Podcasts about Sonata

Tomaso Albinoni (1671-1751) Sonate da chiesa Sonata n. 1, in re minore1.      Adagio [00:00] 2.      Allegro [02:03] 3.      Largo [04:24] 4.      Allegro [05:23]  Sonata n. 2, in mi minore 1.      Adagio [07:21] 2.      Allegro [09:19] 3.      Largo [11:20] 4.      Allegro [12:28]  Sonata n. 3 in F major 1.      Largo [14:25] 2.      Allegro [15:32] 3.      Adagio [17:18] 4.      Giga [18:44] Donatella Colombo, violinoClare Ibbott, violoncelloMarco Rossi, organo

Born in Texas to Chinese immigrant parents, Nancy Zhou began the violin under the guidance of her  father, who is from a family of traditional musicians. She went on to study with Miriam Fried at the New England Conservatory while pursuing her interest in literature at Harvard University.Nancy has collaborated with the Royal Stockholm Philharmonic Orchestra, Munich Symphony, Hong Kong Philharmonic, Hangzhou Philharmonic, New Jersey Symphony, Naples Philharmonic, San Diego Symphony, and Kansas City Symphony, among others.She is a regular guest educator at various international summer festivals, holding not only masterclasses but also workshops on fundamental training and well-being for musicians. Over the years, Nancy's interest in cultural heritage and the humanities manifested in a string of notable collaborations across the US and in China.Recently, she recorded her debut album, STORIES (re)TRACED, featuring four seminal and inextricably connected works for solo violin, including Béla Bartók's Sonata.

Johann Sebastian Bach (1685 - 1750) - Sonata n. 1 in si minore per violino e clavicembalo, BWV 10141.      Adagio 2.      Allegro 3:233.      Andante 6:204.      Allegro 9:16 Bojan Čičić, violino Steven Devine, clavicembalo

Episode: 2517 Rebecca Clarke: Violist, Composer, Woman.  Today, a woman in conflict.

On the latest episode of ‘New Classical Tracks,' pianist Angela Hewitt releases the third volume of her complete recording of Mozart's piano sonatas. Listen now with host Julie Amacher!

Today on XVGM Radio, we're taking a look (and listen) to the audio history of Human Entertainment. Formed via a merger between Try Co. Ltd. and Communicate Inc in 1987, Human Entertainment was initially called Sonata, mostly handling ports from larger developers such as Konami and Bandai. After two years of this, 1989 saw the … Read more "Episode 126 – Human Entertainment: The Musical History"

Jan Dismas Zelenka (1679-1745) - Sonata ZWV 181/3 per Violino, Oboe e Fagotto 1.      Adagio 00:002.      Allegro 02:563.      Largo 07:044.      Allegro - Tempo giusto 10:05 Heinz Holliger (Oboe) Maurice Bourgue (Oboe) Klaus Thunemann (Bassoon) Klaus Stoll (Double Bass) Jonathan Rubin (Lute) Christiane Jaccottet (Harpsichord) Thomas Zehetmair (Violin)

Send us a textDescriptionForm, Function, and Flourish: The Classical Sonata in 60 Seconds. Take a minute to get the scoop!Fun FactBeethoven's “Moonlight” Sonata wasn't named by him at all—the nickname came years later, when a critic compared its first movement to moonlight on Lake Lucerne. Beethoven might have rolled his eyes, but the title stuck, and today it's one of the most famous (and misinterpreted) sonatas ever written.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

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We would love to hear from you, wherever you are!https://www.perfectpitchpod.com/contact/@NickHelyHutch Logo design by Robbie Mailer Howat robbiemailerhowat Thank you for listening - please do get in touch with any comments!

Mainline is back and better than ever babyyyyy Hosted on Acast. See acast.com/privacy for more information.

Michał Sikorski jest aktorem, który zdobył sławę rolą w filmie 'Sonata', a popularność przyniosła mu rola w hitowym serialu Netflixa 1670. Przy okazji premiery 2 sezonu rozmawiamy o kulisach powstania, ale też o tym czego nie widać na ekranie. Jaka była droga Michała do miejsca, w którym jest teraz i czego nas wszystkich ta droga może nauczyć. Zapraszam.

Dobrawa Czocher teatralnie i powstańczo: Sonata "Opowieść Joanny" W Radiu Kampus kompozytorka i wiolonczelistka, Dobrawa Czocher! Autorka płyty "Dreamscapes" opowiada Bartoszowi Pergołowi o osobistej drodze od wykonywania cudzej do tworzenia własnej muzyki i o tym, dlaczego tak często powraca do projektów teatralnych - i wojennych.

Aired 8/19/2025 on 97.3/107.9 The Rock in Morro Bay, CA.Talking Heads ~ Born Under Punches (The Heat Goes On) (live)Preoccupations ~ FocusMoin ~ See (ft. Sophia Al-Maia)Happy Go Licky ~ Twist and ShoutAlex Chilton ~ Hey! Little ChildJohnny Thunders ~ Great Big Kiss Jeffery Alexander & Heavy Lidders ~ Star PowerGong ~ Foghat Digs Holes In SpaceSkyjoggers ~ Newtonin KanuunaTrey Gunn Band ~ Sirrah Oh No ~ CarnivalTackhead ~ Ticking Time BombRare Essence ~ Body movesBroken Glass ~ Rather You Than MeThe Undisputed Truth ~ (Unite The World)  Friendship TrainOneness of Juju ~ West Wind Weldon Irvine ~ What's Goin' On?Cinematic Orchestra ~ FliteYara Asmar ~ Are These Your Hands? Would You Like Them Back?William Parker ~ Malcolm's SmileToolshed ~ I RoosterWau Wau Collectif ~ Salamaleikoum Bell Biv DiVoe ~ When Will I See You Smile AgainGrace Jones ~ Corporate CannibalTechno Animal ~ MonoscopicDälek ~ Isolated StareThe Bug ~ Vertical (Never See You Again) Joane Hétu ~ Elle n'a pas de motFelt ~ 13 Book Of SwordsSandro Perri ~ Impossible SpacesEric Chenaux Trio ~ Hello Eyes"Blue" Gene Tyranny ~ Sunrise Or Sunset In TexasBéla Bartók ~ Sonata for 2 pianos & 2 percussion The Shelltones ~ Blue Castaway

Intro: One More Night – Can Jackie Wilson Said (I'm In Heaven When You Smile) – Van Morrison (2:59) Melao Para El Sapo – Eddie Palmieri & his Orchestra (5:00) Chasser Les Sachets – Baba Commandant (5:42) Prayer Meeting – Jimmy Smith (5:44) Si Tu Reviens Chez Moi – Les 5 Gentlemen (2:24) Je Mitsiko Ro Mokotse – Mamehy (5:29) The Art of Stopping – Wire (3:34)  Why Are We Sleeping? – Soft Machine (5:34)  She Comes In Colors – Love (2:46) She Comes Running – Lee Hazlewood (2:11) Allegro Non Troppo from the Sonata in G Major for Viola da Gamba & Harpsichord BWV1027  - J.S. Bach, Mieneke van der Velden/Emmanuel Frankenburg (3:44) Maxine's Parlour – Bill Fay (2:52)  Painting Box – Incredible String Band (4:05)   Personality Crisis – New York Dolls (3:40)  Before I Grow Too Old – Tommy McClain (2:30) Amarcord – Enrico Pieranunzi, Kenny Wheeler, Chris Potter, Charlie Haden, & Paul Motian (6:46) Ramble in the Brambles – Thorn Wych (6:43) The River – Terry Reid (5:45) Straumen Forbi – Erlend Apneseth (7:04) Slurf Song – Michael Hurley (3:15) Will the Circle be Unbroken? – Staple Singers (2:48) The First Time Ever I Saw Your Face – Roberta Flack (4:20) To Die in the Country – Yara Asmar (2:05) Hard Time Killin' Floor – Stefan Grossman, with Jo-Ann Kelly (4:02) Blue Railroad Train – Delmore Brothers (2:56) Nafwaya Fwaya – Alick Nkhata & Shadrack Soko (2:23) Brownskin Gal – Joseph Spence (5:16) Outro: Pogles Walk – Vernon Elliott Ensemble

In this episode of (In)Sight-Reading Enlightenment, I sit down with the brilliant flutist and researcher Rachel Brown(Rachel's website).We explore the world of original Quantz flutes and discover their surprising personalities — not unlike the Three Tenors, each with their own temperament and flair. Our conversation also touches on the colours and expressive power of tonalities such as E-flat major, G minor, and F minor, and the fingering quirks and possibilities they reveal on the traverso.The music featured in this episode is Rachel Brown's recording of Johann Joachim Quantz's Sonata in B-flat major, QV 1:272 — listen here: YouTube linkThis is part one of our conversation — part two will follow with even more insights into Quantz's world and the art of the flute.✨ If you enjoyed this episode, don't forget to follow, rate, and share the podcast — it really helps others discover it. And I'd love to hear your thoughts! You can always reach me at insight insightreading.enlightenment@gmail.com#Quantz #Traverso #EarlyMusic #RachelBrown #FlutePodcast #HistoricalPerformance #BaroqueFlute #InsightReadingEnlightenment

Puntata a cura di Jacopo Bulgarini d'Elci e Livio Pacella.A 20 anni dalla sua conclusione (21 agosto 2005) riparliamo di una delle più belle serie di sempre, in Italia disponibile su Sky e NOW: Six Feet Under. Show che ha avuto il coraggio di mettere al centro del racconto la morte, e cioè il grande tabù del nostro tempo. Nonostante sia proprio la morte a definire la vita, come ci insegnano le 63 puntate (per 5 stagioni) di questa magnifica serie di Alan Ball (True Blood, Banshee).Puntata registrata nell'autunno 2021.Accompagnamento musicale in tema, con la celebre “Marcia funebre” di Fryderyk Chopin, terzo movimento della Sonata per pianoforte n. 2 (1837-1839).“1 classico in 2” è uno dei format del podcast di Mondoserie: conversazioni a due voci su serie che hanno segnato l'immaginario.Parte del progetto: https://www.mondoserie.it/  Iscriviti al podcast sulla tua piattaforma preferita o su: https://www.spreaker.com/show/mondoserie-podcast  Collegati a MONDOSERIE sui social:https://www.facebook.com/mondoserie https://www.instagram.com/mondoserie.it/   https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ  https://www.linkedin.com/in/mondoserie/ 

HELLO AND WELCOME BACK TO ANOTHER EPISODE OF MOMENT OF SILENCE!

A new loop presents itself as our heroes are thrust backwards or forwards or whateverwards through time. As they reenter the city, not all is as it once was though some things remain constant. Join us on another episode of The Forever DMs! Hosted on Acast. See acast.com/privacy for more information.

Edward Hamlin, author of the novel Sonata in Wax, joins us to discuss writing, creative pursuits, and the literary scene in Colorado.

O cinema brasileiro não para de surpreender, e desta vez vamos explorar um dos grandes destaques da produção nacional: Malu, filme inspirado na vida da atriz Malu Rocha e dirigido por seu filho, Pedro Freire.Uma obra intensa e emocionante, Malu atravessa três gerações de mulheres: avó, mãe e filha - em relações marcadas por afeto, conflito e memórias da ditadura militar. O episódio discute como a repressão atravessa não só a protagonista, mas também a própria estrutura familiar, revelando as marcas históricas que ainda ecoam no presente.Rafael Arinelli, Fabiana Lima, Cecília Barroso e Alan Alves analisam a força dramática do longa e destacam as atuações poderosas de Yara de Novaes, Juliana Carneiro da Cunha e Carol Duarte, com ênfase na visceralidade que remete à grande Gena Rowlands. Também comentam a sensibilidade de Pedro Freire atrás das câmeras, os símbolos escondidos na “casa bagunçada” e até a influência de Bergman em “Sonata de Outono”.E tem mais: o episódio também olha para a recepção internacional do filme, que conquistou prêmios em festivais pelo mundo e já desponta como candidato a representar o Brasil no Oscar 2026.Então já sabe: se prepare para um papo cheio de emoção, spoilers e reflexões sobre família, memória e os ciclos de amor e dor que nos conectam. Dá o play e venha se aprofundar com a gente em Malu, um filme que não vai ser esquecido tão cedo.• 05m32: Pauta Principal• 1h23m53: Plano Detalhe• 1h43m18: EncerramentoOuça nosso Podcast também no:• Spotify: https://cinemacao.short.gy/spotify• Apple Podcast: https://cinemacao.short.gy/apple• Android: https://cinemacao.short.gy/android• Deezer: https://cinemacao.short.gy/deezer• Amazon Music: https://cinemacao.short.gy/amazonAgradecimentos aos padrinhos: • Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Alves Lima• Eloi Xavier• Flavia Sanches• Gabriela Pastori Marino• Guilherme S. Arinelli• Thiago Custodio Coquelet• William SaitoFale Conosco:• Email: contato@cinemacao.com• X: https://cinemacao.short.gy/x-cinemacao• BlueSky: https://cinemacao.short.gy/bsky-cinemacao• Facebook: https://cinemacao.short.gy/face-cinemacao• Instagram: https://cinemacao.short.gy/insta-cinemacao• Tiktok: https://cinemacao.short.gy/tiktok-cinemacao• Youtube: https://cinemacao.short.gy/yt-cinemacaoApoie o Cinem(ação)!Apoie o Cinem(ação) e faça parte de um seleto clube de ouvintes privilegiados, desfrutando de inúmeros benefícios! Com uma assinatura a partir de R$30,00, você terá acesso a conteúdo exclusivo e muito mais! Não perca mais tempo, torne-se um apoiador especial do nosso canal! Junte-se a nós para uma experiência cinematográfica única!Plano Detalhe:• (Cecília): Filme: Dan Da Dan• (Cecília): Álbum: As Noites Estão Cada Dia Mais Claras• (Fabi): Artigo: A experiência Cassavetes• (Fabi): Filme: Amantes• (Fabi): Podcast: Marília: O outro lado da sofrência• (Alan): Novela: Guerreiros do Sol• (Alan): Novela: Capitu• (Alan): Livro: Cinema brasileiro: propostas para uma história• (Rafa): Série Documental: A Mulher da Casa AbandonadaEdição: ISSOaí

Reviews of Weapons, Sketch, It's Never Over: Jeff Buckley, Freakier Friday, Death's Sonata, K-Pop Demon Hunters and more. Hilarity ensues.

After a long summer break for your resident editor (Cam) The Forever DMs return with a brand new episode! In this episode, follow our crew as they run from terrifying threats and into deep trouble. Thankfully, they meet some friends along the way. Meet them and jump back into Saprophite Sonata in the most recent episode of, The Forever DMs! Hosted on Acast. See acast.com/privacy for more information.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Nature's fury can be devastating on Earth. Typhoon Nepartak over the South China Sea in 2016 caused severe damage and deaths in China, Taiwan and the Phillipines. Yet seen from the International Space Station, the typhoon looks surprisingly serene. These artfully photographed images from astronauts aboard ISS 48 are set to the music of Catherine Brisset and her cristal Baschet, a unique glass keyboard with fanciful metal shapes to help the mysterious sounds resonate. Brisset plays a variation on Bach's Sonata #2, the Grave movement, with such subtle and emotive touch. Series: "Arts Channel " [Arts and Music] [Show ID: 40977]

Nature's fury can be devastating on Earth. Typhoon Nepartak over the South China Sea in 2016 caused severe damage and deaths in China, Taiwan and the Phillipines. Yet seen from the International Space Station, the typhoon looks surprisingly serene. These artfully photographed images from astronauts aboard ISS 48 are set to the music of Catherine Brisset and her cristal Baschet, a unique glass keyboard with fanciful metal shapes to help the mysterious sounds resonate. Brisset plays a variation on Bach's Sonata #2, the Grave movement, with such subtle and emotive touch. Series: "Arts Channel " [Arts and Music] [Show ID: 40977]

There is a special category when it comes to Beethoven; a catalogue that doesn't include complete symphonies, sonatas, concerti, string quartets, etc., but just single movements. This is the catalogue of great Beethoven slow movements. Beethoven's slow movements are like a great Tolstoy novel. They span the gamut of human experience and also reach beyond it, into something we cannot understand but all somehow perceive. Simply put, Beethoven often seems to know us better than we know ourselves. This brings me to the slow movement of Beethoven's Hammerklavier Sonata. Unlike those late quartet slow movements, the slow movement of the Hammerklavier is not about ecstatic contemplation. Instead, it is a movement of pure and profound despair. It has been described as “a mausoleum of the collective suffering of the world,” and “the apotheosis of pain, of that deep sorrow for which there is no remedy, and which finds expression not in passionate outpourings, but in the immeasurable stillness of utter woe.” This is not a movement I would necessarily enter into lightly as you go about your day—it requires you to take a moment and enter a world unlike any other. Today, in Part 2 of this Patreon-sponsored exploration of this great, in all senses of the word, Sonata, we'll go through this slow movement in detail. Then we'll tackle the life-affirming and maddeningly complex last movement, which is not quite the antidote to the slow movement, but perhaps it is the only possible answer to the questions the third movement so profoundly asks. Join us! 

Steve Beck is a virtuoso classical pianist known for his brilliant technique and wide-ranging repertoire. He has performed with the New York Philharmonic and the National Symphony among others. He's a regular at the Mostly Mozart Festival and at Bargemusic, where each Christmas Eve he performs Bach's Goldberg Variations. And he also performs all 32 Beethoven piano sonatas in a single day. My featured song is “African Nights (for Chick)”. ------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH STEVE:www.stevenbeck.me____________________ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

No Café Brasil 987 – Sonata para um homem bom, uma despedida carregada de silêncio, memória e reflexão. A morte de um confrade expõe o quanto a política invadiu até os espaços sagrados da vida. Neste episódio, Luciano Pires fala de cansaço, empatia perdida, ideologia sufocante e da urgência de resgatar o humano. Um chamado à pausa, à escuta e à recuperação do essencial. Porque ainda há sonatas que merecem ser ouvidas. O comentário do ouvinte é patrocinado pela Vinho 24 Horas. Já pensou em ter um negócio que funciona 24h, sem precisar de funcionários? Uma adega autônoma instalada no seu condomínio, com vinhos de qualidade, controle pelo celular e margem de 80%. Com apenas R$ 29.900, você inicia sua franquia e ainda ganha 100 garrafas de vinho. Acesse Vinho24.com.br e comece seu novo negócio! A Terra Desenvolvimento revoluciona a gestão agropecuária com métodos exclusivos e tecnologia inovadora, oferecendo acesso em tempo real aos dados da sua fazenda para estratégias eficientes. A equipe atua diretamente na execução, garantindo resultados. Para investidores, orienta na escolha das melhores atividades no agro. Com 25 anos de experiência, transforma propriedades em empreendimentos lucrativos e sustentáveis. Conheça mais em terradesenvolvimento.com.br. Inteligência a serviço do agro! ...................................................................................................................................................................

Beethoven once wrote to his publisher: “What is difficult, is also beautiful, good, great, and so forth. Hence everyone will realize that this is the most lavish praise that can be bestowed, since what is difficult makes one sweat.” If this credo manifests itself most powerfully in any one of Beethoven's works, it might be the piece we'll talk about today, the piano Sonata Op. 106, nicknamed, “Hammerklavier.”  It is the longest Sonata Beethoven ever wrote, which essentially means that it was the longest sonata anyone had written up to that point. It marks one of the pivot points between Beethoven's so-called heroic period and his late period, where his music became even more cosmically beautiful than before. It is certainly his most ambitious Sonata to that point, and his most difficult. The scale of the Hammerklavier sonata is hard to describe; in around 45 minutes of music, Beethoven explores the full gamut of human emotion. The intensity, the difficulty, and the concentration that this sonata requires from the pianist and listener alike has led to many people, as the pianist Andras Schiff says, to “respect and revere this Sonata, but not love it.” Most of the articles and analyses of this sonata that I found in researching this show emphasize its difficulty, its scale, its obsessiveness, and its impenetrability. But I must say that when I talk to musicians abut this piece, their eyes light up. Yes, this sonata is difficult, but what have we just learned from Beethoven? What is difficult is also beautiful, good, great and so forth. Join us as we begin a two part exploration of this remarkable work together.  Thank you to Jerry for sponsoring this show on Patreon! Recording: https://youtu.be/yBtJF_4msqw?si=bIznKSGuRyXDbFaT    

In Biber's time, harmony was something cosmic, vibrating in a God-given resonance between human, instrumental, and celestial bodies. After all, the string instrument in early modern Europe was configured as a human body – with a neck, belly, and ribs to match. The Sonatas were therefore not only designed to delight, but also potentially to balm and heal; Biber described the sonatas as a kind of prayer for his patron's longevity and good health.

  NEW SUBSCRIPTION INTERFACE DOOHICKY!   You can now find our subscription page at GeorgeHrab.com at this link. Many thanks to the majestic Evo Terra for his assistance.   THE SHOW NOTES  The “Proof” of Blessings Intro Predator: Killer of Killers Interesting Fauna      - Feather-legged lace weaver (Uloborus plumipes) Phombast Series-8 Replicandor Scrim Manual Ask George      - Etude, Prelude, Nocturne, Sonata,        Minuet, & Suite? from Robert D. The Man In Love With You Religious Moron of the Week      - The Taliban from Mike Molnar Tell Me Something Good      - Vatican Now 100% Solar Show Close .........................   MENTIONED IN THE SHOW  Feather-legged lace weaver  .........................   EVENTS ON THE SCHEDULE  FRIDAY, JULY 25th 9:00- 11:00 The George HraBand OUTDOOR CONCERT HBS Community Stage at Steel Stacks, Bethlehem PA FREE! MUSIKFEST: SUNDAY, AUGUST 3, 2025 5:00 - 5:45 George Hrab: Solo Acoustic LYRICPLATZ STAGE  (Frank Banko Cinemas) Bethlehem, PA FREE! MUSIKFEST: TUESDAY, AUGUST 5, 2025 6:00 - 6:30 pm George Hrab: Solo Acoustic LAGERPLATZ STAGE Bethlehem, PA FREE! MUSIKFEST: THURSDAY, AUGUST 7, 2025 9:00 – 11:00 pm The George HraBand LIEDERPLATZ STAGE  (Sun Inn Courtyard) Bethlehem, PA FREE! .........................   Get George's Music Here  https://georgehrab.hearnow.com https://georgehrab.bandcamp.com ................................... SUBSCRIBE! You can sign up at GeorgeHrab.com and become a Geologist or a Geographer. As always, thank you so much for your support! You make the ship go. ................................... Sign up for the mailing list: Write to Geo! Check out Geo's wiki page, thanks to Tim Farley. Have a comment on the show, a Religious Moron tip, or a question for Ask George? Drop George a line and write to Geo's Mom, too!

Louis XIV is dead, and his heir is a 5-year-old child. With so many deaths occurring in the royal family, it falls to an unlikely royal nephew, Philippe, duke of Orléans, to govern France until Louis XV comes of age. Completely unlike the callous old Sun King, Philippe is a man of the people who spurned Versailles and lived as a boisterous libertine. What kind of regent will this man be? ⚜️ Visit our Wordpress for episode images, score summaries, contact details and more! Contact us by Email, or follow us on Instagram, our Facebook Group or BlueSky. Make sure you leave us a review on Apple Podcasts, Spotify or wherever you listen. You can also support the show on Patreon! Join the official Angry Mob and get access to our bonus content: movie reviews, deep dives, bonus biographies and our exclusive spinoff series rating the Royal Mistresses. ⚜️ Battle Royale's intro/outro music is "Dansez" by Fasion. Other music used for this episode: "Sonata for cello and Continuo in B flat, RV.47 - 1. Largo" by Antonio Vivaldi, performed by Christophe Coin, Ageet Zweistra and Christopher Hogwood. ℗ 1987 Decca Music Group Limited ⚜️ CATEGORIES Ben and Eliza each give a score out of 10 for the first 4 categories. The 5th is determined by maths! The result is a total score out of 100. 1. Enchanté: The shallow, first-impressions round: How fabulous and iconic an image have they passed down to us? 2. En Garde: (A.K.A. “Selfish Wins”) How well did they gain and increase their personal power, either through scheming, statesmanship or good old fashion battles? 3. Voulez-Vous: (A.K.A. “Selfless Wins”) How much would we want to live under their regime? How well did they better the world around them through law reforms and cultural projects? 4. Ouh-Là-Là: How pearl-clutchingly scandalous were the events of their life, both in their time and down through the ages? How mad, bad and dangerous were they to know? 5. La Vie en Throne: How many years did they reign, and how many of their children survived them? For more details on the scores, how they are calculated and how our kings are ranking, visit our website. Learn more about your ad choices. Visit megaphone.fm/adchoices

Old friends reunite in full bloom beneath the earth's crust, as Gaea Defaced resurfaces once again. Our heroes recuperate and venture back out to find relics of a long lost age, will they succeed or face the music? Find out on this episode of The Forever DMs! Hosted on Acast. See acast.com/privacy for more information.

Today, SunLit editor Kevin Simpson chats with the author of a Colorado Book Awards finalist in the novel category for his story that follows a character trying to unravel the mystery behind a remarkable piece of early 20th-century music.See omnystudio.com/listener for privacy information.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Dr. Brittany Lasch, trombone soloist and professor at Indiana University.   About Brittany: A winner of the S&R Foundation Washington Award and Astral Artists National Auditions, trombonist Brittany Lasch brings authenticity and unshakeable commitment to all aspects of her music-making. Increasingly in demand as a soloist with orchestras and brass bands alike, Brittany balances an intensive performance career with her role as a sought-after educator and newly appointed Assistant Professor of Trombone at the renowned Jacobs School of Music at Indiana University. As a serial collaborator and commissioner of composers, Brittany is a musical explorer creating new repertoire for her instrument from some of today's most compelling voices, and true ambassador in expanding recognition for the trombone as a powerful solo voice for today. Brittany has appeared as a soloist with ensembles ranging from the U.S. Army Band “Pershing's Own”, Rodney Marsalis Philadelphia Big Brass, and for concerto performances with the Queens Symphony, National Repertory Orchestra, Bucks County Symphony, Bowling Green Philharmonia, Manhattan School of Music Philharmonia, and others across the country. With playing described as “masterful” (Syracuse Post-Standard), American Record Guide recently hailed Brittany as an "excellent soloist" across a diverse range of repertoire.  Brittany has been a featured guest artist at numerous festivals, including the International Trombone Festival, the International Women's Brass Conference, and the American Trombone Workshop. She was a winner of the National Collegiate Solo Competition hosted by the U.S. Army Band, the Eisenberg-Fried Brass Concerto Competition at the Manhattan School of Music, the Zulalian Foundation Award in Boston. Her trombone quartet Boston Based won the 2017 International Trombone Association's Quartet Competition. In 2018, Brittany was awarded 2nd place in The American Prize Solo Instrumentalist competition. A prizewinner in numerous other competitions, she received the coveted John Clark Award upon graduation from the Manhattan School of Music for outstanding accomplishment in brass performance. For six seasons, Brittany was the Principal Trombone of the Detroit Opera Orchestra at the Detroit Opera House. She has performed with orchestras nationwide, including the San Francisco Symphony, Los Angeles Philharmonic, Indianapolis Symphony, St. Louis Symphony, Detroit Symphony, Nashville Symphony, The Florida Orchestra, Toledo Symphony Orchestra, ProMusica Chamber Orchestra, Rhode Island Philharmonic, the Oregon Bach Festival Orchestra, the Vermont Symphony, Albany Symphony, Syracuse Symphony, and the New World Symphony in Miami Beach. She participated in the Verbier Festival Orchestra for two summers, and has also appeared at the Spoleto USA Festival, the Pacific Music Festival in Sapporo, Japan, the Castleton Festival, and the Aspen Music Festival. An active presence in the global trombone community, Brittany's performances for the current and past seasons include Argentina's Trombonanza, Portugal's Gravíssimo Festival, as well as appearances in Japan and Korea. As an advocate for new music, Brittany has commissioned and performed several new pieces for the trombone, including acclaimed composer Reena Esmail's major Sonata for Trombone and Piano, which she commissioned for her Astral Artists recital in Philadelphia. Brittany gave the premiere of the orchestrated version of Martin Kennedy's Theme and Variations for Trombone and Orchestra with the BGSU Philharmonia under the direction of Dr. Emily Brown. She also recorded the work with the BGSU Philharmonia, which was recently released on the Albany Records label. Other recent projects include collaborations with composers Inez McComas, Adam Har-zvi, and David Miller. Her debut solo album Dark Horse features works by Samuel Adler, Tony Plog, Reena Esmail, Shawn Davern, and the album's pianist, Thomas Weaver. A native of Park Ridge, Illinois, Brittany earned her Doctor of Musical Arts degree from Boston University, where she received the Brass Department Award. She also holds a Master of Music degree from Yale School of Music. With a deep commitment to education, she has previously served as faculty at the College of Musical Arts at Bowling Green State University and the Boston University Tanglewood Institute. She has also been a featured teacher and performer at summer festivals, including the Sewanee Music Festival and the DC Trombone Workshop. Recent residencies include those at the University of Central Arkansas, James Madison University (Tromblow'in), University of Iowa, Oklahoma State University, Stetson University, the University of Florida, and as the guest artist at the 2023 Frühling Posaunen hosted at Ithaca College. She has presented masterclasses at universities across the country and internationally. Brittany Lasch is an Edwards Trombone Performing Artist. She also proudly uses and endorses ChopSaver Lip Care. Outside of music, Brittany has recently completed her eleventh full marathon and loves spending time with her cats, Clove and Poppyseed.

Have you ever heard Contemplazione, a piece for orchestra by Catalani, the composer of La Wally? Have you ever heard “Who's Afraid of the Big Bad Wolf?”—but arranged for piano? These are two of the offerings in this eclectic, stimulating program. Catalani, “Contemplazione” Catalani, “Ebben? Ne andró lontana,” from “La Wally” Stravinsky, “Le Baiser de la fée” Shchedrin, “Changing of the Guard” from “Carmen Suite” Fauré, Pavane Churchill-Walford, “Who's Afraid of the Big Bad Wolf?” Tveitt, “Sonata etere” Sibelius, “Was It a Dream?” Weill, “My Ship”

Police discover an unconscious man in Central Park who's been the victim of a theft - of his kidney! Det Sgt Max Greavey and Det Mike Logan learn the daughter of wealthy Phillip Woodleigh suddenly withdrew from the organ transplant list. They discover surgeon James Reberty rented portable surgical equipment and find bloody bandages at his nurse's apartment. ADA Paul Robinette says Reberty didn't sew off the renal artery, suggesting he wanted the victim/donor to die. EADA Ben Stone believes Woodleigh paid the surgeon $2 million to get a kidney for his daughter…by any means necessary.  We're talking about Law & Order season 1 episode 21 "Sonata for Solo Organ."Our guest from our May 22, 2019 episode is Dan Taberski, from "Missing Richard Simmons," "Running from COPS," and “Hysterical.” The episode was inspired by the 1989 organ scandal involving Amhet Koc. NEW EPISODES OF "THESE ARE THEIR STORIES" RETURN JULY 9!For exclusive content from Kevin and Rebecca, sign up on Patreon.

What does it really take to modernize an enterprise in a world of constant disruption, increasing AI capabilities, and evolving customer expectations? In this episode of Tech Talks Daily, I sit down with Rajsekhar Datta Roy, Chief Technology Officer at Sonata Software, to explore how modernization engineering and responsible AI adoption are reshaping business transformation strategies. Raj brings decades of experience to the conversation, guiding organizations through the complexities of aligning technology with business value. We begin by unpacking what modernization truly means in today's environment. Rather than a single event, Raj explains how modernization is a continuous process that blends operational efficiency with agile frameworks and a readiness to adapt to future technologies like AI.  My guest shares Sonata Software's structured approach to modernization, designed to generate efficiency from existing systems and redirect those savings into smarter, faster innovation cycles. We also explore the growing role of generative AI in digital transformation. Raj outlines the importance of moving beyond surface-level applications, advocating for a deeper integration of AI into reimagined business processes. He discusses Sonata's responsible-first approach to AI, including its governance framework and platform-level deployment strategy that ensures secure and ethical implementation.  The result is not only a future-ready enterprise, but one that can deliver measurable value through better customer experiences, faster decision-making, and scalable AI adoption. As we zoom out, Raj highlights key ecosystem shifts, such as the growing importance of cross-industry collaboration and transforming customer expectations in the age of intelligent agents. He also offers advice on how to modernize without disrupting core systems, emphasizing the value of continuous learning, hands-on experimentation, and practical frameworks that reduce time to impact. If your organization is navigating digital transformation or exploring responsible AI deployment, this conversation offers both a strategic lens and real-world examples to help you move forward with clarity. How are you preparing your technology stack and business processes for what comes next? Let's continue the conversation.