what people should expect to see when they watch THE LONELY MUSKETEER?The pairing of investment bankers and hooligans in London that made this film;The secret to success for the feature film that won best cinematography at Raindance 2025;Why they cast Edward Hogg for a film that centers around a man locked in a box;How he feels about bottle films;Utilizing color throughout the film as well as putting important scenes in the credits;Whether he can trace awards won to tangible benefits for the film;London as an indie filmmaking location;What he's working on now” — “three teenagers who decide on a suicide pact in the backdrop of Thatcherism”;Nico's Indie Film Highlight: JAMES (2024) dir. by Max TrainMemorable Quotes:“The next decision I made, stylistically or creatively, is that there is not a single camera movement in the whole movie. So our big role model for that was a shower scene in PSYCHO;“ If there's not a hundred percent certainty that the actor can put it off, we wouldn't have done it.”“ The other thing which was really important for us is that we got the visuals right…that we started with wide lenses and then we went to long lenses over the movie so that the walls were literally closing in on the actor.” “The credit sequence is there to keep the audience guessing.”Links:Follow Nicolai On InstagramSupport this podcast at — https://redcircle.com/first-time-go/exclusive-content

Dieses Gespräch mit Sozialministerin Korinna Schumann ist Teil einer losen sachpolitischen Serie, in der wir mit den neuen Regierungsmitgliedern über einzelne Maßnahmen aus ihren Ressorts sprechen. Bisher erschienen: Frauenministerin Eva-Maria Holzleitner über den "Dick-Pic-Paragraph":https://ganzoffengesagt.simplecast.com/episodes/27-2025-uber-das-dick-pic-verbot-mit-eva-maria-holzleitnerIntegrationsministerin Claudia Plakolm über das Kopftuchverbot:https://ganzoffengesagt.simplecast.com/episodes/29-2025-kopftuchverbot-mit-claudia-plakolmBildungsminister Christoph Wiederkehr über die Orientierungsklassen:https://ganzoffengesagt.simplecast.com/episodes/34-2025-wozu-orientierungsklassen-mit-christoph-wiederkehr-m Wir würden uns sehr freuen, wenn Du "Ganz offen gesagt" auf einem der folgenden Wege unterstützt:Werde Unterstützer:in auf SteadyKaufe ein Premium-Abo auf AppleKaufe Artikel in unserem FanshopSchalte Werbung in unserem PodcastFeedback bitte an redaktion@ganzoffengesagt.at

Themen: Teilpension/Laut Höchstgericht könnten Mieterhöhungen zurückgefordert werden

Themen: Teilpension/Laut Höchstgericht könnten Mieterhöhungen zurückgefordert werden

durée : 00:04:27 - Musique matin - par : Max Dozolme - De la simple citation à la transcription, notre hymne "La Marseillaise" intéresse les compositeurs de musique classique. Petit tour d'horizon avec Schumann, Berlioz, Stravinsky, Liszt, Debussy, Satie... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Eskapistisch oder von Sehnsucht getragen. Ob entführt mit gefühlt 200 km/h, während ein Laserpointer den Mond streift, im fremden Wagen durch die verkehrsberuhigte Zone, ob im Schumann's München, wo Gläser klirren, oder bei einem Sommerspaziergang über den Boulevard Saint Germain in Paris: Es gibt immer eine Geschichte dahinter, sogar in bayrischen Hundeläden. Ein Plädoyer für das Miteinander, für das Verständnis. Denn hinter jedem Blick, jedem Ort, jedem flüchtigen Moment wohnt eine Sehnsucht —vielleicht finden wir ein Stück von uns selbst im Anderen wieder. Executive Producer: Christoph Falke & Ruben Schulze-FröhlichProjektleitung: Annabell RühlemannSounddesign & Produktion: Carl von Gaisberg„Beisenherz und Polak – Friendly Fire“ ist ein Podcast aus den Wake Word Studios. Hosted on Acast. See acast.com/privacy for more information.

Schumann, Peter B. www.deutschlandfunk.de, @mediasres

durée : 00:25:07 - Mozart, Symphonie 40, "or pur" mais mystérieux... - par : Anne-Charlotte Rémond - "Une œuvre dont chaque note est de l'or pur, chaque partie un trésor" déclare Schumann, à propos de la Symphonie 40 de Mozart. Cette œuvre, achevée en juillet 1788, dont on ignore les raisons de sa composition, a fait couler beaucoup d'encre... Anne-Charlotte Rémond nous éclaire dans Musicopolis ! - réalisé par : Adrien Landivier Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Schumann, Peter B, www.deutschlandfunkkultur.de, Fazit

Schumann, Peter B. www.deutschlandfunk.de, Kultur heute

Unser Essen soll uns nähren – doch was, wenn es uns krank macht? In diesem Augen öffnendem Gespräch mit Gesundheitscoach Sören Schumann decken wir die unsichtbaren Gefahren auf, die in scheinbar harmlosen Lebensmitteln lauern: Umweltgifte, Schwermetalle, Zusatzstoffe und Parasiten. Erfahre in diesem Podcast, warum viele Krankheiten schleichend beginnen – und warum Entgiftung heute wichtiger ist denn je. Entdecke zudem konkrete Werkzeuge für Reinigung, Prävention und Selbstheilung, die Du sofort umsetzen kannst. Sören zeigt Wege auf, wie Du Deinen Körper durch einfache Mittel entlasten und reinigen kannst: von Bitterstoffen über Wildkräuter bis hin zu Frequenztherapie.   Die geäußerten Meinungen und Aussagen dienen ausschließlich Bildungs- und Informationszwecken, ersetzen jedoch keine therapeutische oder medizinische Beratung.  

durée : 01:15:04 - Un souffle de fraîcheur - par : Judith Chaine - En ce début d'été, plongeons dans la musique de Janáček, Schumann, Saint-Saëns, Purcell, Granados, Bach revisité par Raphaël Imbert et Valgeir Sigurðsson, mais aussi Josquin des Prés, Rameau, Gaultier, Wagner et Agricola... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:53 - Le Quatuor de Jérusalem, la tradition de l'excellence - par : Aurélie Moreau - 2025 marque les 30 ans du Quatuor de Jérusalem qui a très vite acquis une renommée mondiale, jouant avec passion, précision et chaleur un large répertoire. Aujourd'hui : Chostakovitch, Brahms, Haydn, Dvořák, Schubert, Debussy, Schumann et Korngold. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:27:42 - Nicolas Dautricourt, violoniste - Violoniste à la carrière internationale, Nicolas Dautricourt mélange les registres avec plaisir et élégance. Après Elgar en janvier, il s'apprête à livrer, à la rentrée, sa version du concerto de Schumann. Il assure aussi cet été la direction artistique de deux festivals, à Corbigny et à Cassis. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:29:02 - Musique matin été du mardi 01 juillet 2025 - par : Suzanne Gervais - Violoniste à la carrière internationale, Nicolas Dautricourt mélange les registres avec plaisir et élégance. Après Elgar en janvier, il s'apprête à livrer, à la rentrée, sa version du concerto de Schumann. Il assure aussi cet été la direction artistique de deux festivals, à Corbigny et à Cassis. - réalisé par : Colin Gruel Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Orli Shaham guest hosts with her brother violinist Gil Shaham on this episode dedicated to musical families. We'll meet a bunch of siblings, including Orli's own sons. We'll enjoy performances of Dvořák, Schumann, and a new work by a young composer.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Today may be my final episode for Pride Month 2025, but it is most certainly not my final episode celebrating and affirming Pride and all our glorious forebears who preceded us! Today's episode is a belated birthday tribute to British tenor Peter Pears (22 June 1910 – 03 April 1986), most celebrated for his long-standing romantic and musical partnership with Benjamin Britten. However, as with my recent episode celebrating the artistry of Pierre Bernac apart from his performances of the music of Francis Poulenc, in today's episode, there is not a note of Britten's music to be heard. There is no question that Britten was a formative figure in Pears' artistic development, but throughout their lives together, he performed a wide range of music, from Pérotin to Lutosławski as an independent and enormously versatile artist. In this episode, I offer selections by Webern, Handel, Copland, Couperin, Stravinsky, Dowland, Tippett, Mozart, Holst, Bach, Copland, Berkeley, Schubert, Walton, Schütz, Debussy, Handel, Nordheim, Schumann, and David Bedford, among others, to offer a surprising portrait of this fascinating singer. Even if you have not (yet) acquired a taste for this (sometimes) controversial singer, I urge you to give it a listen, for not only does it present Pears in all his varieties, it also highlights his musical partnerships with Joan Sutherland, Sviatoslav Richter, Murray Perahia, Dennis Brain, Viola Tunnard, George Malcolm, Martha Mödl, Gré Brouwenstijn, Imogen Holst, and Noel Mewton-Wood (as well as a few clips with with his life-partner Britten at the piano). 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.

Andrés Amorós dedica un cuarto programa a este pianista ruso muy respetuoso con la labor de los compositores. Andrés Amorós dedica este programa a las interpretaciones que Sviatoslav Richter realizó de Brahms y Debussy. Se subraya la filosofía del pianista ruso, que se consideraba a sí mismo un mero ejecutor al servicio de la obra, mostrando un respeto absoluto por la partitura y el compositor, por encima de cualquier lucimiento personal. Esta actitud le diferencia de otros virtuosos y define su enfoque artístico. En su acercamiento a Johannes Brahms, Richter exhibía una afinidad particular, prefiriéndolo incluso a Schumann. Su interpretación del Scherzo del Concierto para piano nº 2 es un ejemplo de su fuerza controlada y su renuncia al sentimentalismo. Richter aborda a Brahms con la potencia y la hondura requeridas, pero siempre manteniendo una sobriedad y una fidelidad extremas al texto musical. La selección de Claude Debussy demuestra la enorme versatilidad del pianista. Richter era capaz de adaptarse a estilos muy diferentes, recreando las atmósferas y el color del impresionismo francés. Se escuchan fragmentos de Cloches à travers les feuilles y L'Isle Joyeuse, piezas en las que el pianista logra evocar el misterio y la alegría jubilosa con una claridad y una técnica prodigiosas, sin perder la esencia etérea de la música. Finalmente, se destaca la figura de Richter como un artista único y enigmático, alejado de los circuitos comerciales y de la autopromoción. Su dedicación a la música por encima de todo queda reflejada en anécdotas como la creación de su propio festival en un granero en Francia, buscando la acústica y el ambiente perfectos. Se le recuerda como un intérprete puro más que como una estrella del piano.

Brad Zerbo and Zak “RedPill78” Paine return for another deep dive into the weird and wonderful, kicking off with theories around the recent submarine disappearance and how it ties into solar activity and timeline anomalies. The hosts explore the concept of “soft disclosure” through science fiction and examine real-world parallels in black-site programs, missing 411 cases, and frequency manipulation. Discussions range from lunar energy harvesting and the moon as a potential base, to the importance of resonance and how ancient knowledge is being rediscovered. Brad unpacks Earth's magnetic cycles, Schumann resonance, and the collapse of the official climate narrative, while Zak connects spiritual awakening with geopolitical shifts, particularly around BRICS nations and de-dollarization. The episode also touches on Elon Musk's Twitter/X revelations, the use of dark magic in pop culture, and how to remain grounded in a matrix engineered for distraction. It's a mind-bending mix of science, speculation, and soul-searching, challenging listeners to look deeper and stay alert as the veil continues to thin.

Hello dear friends,What does it mean to be a “superwoman” in music—then and now? In this episode, we travel from the finely tuned mechanics of 19th-century fortepianos to the bold visions of contemporary curators as we explore Superwomen—a newly launched festival in Basel by pianist and researcher Laura Granero and piano restorer Sebastian Bausch, the duo behind Klavieratelier Mignon 1904.Together, we unfold a multi-sensory conversation, from salon culture to technological time capsules. Expect to meet the dazzling Fanny Davies—not only a pianist of Schumann's inner circle but also a visual artist and chronicler of her musical world (hear her play Davidsbündlertänze here). We'll also discuss diva, entrepreneur, and Rossini's first wife Isabella Colbran (profile), whose fortune helped fund the composer's comfort.And yes, there were bread sculptures. The 19th-century salon scene was full of unexpected flourishes—often led by female artists who shaped cultural trends far beyond the concert hall. We dive into the curious tale of musical baking, the gender politics of programming, and the enduring influence of the salonnières.Adding a present-day sparkle, we taste a bottle from Cava Hispania and raise a glass to Darina's second podcast, Why White Wine, celebrating the role of wine in collaboration and storytelling.With fortepiano improvisations on John Field's Nocturne No. 5 (performed by Laura Granero), reflections on feminist agency in curation, and a touch of irony, this episode invites you to rethink tradition with intelligence, warmth, and a generous pour.

This paper explores how language shapes collaboration and knowledge in global health professions education research, highlighting implications for qualitative researchers striving to overcome English dominance. #MedEd #ResearchEquity Read the accompanying article here: https://doi.org/10.1111/medu.15563

Since 1986, SB Foot Tanning Company is most known as the tannery owned by Red Wing, and with good reason: every bit of leather used on Red Wing Heritage footwear is developed and made by SB Foot just a few miles from Red Wing's US manufacturing facility.But the tannery itself and its relationship with Red Wing stretch much further back—to the late 1800s. And SB Foot creates leather for far more than just its neighbor in Red Wing, Minnesota—everyone from solo makers, to Russell Moccasin, to the US military.Lacy Schumann has spent her last five years developing leather for SB Foot. Maybe Lacy was always supposed to make leather—she did grow up on a beef farm—but it took a veer away from a career in the art world to get her there.I absolutely loved this chat with Lacy, who takes me through SB Foot history 101, what leather development at SB Foot entails (along with the nonstop interactions with Red Wing's development team), how hard it is to accurately color leather—and let's not even get started on truly waterproofing the stuff—why she's in total roughout mode right now, and plenty more.Mentioned in the episode: The Tannery & The Shoe: A Deep Look Inside The Red Wing & SB Foot Factories, by Josh Bornsteinhttps://www.stitchdown.com/brands/red-wing-boots-and-shoes/red-wing-shoes-sb-foot-factory-visit/This episode was sponsored by Coblr—the business management system powering the repair industry. https://www.coblros.com/ Support the Shoecast, get full bonus episode access, and join the most interesting shoe-and-boot-loving community on the internet with a Stitchdown Premium membershiphttps://www.stitchdown.com/join-stitchdown-premium/Check out our site!https://www.stitchdown.com/2025 dates and location for Stitchdown's Boot Camp 3—the world's fair of shoes and boots and leather and more—coming soon.https://www.stitchdownbootcamp.com/

Heather Taves is an acclaimed Canadian pianist, also a composer, improviser, educator and writer.She spoke to me about her unique and inspiring Beethoven Journey, her popular weekly blog which she started in 2023 , paired with performances of all of Beethoven's 32 piano sonatas. We talked about getting to know Beethoven as a person and her fascinating research about many women that are part of this history. We also talked about Heather's work as an educator, developing creativity and approaching teaching music from different angles. She spoke about her mentors including pianist Gil Kalish and writer Diane Shoemperlen, and her experiences travelling around the world by herself. You can also watch this on my YouTube channel, transcript and complete show notes with suggested episodes too on my website! Heather Taves website It's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity. Buy me a coffee? Podcast merchNewsletter sign-up Waves Play from East Coast SuiteArabesque in C major by R. Schumann photo: Terry Manzo(00:00) Intro(02:25) Beethoven Journey, Nanette Streicher, sonata cycle(08:32) Jan and Jean Narveson, Anton Kuerti, women interpreters research(17:52) clip of R. Schumann Arabesque in C major (album linked in show notes)(19:30) Heather's childhood(22:11) East Coast Suite, Toccata based on Fibonacci series(23:14) Waves Play Toccata by Heather Taves from East Coast Suite(25:49)Creative Projects, helping students to find their voice(32:44) getting to know Beethoven the person(38:39) performing from memory(41:20) Gil Kalish(45:48) other episodes you'll like and ways to support this series(46:42) Beethoven journey blog(59:18) writing mentor Diane Schoemperlen(01:043:23) Dame Myra Hess(01:07:54) Heather's life as a composer, her father(01:11:35) world trip, questioning identity(01:16:48) final reflections on the life of a performer

So weit hat sich der katalanische Altmeister Jordi Savall mit seinem Originalklang-Orchester Le Concert des Nations noch nie in die Romantik vorgewagt: Nach Beethoven, Schubert und Mendelssohn präsentiert er jetzt Raritäten von Schumann und Bruckner. Das Album "Vergessene Symphonien" ist bei Jordi Savalls eigenem Label AliaVox erschienen.

durée : 00:19:17 - Disques de légende du mercredi 11 juin 2025 - En 1990, Pollini et Abbado gravent le concerto de Schumann ; au passage, ils mettent aussi en avant le concerto d'Arnold Schönberg, nettement moins fréquent.

Con Mario Mora y Ana Laura Iglesias | Nos precipitamos al final de temporada de la Orquesta y Coro Nacionales de España hablando de algunos detalles de la nueva temporada 25/26 que ya conocemos, repasando la agenda de conciertos de este mes y visitando el Auditorio Nacional con Carlos Iribarren, comentario al que en este episodio se ha unido también Antonio Daganzo, escritor y musicógrafo, y quien también estuvo en el concierto del Focus Festival que comentamos. Como invitada especial recibimos a Ana González, directora de los Pequeños Cantores de la ORCAM que participan esta semana en el último sinfónico de la temporada, y quien nos cuenta muchos secretos del trabajo con los chicos y chicas que forman este coro y que se enfrentan, en esta ocasión, a la música de Schumann. Branded pódcast de la Orquesta y Coro Nacionales de España

Welche Ziele verfolgen russische Hacker wirklich?

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

durée : 01:29:27 - En pistes ! du mercredi 04 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Il a remporté le concours Van Cliburn à seulement 18 ans; le pianiste coréen Yunchan Lim séduisait le jury avec le 3e concerto de Rachmaninov, une prestation qui parait au disque. Autre jeune pianiste, le français Arthur Hinnewinkel fait paraître un premier disque, entièrement consacré à Schumann.

durée : 01:29:27 - En pistes ! du mercredi 04 juin 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Il a remporté le concours Van Cliburn à seulement 18 ans; le pianiste coréen Yunchan Lim séduisait le jury avec le 3e concerto de Rachmaninov, une prestation qui parait au disque. Autre jeune pianiste, le français Arthur Hinnewinkel fait paraître un premier disque, entièrement consacré à Schumann.

Interpreten: Pablo Ferrández, Julien Quentin, Swedish Chamber Orchestra, Martin FröstLabel: Sony ClassicalEAN: 198028986328Manchmal darf es auch wohlklingender Hochglanz sein, der es zur CD der Woche auf radio klassik Stephansdom schafft. Wie das Album Moonlight Variations des Cellisten Pablo Ferrández. „Nachtmusiken“ scheinen derzeit Hochsaison zu haben, wenn man an die Nocturnes-, Serenaden- usw. CDs der vergangenen Wochen und Monate denkt. Mit der Nacht in der Musik hat sich nun auch Pablo Ferrández beschäftigt, und das, obwohl er laut eigener Aussage ein ausgesprochener Morgenmensch ist. Träumerische Melodien von Schumann, Schubert, Liszt, Debussy, Chopin, Ponce und Dvořák hat der junge Cellist Ferrández teils in Originalbearbeitungen, teils in Eigenarrangements mit Orchester- oder Klavierbegleitung aufgenommen. Mit den Rokoko-Variationen von Peter Iljitsch Tschaikowsky findet die CD aber auch einen ganz und gar nicht nächtlichen Höhepunkt, aus musikalischer Sicht aber völlig irrelevant…„Einer der Gründe, weshalb ich so gerne Lieder spiele, ist, dass wir mit dem Cello immer zu singen versuchen.“ So wird Pablo Ferrández im Beiheft der CD zitiert und genau das gelingt ihm auch in den unterschiedlichen Bearbeitungen auf dieser CD. Schon bei Rusalkas Lied an den Mond zur Eröffnung oder auch Schuberts Nacht und Träume. „Heil'ge Nacht, du sinkest nieder; Nieder wallen auch die Träume, wie dein Mondlicht durch die Räume, durch der Menschen stille Brust.“ Da ist er wieder, der Mond. Schumanns Träumerei oder der dritte Liebestraum von Liszt fügen sich genauso ins Spektrum und erhellen den musikalischen Nachthimmel, wie der kleine Stern Estrellita des mexikanischen Komponisten Manuel Ponce. Selten genug, dass das Hauptwerk einer CD, wie hier die Rokoko-Variationen von Tschaikowsky, zur Zugabe mutiert. Makellos und musikantisch gelingen die sieben Variationen auf ein Rokoko-Thema, wobei auch das Schwedische Kammerorchester unter Martin Fröst seinen Anteil daran hat. Aufmerksam wie die sprichwörtlichen Haftlmacher begleiten die Musikerinnen und Musiker und legen so ein Fundament, auf dem es sich wunderbar solieren lässt! Das Finale ist dabei ein feingezeichnetes Feuerwerk, bei dem sich Orchester- und Solostimme herrlich ineinander verschränken. (mg)

durée : 00:12:58 - Le Disque classique du jour du jeudi 29 mai 2025 - En 2021, sur l'invitation du Professor Jan David Schmitz, directeur artistique de la Brucknerfest de Linz, Jordi Savall imagine un nouveau programme réunissant des symphonies romantiques hors normes de Schumann et Bruckner.

durée : 00:12:58 - Le Disque classique du jour du jeudi 29 mai 2025 - En 2021, sur l'invitation du Professor Jan David Schmitz, directeur artistique de la Brucknerfest de Linz, Jordi Savall imagine un nouveau programme réunissant des symphonies romantiques hors normes de Schumann et Bruckner.

durée : 01:29:08 - En pistes ! du jeudi 29 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Deux symphonies zéros signées Schumann et Bruckner à découvrir aujourd'hui dans En Pistes ! Il y aura aussi de la musique sacrée avec le Te Deum et l'unique oratorio de Louis-Nicolas Clérambault, ainsi que le Stabat Mater de Dvorak...

durée : 01:29:08 - En pistes ! du jeudi 29 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Deux symphonies zéros signées Schumann et Bruckner à découvrir aujourd'hui dans En Pistes ! Il y aura aussi de la musique sacrée avec le Te Deum et l'unique oratorio de Louis-Nicolas Clérambault, ainsi que le Stabat Mater de Dvorak...

durée : 01:28:38 - Dietrich Fischer-Dieskau, un chant sensible et incarné - par : Aurélie Moreau - Nous fêtons aujourd'hui le centième anniversaire de la naissance de Dietrich Fischer-Dieskau, baryton inoubliable qui a magnifié l'interprétation du lied et triomphé à l'opéra. Au programme : Schubert, Mozart, Schumann, Mahler, Beethoven et Haydn.

durée : 00:13:16 - Disques de légende du mercredi 28 mai 2025 - Dietrich Fischer-Dieskau est un découvreur et défricheur de répertoire, autant pour Schubert, Schumann, ou Wolff, que pour des compositeurs moins pratiqués ou des œuvres négligées - à l'instar des lieder de Strauss.

durée : 01:28:24 - En pistes ! du mercredi 21 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - L'opéra "Mirentxu" de Jesus Guridi est gravé pour la première fois au disque par la Sociedad Coral de Bilbao. Du côté de la musique de chambre ; Scarlatti au clavier, des sonates polonaises pour deux violons et quelques romances pour clarinette des époux Schumann...

durée : 01:28:24 - En pistes ! du mercredi 21 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - L'opéra "Mirentxu" de Jesus Guridi est gravé pour la première fois au disque par la Sociedad Coral de Bilbao. Du côté de la musique de chambre ; Scarlatti au clavier, des sonates polonaises pour deux violons et quelques romances pour clarinette des époux Schumann...

Roger is one of the best fisherman I know! Hes the Owner of Schumann Fishing Guide Service based out of Minot North Dakota. When he called me and asked if I wanted to jump in the boat with him to go pitch jigs and place with his forward facing sonar I jumoed at the chance. Sadly, the fish werent as cooperative as they were the previous day. Fun was had anyway! The walleyes werent active but we caught enough Northern Pike and Smallmouth Bass tp keep us entertained. 

On this episode of Provide Like Jesus, Justin welcomes a truly special guest—Susy. Her presence is a gift, and her stories are a beautiful reminder of what it means to live a life of provision, purpose, and faith. Susy wears many hats. She's been a motherly figure to countless people, someone who sees needs and responds without hesitation. Whether it's helping someone in deep distress, sending a letter of encouragement, or supporting a former student, Susy doesn't just notice—she acts.  Though retired, Susy isn't sitting back and watching life go by. She's intentional with her time, caring for her body and her mind, and staying connected to her family, friends, and community. She shows what provision is. Sometimes it's presence. Sometimes it's prayer. Sometimes it's simply saying yes when God nudges you. As she shares her journey, it becomes clear that she has been protected and provided for by God for over 70 years. Through highs and lows, she has remained grounded in her faith. From her early childhood, when she first experienced answered prayers, to today, Susy's walk with the Lord has been steady and strong. She reminds us that we never stop growing when we walk with Him. Her reflections challenge us to look at our own lives and ask: How am I showing up for others? How am I taking care of the life God has given me? Susy is a light—full of wisdom, warmth, and trust in the Lord. This episode is a quiet, powerful reminder that true religion, as scripture says, is found in how we care for the people around us. And sometimes, it looks like answering a letter, offering a kind word, or simply refusing to turn away when someone is in need.   This podcast is brought to you by The CL Thomas Fellowship non-profit. Our mission is to inspire leaders and parents to be providers and servant leaders like Jesus. For more encouragement, sign up for our free weekly newsletter, "Always Provide," at www.alwaysprovide.org.  Follow on Instagram @clthomasfellowship  Follow on Facebook: https://www.facebook.com/clthomasfellowship/  

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

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

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

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