Podcasts about Sonata

This episode explores two major developments shaping cruising's future: Norwegian Cruise Line Holdings locks in three new ships with Fincantieri through 2037, including a 227,000-ton megaship for NCL, an Oceania sister to the Sonata, and a Regent ultra-luxury vessel, all with methanol-ready designs. Meanwhile, AIDA becomes the third Carnival Corporation brand to schedule a call at Celebration Key, the private Bahamian destination, sending AIDAluna on a 14-night repositioning voyage from New York in November 2027.

In this episode, we discuss recordings of “J. S. Bach on Nine Strings. Suite, Partita and Sonata for Two Piccolo Cellos” (Arcana) by Mario Brunello & Mauro Valli, “Italian Perspectives” (Pentatone) by Bamberger Symphoniker / Riccardo Frizza, “American Tapestry” (Signum) by the Calidore String Quartet, “The Modern Ark” (Soul Messin' Records Distribution) by the Jake Mason Trio, “Sugar on My Blackbeans” (ECN Music) by Aleph Aguiar, and “Organ Monk Sings: Introducing Ms. Raina” (Sunnyside Records) by Gregory Lewis.   The Adult Music Podcast is featured in: Feedspot's 100 Best Jazz Podcasts   Episode 248 Deezer Playlist   Fair use disclaimer: Music sample clips are for commentary and educational purposes. We recommend that listeners listen to the complete recordings, all of which are available on streaming services in the links provided. We also suggest that if you enjoy the music, you consider purchasing the CDs or high-quality downloads to support the artists.   “J. S. Bach on Nine Strings. Suite, Partita and Sonata for Two Piccolo Cellos” (Arcana)  Mario Brunello, Mauro Valli https://open.spotify.com/album/5QoDl8555C7A84lp9KpAzb https://music.apple.com/us/album/j-s-bach-on-nine-strings-suite-partita-and-sonata-for/1856090483 https://music.amazon.com/albums/B0G829SPRC   “Italian Perspectives” (Pentatone)  Bamberger Symphoniker / Riccardo Frizza https://open.spotify.com/album/7Hskm6g1A5ZSiGP2Zj0nmA https://music.apple.com/us/album/italian-perspectives/1852052030 https://music.amazon.com/albums/B0G1NH19JZ   “American Tapestry” (Signum) Calidore String Quartet https://open.spotify.com/album/4pibjiF7AFOhzj5WpE3iSb https://music.apple.com/us/album/american-tapestry/1851430307 https://music.amazon.com/albums/B0G1C5ZCQ3   “The Modern Ark” (Soul Messin' Records Distribution) Jake Mason Trio https://open.spotify.com/album/0ttGu6ztkESlCDlTxybFa1 https://music.apple.com/us/album/the-modern-ark/1849054330 https://music.amazon.com/albums/B0FY184C4N   “Sugar on My Blackbeans” (ECN Music)  Aleph Aguiar https://open.spotify.com/album/6CQo1vXupqFkLUGiIl5dku https://music.apple.com/us/album/sugar-on-my-blackbeans/1860046399 https://music.amazon.com/albums/B0G5Q1QMF7   “Organ Monk Sings: Introducing Ms. Raina” (Sunnyside Records)  Gregory Lewis https://open.spotify.com/album/7ypzbT37PTD0b2t6bnhHTs https://music.apple.com/us/album/organ-monk-sings-introducing-ms-raina-feat-raina-welch/1866728783 https://music.amazon.com/albums/B0G8ML9L1Z

ReferencesStem Cell Res Ther. 2018 Dec 7;9:342Developmental Cell. 2024. V.59, Issue 2:211-227.e5January 22, Cell Commun Signal. 2023 Sep 19;21:244.Cell Discov 2024. 10, 71.Baker/Taylor. 1968 Passing the Time Cream WoFhttps://open.spotify.com/track/7wxd5oR50LKSTtqqJQxYSX?si=4e7a91cc8f6e463cPisendel, JG. 1717. Sonata in G Minorhttps://music.youtube.com/watch?v=beAdy0DoWEk&si=CCs2BQwfundJ65-u

W pięćset dziewięćdziesiątym pierwszym tygodniu nadawania powracamy po kilku latach przerwy do Czasu podsumowań, tj. do audycji, w której goście i gościnie Szymasa podsumowują miniony rok, polecając różne teksty kultury i wydarzenia związane z grozą. W pierwszym odcinku z dwóch usłyszycie Agnieszkę Brodzik, Adriana Burza, Agatę Garbowską-Karolczuk, Jakuba Kraszewskiego, Ewę, Sylwestra Kozdroja, Martę Płazę, Dominikę Murhaaję oraz Wojciecha Gunię. Jak powstała ta audycja? Które książki, gry, filmy, seriale i komiksy zrobiły na nas największe wrażenie? Czy jakieś eventy, wydarzenia zasłużyły na wymienienie w Czasie Podsumowań 2025? Które POLSKIE teksty kultury trafiły do TOPki rocznej? Kto opowie o pracy w domu strachu? Czy „Sny umarłych” naprawdę dokonały żywota w 2025 roku? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście! Plik mp3 do pobrania (1 godz 49 min 07 sek)8:38 Agnieszka Brodzik13:54 Adrian Burz23:13 Agata Garbrowska-Karolczuk29:58 Jakub Kraszewski46:08 Ewa52:47 Sylwester Kozdroj1:05:26 Marta Płaza1:20:26 Dominika Murhaaja1:26:21 Wojciech GuniaAgnieszka Brodzik (Halo? Tu Otchłań)„Skrucha” Elizy Clark„To był nasz dom” Marcusa KlieweraAdrian Burz (Cinema Post Cast, Pełna Sala)Lloyd Kaufman na festiwalu Splat Film FestCoś we mnie siedzi – przegląd body horroru w kinie Iluzjon„Oddaj Ją” (2025) reż. Michael i Danny Philippou„Chmura” (2024) reż. Kiyoshi Kurosawa„Bezpieczne miejsce” (2025) reż. Osgood Perkins„Oszukać przeznaczenie: Więzy Krwi” (2025) reż. Zach Lipovsky i Adam Stein„Nosferatu” (2025) reż. Robert EggersAgata Garbrowska-Karolczuk (Wydawnictwo MUZA/Akurat)„Rejestr grozy. Przewodnik po technikach narracyjnych” Pawła Wielopolskiego„Coś się dzieje w naszym domu” Josha MallermanaNajlepsze z najgorszych (Białostocki Ośrodek Kultury)„Welcome to Derry” S01 (serial)„Screamboat. Krwawa mysz” (2025) reż. Steven LaMorteJakub Kraszewski (Ogórki, Popkulturowa Papka)The Deadseat (Curious Fox Sox)Last Report (Monopixel Games)Roam0120.exe (NSO9019)Shutter story – demo (Frostwood Interactive)Ewa (Biblia Horroru)„Good boy" (2025) reż. Ben LeonbergSylwester Kozdroj (Retro Komiks)„Obserwatorzy” A.M. Shine'a„Departament Prawdy. Dzikie fikcje” (Non Stop Comics)„To był nasz dom” Marcusa Kliewera„Pożeracze Nocy. Niech przyjdzie ich królestwo” (Non Stop Comics)„Mity kościanego sadu. Przejście” (Mucha Comics)„Universal Monsters. Dracula. Black & White” (Image Comics)Marta Płaza (rozMOVIEone, Kobiety Eksploatacji, Zmęczone życiem)„Brzydka siostra” reż. Emilie Blichfeldt„Towarzysz” reż. Drew Hancock„Grzesznicy” reż. Ryan Coogler„Życie dla początkujących” reż. Paweł Podolski„Miło mi” reż. Mateusz Motyka„Witajcie w Derry” S01 (serial)Magazyn CD-Action Horrory 1/2025„Diavola” Jennifer Thorne„Jagnię” Lucy RoseDom strachów poznany od kuchni!Dominika Murhaaja (Wydawnictwo GMORK)„Pudełko z czerwienią” Kariny Łagowskiej„Sonata jesienna na kota i wilkonczelę” Kariny Łagowskiej„Drozdy” Kariny Łagowskiej„Konary” Jarosława Klonowskiego i Patryka BoguszaWojciech Gunia („Dom Wszystkich Snów”, „Kiedy będziesz gotowy, idź”)Tetralogia „Southern Reach” (Anihilacja, Anomalia, Afirmacja, Absolucja) Jeffa VanderMeera„Hotel na skraju lasu” Magdaleny i Michała Hińczów„Demon ruchu” (obydwa z Kultury Gniewu)„Dzieła zebrane” Stefana Grabińskiego od Wydawnictwa IX„Cronos: The New Dawn” (Bloober Team)”Senua's Saga: Hellblade II” (Ninja Theory)„Stamtąd” (serial)„Nocna msza” (serial)Koniec „Snów Umarłych”

ReferencesGuerra, DJ. 2026. Unpublished lecturesGuerra. DJ. 2022. J of Disease and Global Health Volume 15 [Issue 3]:22-47.Essays Biochem. 2018 Jul 20;62(3):341–360J Am Chem Soc. 2025 Jul 8;147(28):24258–24274.Bach, JS 1726. Partita for Clavier in D Major BMV828https://music.youtube.com/watch?v=M3k0gSDSYPM&si=m3ANN3qws1OEI67hTelemann , GP. 1720 (?) Sonata in F Minor for trombonehttps://music.youtube.com/watch?v=cfal1EV64gs&si=ET_6TxL2xQ_vpoL6

Questo episodio è dedicato a come riconoscere la modalità minore.Ascoltiamo subito Bella ciao. E' l'esempio migliore in assoluto della modalità minore perché è una canzone famosissima, conosciuta internazionalmente, ed essendo anche cantata è più facile da ricordare. La conosce anche chi non la ascolta attivamente, cioè anche chi non sceglie di ascoltarla, chi non ha studi musicali, ed è un tema transgenerazionale, che conoscono tutti a prescindere dall'età che hanno.  E' un canto chiaramente in minore: non espande, non addolcisce, guarda in faccia alla realtà nella sua crudità e proprio per questo non consola, non è depressivo né lamentoso. E' seria. E' una dichiarazione di ciò che la realtà è.   Giusto una curiosità di tipo culturale:  Bella ciao deriva da un canto popolare di lavoro delle mondine nelle risaie italiane, con testi sulla fatica e lo sfruttamento, e solo dopo la Seconda Guerra mondiale è diventato l'inno simbolico della Resistenza partigiana contro fascismo e nazismo. Ti faccio sentire un brano di questo canto nella versione di una cantante, Milva, appassionata cultrice di canti popolari! Milva ha amato, interpretato e valorizzato canti popolari e “impegnati”, portandoli anche nei palcoscenici principali e incidendoli nei suoi album.  Quella che nasce dalla fatica e dalla durezza del lavoro delle mondine, e che negli anni è stata poi trasformata in un canto di lotta politica e simbolo di libertà. Oggi, è diventata un inno cantato in tutto il mondo, oltre che per questioni politiche e sociali anche grazie alla serie “La casa de Papel”. In questo episodio del podcast ti faccio ascoltare brani che sono già nella tua memoria sonora e ti aiuto a creare una categoria identificativa della modalità minore. Sono tutti brani tratti di una selezione sonora intuitiva, immediatamente riconoscibile e internazionale, tutta roba che “suona minore” anche a chi non sa cosa sia una scala.Non sono musicista, non ho intenzione di usare tecnicismi che non padroneggio neppure io. Il mio mantra resta lo stesso: zero tecnicismi, sentire prima di sapere e sfruttare competenze e conoscenze che hai già, in modo da organizzarle.Ascoltiamo Greensleeves. E' una delle melodie più antiche e riconoscibili della tradizione europea. Famosa anche per essere stata affiancata alle melodie natalizie.Intima, narrativa, essenziale. Il minore qui non è drammatico, non è teatrale: è raccolto, ti accompagna dentro una storia, non ti spinge chissà dove nella fantasia. Altro esempio famosissimo, di cui forse non conosci il titolo ma di certo conosci il tema musicale: Sonata al chiaro di luna – primo movimento, di Ludwig van Beethoven. E' probabilmente uno dei brani in minore più conosciuti al mondo. Lento, ipnotico, sospeso. Il minore qui non chiede azione, non chiede energia: chiede ascolto interno, presenza, silenzio. Continuiamo con un esempio pop internazionale: Eleanor Rigby dei Beatles. Il minore, in questo brano racconta un clima sobrio, reale, quotidiano. Enuncia semplicemente le cose come un dato di fatto: è spoglio, umano, diretto, non cerca commozione facile, niente di melodrammatico. Proseguiamo con una sigla che conosciamo da sempre: Heidi Una sigla per bambini, eppure chiaramente in minore. Esprime una atmosfera nostalgica, tenera, intima. Il minore qui racconta di una realtà, non spaventa, non opprime, è quindi accessibile anche all'infanzia. Parla di casa, memoria, legame. Non c'è tristezza o clima “pesante” ma solo calma e fotografia di una realtà.  Ascoltiamo una ninnananna che definirei universale, forse la più cantata. Forse ce l'hai in mente così: suonata con il carillon. E' la ninnananna di Brahms. Originariamente cantata (ti faccio sentire un brano), viene tradott ain altre lingue e cantata ovunque, riconosciuta da chiunque. Il minore qui è avvolgente, rassicurante, non stimola ma calma. Il minore non è tristezza obbligatoria. Così come il maggiore non è “allegria obbligatoria”! È interiorità, è densità emotiva, è uno spazio più raccolto.  Se il maggiore è piena luce in un giorno di sole con il cielo azzurro, il minore è come stare in una stanza con una luce più morbida. Non stai peggio. Respiri diversamente. Se facciamo un'analisi percettiva, possiamo dire che il minore ha alcune caratteristiche molto chiare: lo spazio sonoro si contrae e diventa intimo, privato, quindi l'attenzione si sposta verso l'interno, non genera una spinta immediata all'azione, e porta invece alla presenza. Gli esempi che ho usato appartengono a un repertorio occidentale, non sono universali in senso assoluto. Ma la sensazione che producono, di raccoglimento, presenza, descrizione di una immagine reale, è riconosciuta da moltissimi esseri umani, anche in culture musicali molto diverse. Cambiano i sistemi musicali. Cambiano i nomi. Ma corpo ed emozioni no. Sono Sabina Todaro mi occupo di flamenco e di danze e musiche del mondo arabo dal 1985. Dal 1990 insegno baile flamenco a Milano, a Il Mosaico Danza, e un lavoro sull'espressione delle emozioni che ho chiamato Lyrical Arab Dance. Vediamo come si utilizza il minore nel flamenco. Dato che il flamenco non nasce per rassicurare, ma per raccontare l'esperienza umana per come è, il minore si adatta perfettamente, descrivendo la presenza nell'esperienza. Pochissimi palos vivono stabilmente nel minore molti lo attraversano, lo evocano. I palos che si svolgono su modalità minore: Farruca, Tango de Malaga, lo stile di Fandango de Huelva di Cabezas Rubias, tango de Triana o del Titi, Milonga, Vidalita. La petenera gioca sulla modalità minore, ma non è solo in modalità minore: utilizza un linguaggio tonale instabile in area minore. Vai ad ascoltare i podcast sulla Petenera, se hai la curiosità. Ci sarà un podcast dedicato a chiarire il concetto di tonale e di modale, queste parolacce che fanno impazzire noi che abbiamo la formazione di teoria musicale che si limita alla teoria musicale delle medie con il flauto dolce. Ossia: zero.Molti palos utilizzano in parte il linguaggio minore: Mariana, Granaina, Media granaina, Mirabrás (attraversa maggiore, minore e modalità flamenca), Alegrías de Córdoba, alcuni Fandangos personales, Fandango de Huelva (molte strofe in area minore, con remate in modalità flamenca).  Come sempre, ti invito a sfruttare competenze e conoscenze che hai già, e semplicemente ti aiuto a riunirle sotto un nome, a dar loro una casa 

Florence Price: Sonata for Piano in E minor by Clipper Erickson Clippererickson.com Florence Price: Sonata for Piano in E minor! Clipper Erickson brings commanding insight to Florence Price's 1932 Wanamaker Prize-winning masterpiece. Symphonic in scope yet tightly woven, the sonata draws its poewr from the fusion of grand Romantic form with the melodic and rhythmic language of African American spirituals and dance. Erickson illuminates every nuance of Price's writing, revealing its vitality, lyricism, and structural ingenuity. Clipper Erickson, Pianist, Soul, Passion, Color, and Spirituality. Throughout his long career, Clipper has sought to uplift the music of under-represented voices in classical music, both old and new, alongside the great works of the past. His artistry continues to receive international critical accaim through recordings and performances in major concert halls. As a musical explorer and educator, he shares his insight and love through commentary along with performance.

David Juritz started playing the violin at the age of five. After winning the Royal College of Music's top award he joined the English Chamber Orchestra before becoming the Leader of the London Mozart Players - a role he held for seventeen years. He is well known for his recordings, including Bach's Sonatas and Partitas for unaccompanied violin and Vivaldi's Four Seasons, and for his work with the London Tango Quintet. His recording of Bach's Goldberg Variations, transcribed for violin, guitar and cello, was released in 2021. In this conversation we explore the many intersecting strands of his professional career. https://davidjuritz.com/biography/

Estão preservadas três cantatas de Johann Sebastian Bach para o Domingo da Sexagésima - o segundo domingo antes da Quaresma, equivalente a cerca de 60 dias antes da Páscoa, como ocorreu neste domingo passado, dia 8 de fevereiro -, data festiva prevista no calendário cristão. Uma dessas cantatas é intitulada Gleichwie der Regen und Schnee vom Himmel fällt, “Assim como a chuva e a neve caem do céu” (BWV 18), que é exibida nesta edição de Manhã com Bach. O podcast traz ainda outras duas composições: a Tocata e Fuga em Fá Maior (BWV 540), para órgão, e a Sonata para Cravo em Ré Maior (BWV 963). A cantata ouvida nesta edição de Manhã com Bach tem duas versões. A primeira foi composta por Bach na corte de Weimar para o Domingo da Sexagésima de 1715, possivelmente. A outra versão foi apresentada no Domingo da Sexagésima de 1724, em Leipzig. Nessa segunda versão, Bach fez mudanças na tonalidade e acrescentou duas flautas doces. Com cinco movimentos, a obra inclui um recitativo em que cada uma das quatro estrofes é concluída com uma ladainha - uma prece curta -, típica do luteranismo do século 18. Ouça o podcast no link acima. Este podcast reproduz o programa Manhã com Bach, da Rádio USP (93,7 MHz), transmitido nos dias 7 e 8 de fevereiro de 2026. Dedicado à divulgação da música do compositor alemão Johann Sebastian Bach (1685-1750), Manhã com Bach vai ao ar pela Rádio USP (93,7 MHz) sempre aos sábados, às 9 horas, com reapresentação no domingo, também às 9 horas, inclusive via internet, através do site da emissora. Às segundas-feiras ele é publicado em formato de podcast no site do Jornal da USP. As edições anteriores do podcast Manhã com Bach estão disponíveis neste link.

SONGS in this podcast episode: M1 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) M2 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20). M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40). M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55). M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06). M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (2:56) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) PROGRAM NOTES Johann Sebastian Bach was a German composer and organist from the late Baroque period. He was born in Eisenach, in what is now central Germany. Bach lived from 1685 to 1750, The Baroque period was a 150-year period in music, dating from 1600 to 1750. Baroque music is Western Classical Music that followed the Renaissance period. Baroque music features drama, ornamentation, major and minor tones, and was presented in new ways – – like the Opera, Concerto, and Sonata, Baroque composers included BACH, HANDEL, VIVALDI. M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27). Bach probably used the CLAVICHORD to compose most of his music. The Clavichord is small, lightweight and would not disturb people. The clavichord was very temperamental, because it required tuning before each play, just like a violin or guitar.  The keyboard instruments of the day were referred to as a general category: the “KLAVIER”….these included HARPSICHORD, CLAVICHORD, ORGAN and PIANOFORTE. Bach's favorite KLAVIER instrument was the LAUTENWERK or LUTE HARPSICHORD with animal gut strings.  The writing of music was in support of GOD and KINGS. Over time, Baroque Music evolved into what is today known as the modern Orchestra. Bach was a prolific composer, writing hundreds of pieces for solo instruments, particularly the organ. He also wrote pieces for orchestra and choir. Bach is MOST known for writing two or more  melodies or voices against each other. Also called point against point, or, Counterpoint. Bit Bucket A BWV catalog number is a unique identifier for musical works composed by Johann Sebastian Bach, standing for Bach-Werke-Verzeichnis (Bach Works Catalogue).  Today I will present 9 compositions, dating from 1710 to 1731, during the time Bach was about age 25 to 45. M1 TOCCATA & FUGUE in C MAJOR M.2 ADAGIO, 1710-1717, BWV 564 (4:20) Our first piece — TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). an ORGAN COMPOSITION.     It is taken from a 1959 album of BACH ORGAN WORKS   . The movement is called ADAGIO ….which indicates “At Ease”, or “Slow and Stately”. Tempo is only 66-76 BPM. like the resting heart rate for many people. Great liner notes. HERE IS AN  excerpt from the liner notes on that album – – QUOTE “OUR BACH” said the obituary notice, “was the greatest organ and clavier player that ever lived”. Though it may seem strange to us now, Bach's genius during his life was recognized only as a master of the organ—not as a composer. It was actually over a hundred years after his death that his works revealed him as a unique and mighty composer. His reputation as an organist brought many invitations to test new organs and advise on the construction of them.  UNQUOTE As with most of his organ works , there is no autograph or manuscript score from Bach, his organ work manuscript copies are lost.  This song has a CONCERTO style and rhythm.  We will hear the 2nd or ADAGIO movement. . It is all very calm and beautiful and pastoral and serene…until Bach pulls out all the stops in the last minute of this ADAGIO movement. He is really rocking the walls and windows of that church. Without any further adieu, here is TOCATA & FUGUE in C MAJOR , the 2nd movement (ADAGIO). PLAY M2 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M2 MUSICAL CREDIT: This Bach organ work  was recorded on the Luneburg Organ at St. Johanniskirche, in the town of Luneburg, in northern Germany, the organist is Professor Michael Schneider. This LP was produced and released on the SOMERSET label here in the US in 1959 The album title is BACH The Majesty of the Luneburger Organ. M2 NUN KOMM DER HEIDEN HEILAND, JS BACH, 1714, BWV 61 (5:21) Our next piece is the most famous church cantata written in 1714 for THE FIRST SUNDAY IN ADVENT. NUN KOMM DER HEIDEN HEILAND or in English “NOW COME, SAVIOR OF THE HEATHANS” A HEATHAN is a person with no religion, i.e., a PAGAN. In this chorale, Jesus is asked to …  come and save the pagans.  In 1714, Bach would have been 29 years of age. It turns out that this song goes back almost two centuries before BACH's time.  It's based on a LUTERAN CHORALE with words written by Martin Luther for the 1523 first Advent Sunday.  For centuries, this was the first hymn for the first Sunday of ADVENT.  What I will play next is an arrangement for as modern symphony orchestra (the Philadelphia Orchestra) and it is definitely JS BACH heard in those phrases. But it is a large orchestra – – Conducted by Leopold Stokowski.  This is an extremely restrained, demure, and understated interpretation of a Bach piece the most restrained I have ever heard. The recording you will hear next is performed by the Philadelphia Orchestra, with conductor   Leopold Stokowski. This recording is on a Vinyl LP titled THE SOUND OF GENIUS, produced by COLUMBIA MASTERWORKS, in 1960. It was one of many records that were shipped by mail to members of the Columbia Record Club. My parents were enthusiastic members. A new disc would arrive in the mail every month, such as this LP of classical music. Without further delay here is NOW COME, SAVIOR OF THE HEATHANS PLAY M1 SHOW PLUG – SHOW PLUG – DON'T TOUCH THAT DIAL ! ! That was…M1 NOW COME, SAVIOR OF THE HEATHANS” MUSICAL CREDIT: Arranger and Composer JS Bach, sometime between the years 1708-1717 Performance: Philadelphia Orchestra, conducted by Leopold Stokowski. Album: The Sound of Genius Limited Edition LP (1960) Members Only ! Label: Columbia Master Works BIT BUCKET This piece also is based on a song listed in the ZAHN Lutheran chorales catalog. ZAHN 1174 M3 TWO-PART INVENTION in F MAJOR, JS BACH, 1720-1723 (0:40) The next three pieces are called TWO PART INVENTIONS, composed by JS Bach around 1720   The inventions were composed for use in instruction of Bach's oldest son WILHELM FRIEDEMANN BACH who was 12 years old. Today, these inventions are introduced to music students in school grades 4-7. Learning the Two-Part Invention requires ROTE learning, practicing over and over until the two hands work completely independently of one another. The inventions teach, among other things, the use of COUNTERPOINT. Bach is MOST known for writing two melodies against each other. Also called point against point, or, Counterpoint. That is the feature of these inventions, in each one there are TWO PARTS, left and right hand parts. COUNTERPOINT is found mostly in Bach's FUGUES and in his INVENTIONS. Perhaps a brief demonstration is in order. Here is an excerpt from one of Bach's inventions. FIRST the right-hand part or first point – the melody SECOND the left-hand part or second point – the bass line LAST both parts played in counterpoint. In some of Bach works, the roles reverse, The left hand plays the first point – the melody And the right hand plays the second point – the bass line Could you do this by crossing hands on the keyboard – yes, but, the roles are reversed, so no cross-hand playing. I will now play  WENDY CARLOS's rendition of three BACH TWO-PART INVENTIONS from her 1969 recording titled “SWITCHED ON BACH” .. I will play all three, back-to-back. Each one is short – – average length ONE MINUTE EACH! PLAY M3 PLAY M4 PLAY M5 Credits: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M4 TWO-PART INVENTION in B-FLAT MAJOR, JS BACH, 1720-1723 (1:30) And now….. PLAY M4 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M4 MUSICAL CREDIT: HOLD ON READING THE CREDITS UNTIL ALL THREE INVENTIONS ARE PLAYED M5 TWO-PART INVENTION in D MINOR, JS BACH, 1720-1723, (0:55) PLAY M5 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M5 We heard three inventions – – Bach's 2-PART INVENTION in F MAJOR And the 2-PART INVENTION in B-FLAT MAJOR And the 2-PART INVENTION IN D MINOR Each invention is very different than the other. Not just a key change like the work title would suggest ! Bach stated that he wrote his inventions “to be models of composition” in other words, to enable the student to form ways of developing musical ideas and “acquire a strong taste of composition” Bach wrote the inventions, one for of the notes A to G and one for each minor and major key. Today these inventions are over 300 years old ! MUSICAL CREDIT: Composer JS Bach Estimated dates between 1720-1723 Performer – Wendy Carlos – early prototype Moog Synthesizer Arranger and Recording Engineer – Wendy Carlos on MOOG SYNTHESIZER in 1968. Record and label:  Switched-On Bach, Columbia/CBS BIT BUCKET M6 PRELUDE & FUGUE No. 5 “Le Clavier Bien Tempere” D-Major, JS BACH, 1722, BWV 850 (3:06) Next is Bach's “The Well-Tempered Clavier” written in 1722. He was 37. The title page to the Well-tempered Clavier song book reads : “The well-tempered Clavier, or Preludes and Fugues, through all the tones and semitones, both the [major] and [minor]. For the profit and use of the studious musical young…” Bach wrote these preludes and fugues in all keys in the chromatic scale … 12 major and 12 minor keys I have the version in D MAJOR. It's two sections – the prelude, and the fugue The Prelude is the introduction. LISTEN FOR the Stride Piano on the left hand !! It's a short 1:10. The Fugue is the second section. It's slower but with a more Bold left hand. Also short at 1:54. And now….PRELUDE & FUGUE No. 5 D-Major fromThe Well-Tempered Clavier PLAY M6 SHOW PLUG – DON'T TOUCH THAT DIAL !  That was…M6  PRELUDE & FUGUE No. 5 D-Major from The Well-Tempered Clavier MUSICAL CREDIT: Composer JS Bach and the autograph date is 1722 Pianist: Vasso Devetzi Label Festival Classique (1978) M7 JESU, JOY OF MAN'S DESIRING, JS BACH, 1723, BWV 147 (3:22) Our next song is Jesu, Joy of Man's Desiring This song was also composed by JS Bach in that same year of 1723 – – prolific at age 38. This was written for the Christian Feast of the Visitation- celebrated at the end of May in Western Christianity. The song is a Lutheran hymn. … a CANTATA and it has a CHORALE or chorus piece repeated twice within this cantata. There are many arrangements and versions because this song is one of Bach's most beautiful, well-known, and popular. The version we will hear next is arranged for SOLO PIANO. the pianist is Leon Fleisher. And Now, Here is Jesu, Joy of Man's Desiring – Bach       1723 PLAY M7 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M7  Jesu, Joy of Man's Desiring MUSICAL CREDIT: JS Bach composer 1723 Performance: Leon Fleisher – Pianist    (courtesy of EPIC records) Album  THE SOUND OF GENIUS VOLUME 3   Label Columbia, 1962   (3:22) M8 CHORALE PRELUDE “WACHET AUF”, JS BACH, 1731, BWV 140 (3:37) Here is another Chorale recording titled Chorale Prelude VACKET OFF “Wachet Auf”, which translates to SLEEPERS, WAKE! This hymn was transcribed from a Lutheran hymn written in 1599 by written by Phillippe Nicolai. This Cantata is truly a work from the middle ages. In 1731, Bach took this hymn and created a 7-movement cantata, we will hear the first movement or PRELUDE”.  This cantata is sung in church on the Trinity Sunday. Today this piece is very popular piece in general…it is POPULAR CLASSICAL MUSIC.    J.S. Bach wrote 46 of these cantatas for church, in all. ODD FACT  about this song… it was performed only once by Bach, in Leipzig that year. And now the FIRST MOVEMENT  from  VACKET OFF …the Prelude PLAY M8 SHOW PLUG – DON'T TOUCH THAT DIAL ! that was M4    The Chorale Prelude “Wachet Auf”, also known as SLEEPERS, WAKE! Song credits M4 Credits: Hymn by Phillippe Nicolai in 1599 Transcribed by JS Bach in 1731 Performance: Wendy Carlos – on an early prototype Moog Synthesizer Wendy Carlos arranger and recording engineer Album:  Switched-On Bach Label: Columbia/CBS, 1968 M9 AIR ON A G-STRING, JS BACH, 1730, BWV 1068 (2:27) Our next AND LAST piece is from the Switched-On Bach album and s titled AIR ON A G-STRING. This title comes from Johann Sebastian Bach's Orchestral Suite No. 3 in D major,  written almost 300 years ago.   So what is the meaning of the song title Air on a G-String? Well, Bach composed this as an orchestral suite in 1730. 141 years later, August Wilhelm arranged the second movement for SOLO VIOLIN and he did something unique. He transposed the song down from D so that the entire piece could be played on one string of the violin, the G-String, which is the lowest register on that instrument. Here is an example of what this sounds like on the Violin G-String, thjs example with piano accompaniment—pardon the scratchy sound, is from an old 78 RPM disc in 1935. Play example  – Jacques Dumont (Violin) Bach Air On The G String with Andre Collard (piano) We went from Bach's orchestral piece, to Wilhelm's transcription for solo violin, to Wendy Carlos modern interpretation with her MOOG Synthesizer. Now here is Wendy Carlos' arrangement of Air on a G String, from her debut album, SWITCHED-ON BACH, in 1968. PLAY M9 SHOW PLUG – DON'T TOUCH THAT DIAL ! That was…M9  MUSICAL CREDIT: Composer JS Bach 1730 Performance Wendy Carlos on early prototype MOOG SYNTHESIZER Arranger and Recording Engineer: Wendy Carlos  Album:  Switched-On Bach Label: Columbia/CBS, 1968 END OF PROGRAM VV-031

Ildebrando Pizzetti (1880 - 1968) - Sonata in la maggiore per violino e pianoforte 1.      Tempestoso2.      Preghiera per gli innocenti: Molto largo3.      Vivo e fresco Marco Rizzi, violinoAlessandro Maffei, pianoforte

Olbrzymią popularność przyniosła mu rola księdza Jakuba w serialu „1670”, a wcześniej uznanie widzów i krytyki kreacja w filmie „Sonata”. To była rozmowa również o ogniskach, warzywniakach i byciu gwiazdą spółdzielni mieszkaniowej. Gościem NieDoMówień Artura Andrusa był Michał Sikorski.

Welcome to the Squared Circle Podcast! I am your host Marie Shadows!https://patreon.com/marieshadowshttps://marieshadows.substack.comIn this episode of the Square Circle Podcast, I break down Yota Tsuji defeating Konosuke Takeshita at Wrestle Kingdom 20 to become double IWGP World Heavyweight & Global Heavyweight Champion in front of 46,913 in the sold-out Tokyo Dome.We go match psychology, storytelling, why Tsuji targeted the gut, the stinger spot that almost derailed him, why the Boston Crab finish was perfect NJPW essence, Konosuke actually being decent for once (thanks to Tsuji leading), post-match Jake Lee attack (now United Empire), and Tsuji's NJPW interview insights on philosophies clashing, Young Lions, and keeping the Dome sold out every year.No AEW coattails needed. Tsuji earned this. He's my champion.Timestamps below0:00 – Intro & Wrestle Kingdom 20 attendance / no two-night nonsense2:00 – Why Tsuji has always been my guy (since Sonata days)4:30 – My issues with Konosuke (no-selling, no psychology, "alpha" talk)7:00 – Match breakdown starts: chain wrestling, dare spot, early equality10:30 – Brain buster stinger – Tsuji hurt, pace thrown off13:00 – Konosuke advantage, apron spots (stop apron bumps!)15:30 – Tsuji comeback, Gene Blaster double down (allowed this time)18:00 – Gut work psychology – weaken the core21:00 – Big spots: reverse Canadian Destroyer, Blue Thunder Bomb, Guerrero Special24:00 – Finish: Boston Crab on hurt gut – Tsuji wins!27:00 – Post-match Jake Lee big boot, United Empire angle29:00 – Tsuji NJPW interview key points (philosophies, stinger, Boston Crab meaning)33:00 – Unbound Co. explanation & Bullet Club thoughts37:00 – Tanahashi loyalty, AEW partnership rant, future Dome sellouts41:00 – Wrap-up, Patreon plug, love you guys

https://www.livingstonescrc.com/give Register for the Estuary/Cleanup Weekend https://lscrc.elvanto.net/form/94f5e542-facc-4764-9883-442f982df447 Paul Vander Klay clips channel https://www.youtube.com/channel/UCX0jIcadtoxELSwehCh5QTg https://www.meetup.com/sacramento-estuary/ My Substack https://paulvanderklay.substack.com/ Bridges of meaning https://discord.gg/VPaK2vCX Estuary Hub Link https://www.estuaryhub.com/ There is a video version of this podcast on YouTube at http://www.youtube.com/paulvanderklay To listen to this on ITunes https://itunes.apple.com/us/podcast/paul-vanderklays-podcast/id1394314333  If you need the RSS feed for your podcast player https://paulvanderklay.podbean.com/feed/  All Amazon links here are part of the Amazon Affiliate Program. Amazon pays me a small commission at no additional cost to you if you buy through one of the product links here. This is is one (free to you) way to support my videos.  https://paypal.me/paulvanderklay Blockchain backup on Lbry https://odysee.com/@paulvanderklay https://www.patreon.com/paulvanderklay Paul's Church Content at Living Stones Channel https://www.youtube.com/channel/UCh7bdktIALZ9Nq41oVCvW-A To support Paul's work by supporting his church give here. https://tithe.ly/give?c=2160640 https://www.livingstonescrc.com/give

ReferencesNature Communications 2013. 4(1685):1685PNAS 1996. Nov. 26, 199693 (24) 14002-14007 J Exp Med. 1995 May 1;181(5):1755–1762 Eur J Immunol. 1997 Jan;27(1):147-54. Blood. 2021 Jan 28;137(4):500-512 Hematol Oncol. 2024 Jan 17;17(1):5.Hunter/Garcia. 1975. Cruel White Waterhttps://music.youtube.com/watch?v=T-oBD3F74Nk&si=EsT_UjmZqCNrOpedSeger, B. 1978. We've Got Tonighthttps://music.youtube.com/watch?v=uZQR3KqvYPc&si=2ny38UCF1hTC5CIWLightfoot, G. 1970. If you Could Read my Mind Love https://music.youtube.com/watch?v=fT_J-LNqVvw&si=mX4RjNzLQhlYOuisChopin, F. 1839 Sonata in E Minor OP 28. https://music.youtube.com/watch?v=2bFo65szAP0&si=glSyZ1rVuazz_vOo

Asus pauses phone production, new OpenAI hostnames reference “Sonata”, Anna's Archive faces new pressure in the U.S. MP3 Please SUBSCRIBE HERE for free or get DTNS Live ad-free. A special thanks to all our supporters–without you, none of this would be possible. If you enjoy what you see you can support the show on Patreon,Continue reading "OpenAI CFO Sarah Friar Says Compute Hit 1.9 GW in 2025 – DTH"

In this episode, I sit down with Dame Evelyn Glennie to talk about what listening really means and why it matters far beyond music. We start with the origins of the Evelyn Glennie Foundation and how her work evolved organically from teaching, performing, and asking people better questions so they can hear themselves more clearly. Evelyn shares how her own experiences shaped a broader philosophy of listening that encompasses sound, the written word, and the ways we communicate through email, texts, and social media. We also dig into how technology has changed our patience and attention, and why listening belongs at the center of education, wellbeing, empathy, and community.From there, we move into the performer's mindset and Evelyn's lifelong curiosity about sound. She explains why she starts new repertoire from the inside out, how the body becomes an essential listening partner over time, and why recordings are only frozen snapshots rather than definitive answers. I ask her about formative training, the balance of learning by ear and reading music, and how her early environments built a deep listening culture that still guides her today. Evelyn offers a powerful reminder that every performance is a world premiere for someone, and that familiar instruments can become brand new when we hear them in a different context.We also go down memory lane through landmark repertoire and collaborations. Evelyn talks about discovering and recording Paul Smadbeck's Rhythm Song, revisiting it years later, and even developing a creative version for marimba and strings. She reflects on the Bartók Sonata for Two Pianos and Percussion, including the intensity of working at a young age with Sir Georg Solti and the lessons that stayed with her. We then explore her long pursuit of John Corigliano's Conjurer, how the concerto's concept came together, and what it takes to tour a major work night after night, adapting to different instruments and acoustics. Finally, we discuss her experience performing Philip Glass's Double Timpani Concerto with Jonathan Haas, the logistics behind that project, and why she loves the energy of shared soloist roles.To close, Evelyn shares what she is creating right now, including writing for television and film, new books, wide-ranging collaborations, duo projects, and continued foundation work that invites people to slow down, listen deeply, and rethink what connection feels like. This conversation is a masterclass in curiosity, artistry, and attention, and I'm grateful to share it with you.To learn more about Evelyn and the Evelyn Glennie Foundation, visit her website. Music from the Episode:Joseph Schwantner - Velocities for Solo MarimbaPaul Smadbeck - Rhythm SongBéla Bartók - Sonata for Two Pianos and PercussionJohn Corigliano - Conjurer: Concerto for Percussionist and String OrchestraThank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Choice Classic Radio presents The Saint, which aired from 1945 to 1951. Today we bring to you the episode titled “A Sonata for Slayers.” Please consider supporting our show by becoming a patron at http://choiceclassicradio.com We hope you enjoy the show!

"Crónicas Lunares di Sun" es un podcast cultural presentado por Irving Sun, que abarca una variedad de temas, desde la literatura y análisis de libros hasta discusiones sobre actualidad y personajes históricos. Se difunde en múltiples plataformas como Ivoox, Apple Podcast, Spotify y YouTube, donde también ofrece contenido en video, incluyendo reflexiones sobre temas como la meditación y la filosofía teosófica. Los episodios exploran textos y conceptos complejos, buscando fomentar la reflexión y el autoconocimiento entre su audiencia, los "Lunares", quienes pueden interactuar y apoyar el programa a través de comentarios, redes sociales y donaciones. AVISO LEGAL: Los cuentos, poemas, fragmentos de novelas, ensayos y todo contenido literario que aparece en Crónicas Lunares di Sun podrían estar protegidos por derecho de autor (copyright). Si por alguna razón los propietarios no están conformes con el uso de ellos por favor escribirnos al correo electrónico cronicaslunares.sun@hotmail.com y nos encargaremos de borrarlo inmediatamente. Si te gusta lo que escuchas y deseas apoyarnos puedes dejar tu donación en PayPal, ahí nos encuentras como @IrvingSun  https://paypal.me/IrvingSun?country.x=MX&locale.x=es_XC  Síguenos en:  Telegram: Crónicas Lunares di Sun  ⁠Crónicas Lunares di Sun - YouTube⁠ ⁠https://t.me/joinchat/QFjDxu9fqR8uf3eR⁠  ⁠https://www.facebook.com/cronicalunar/?modal=admin_todo_tour⁠  ⁠Crónicas Lunares (@cronicaslunares.sun) • Fotos y videos de Instagram⁠  ⁠https://twitter.com/isun_g1⁠  ⁠https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9lODVmOWY0L3BvZGNhc3QvcnNz⁠  ⁠https://open.spotify.com/show/4x2gFdKw3FeoaAORteQomp⁠  https://mx.ivoox.com/es/s_p2_759303_1.html⁠ https://tunein.com/user/gnivrinavi/favorites⁠ 

Om livets källa och vår djupaste törst, från Svedala kyrka. Lyssna på alla avsnitt i Sveriges Radios app. Hur vill jag att mitt år ska bli? Det är sådana frågor vi ställer oss så här en bit in i januari, och dagens Gudstjänst hakar fast vid det. Varifrån kommer vår törst på livet? Och till vilken källa ska vi gå för att släcka den? Gudstjänsten är inspelad i Svedala kyrka, där församlingens alla fyra präster medverkar. Louise Wetterlund står för predikan. Jag är övertygad om att vi behöver det levande vattnet. Vi behöver bevara kontakten med källan, med platsen för påfyllning, för om vi bara ger och ger så tömmer vi oss till slut. Så, så här i början av året är det ett bra tillfälle att fundera på inflöde och utflöde; hur ser flödet ut i ditt liv?Texter5 Mos 5:23-27Heb 2:9-10Joh 5:31-36Ps 19:2-7MusikPsalm 178 - Som skimret över hav och skyBerceuse, Op. 16 av Gabriel FauréPsalm 246 - Här en källa rinnerPsalm 921 - Kristus i mig är en källa till livAdagio ur Sonata da chiesa Op. 4, Nr 4 av Tomaso AlbinoniPsalm 881 - Med öppna tillitsfulla händerJag lyfter ögat mot himmelen / Svingedans efter Ola Persson från Tolånga i SkåneLovpsalm 338 - Som ett klockspel hör jag digAve Maria av Astor PiazzollaMedverkandeLouise Wetterlund: predikan och trosbekännelsenMarie Wollin: kristusrop, lovsång och textläsningSofia Cederwald: inledningsord, böner och textläsningHåkan Norén: böner och textläsningElin Hansson: förbönAngelica Sondén: förbönTeodor Lontos: orgel och pianoBritt Forsströmson: fiolSusanne Dahl: pianoProduktionFredrik Pålsson, produktionJohan Chandorkar, ljudteknikGudstjänsten produceras av Umami Produktion, för Sveriges Radio P1liv@sverigesradio.se

Ralph Vaughan Williams (1872-1958) – Sonata per violino e pianoforte in la minore (1954) 1.      Fantasia. Allegro giusto - 0:002.      Scherzo. Allegro furioso ma non troppo - 8:043.      Tema con variazioni. Andante - 13:05  Hugh Bean, violinoDavid Parkhouse, pianoforte

Aaron Copland (1900-1990) – Sonata per violino e pianoforte (1943) 1.      Andante semplice 2.      Lento 06:453.      Allegretto giusto 10:18 Natalia Moiseeva, violinoIvan Konev, pianoforte

BRITTEN: Sonata para violoncello y piano en Do Mayor, Op. 65 (20.02). M. Rostropovich (vc.), B. Britten (p.). 4 Interludios marinos de “Peter Grimes”, Op. 33 A (13.12). Orq. de la Royal Opera House Covent Garden de Londres. Dir.: B. Britten. 8 Canciones populares para voz y arpa (selec.) 8.02). P. Langridge (ten.), O. Ellis (arp.).Escuchar audio

For the first episode of 2026, Ben and Chris cover Kiyoshi Kurosawa's Tokyo Sonata.     

"Vladimir Horowitz Plays Great Sonatas" is culled from the legendary virtuoso's Columbia Masterworks and RCA Victor catalogs, and features selections ranging from the Baroque era to mid-20th century works that are strongly identified with the pianist. Although most of the performances can easily be sourced outside of this collection, piano mavens still will want to know about this ten-disc set, which can be obtained from second-hand dealers: https://www.amazon.com/Vladimir-Horowitz-Plays-Great-Sonata/dp/B0056K4V2M

Niccolò Paganini - der Teufelsgeiger hat eine große Sonate von etwa 20 Minuten Länge für Gitarre geschrieben. Vom großen Geiger eine große Gitarrensonate? Die Erklärung ist recht einfach: Paganini spielte selbst Gitarre.

Pianist Tellef Johnson brings Sorabji's fifth piano sonata to the stage for a live performance set to stretch more than seven hours.

ReferencesHepatology.2023 Apr 17;77(5):1654–1669Oncotarget.2017 Aug 22; 8(34): 55967–55983.Can.J.Physiol.Pharmacol. 2025. 103: 208–224 Guerra. DJ 2025. Unpublished LecturesPage, J. 1970 Tangerine LZhttps://music.youtube.com/watch?v=_0Auvlsv860&si=A4mSuCcSwCeF0M4DLennon./McCartney/Harrison. 1966. Rubber Soul lphttps://music.youtube.com/playlist?list=OLAK5uy_lirCIxLpU2odTVLZ_Sbo1wZaeu5IStivs&si=HmFiZGPpBWuz14im Biber , HI. !681 Sonata & in G major C.144https://music.youtube.com/watch?v=kFOD7qM1oNc&si=OiHaskXRsDRbcUDz

Domenico Scarlatti - Keyboard Sonata in E, K 216Orion Weiss, pianoMore info about today's track: Naxos 8.573222Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Pranas Morkus. „Paukščiai“. Režisierius Gytis Lukšas. Garso režisierė Jadevičienė Sonata. Vaidina Michelevičiūtė Dalia, Petkevičius Vidas, Janušauskaitė Aldona, Tomkus Vytautas, Kuzinas Tomas, Sadukas Algimantas. 2002 m.

Nathan Hickman, chief commercial officer for Oceania Cruises, talks with James Shillinglaw of Insider Travel Report about the newly cruises Oceania Allura, the second in the line's Vista class of ships. Hickman tells you how to sell this luxury ship by focusing on the service, itineraries and cuisine, which lives up to Oceania's reputation as having the best dining at sea. Plus, there's more to come with Oceania with a new Sonata class of ships. For more information, visit www.oceancruises.com.  All our Insider Travel Report video interviews are archived and available on our Youtube channel  (youtube.com/insidertravelreport), and as podcasts with the same title on: Spotify, Pandora, Stitcher, PlayerFM, Listen Notes, Podchaser, TuneIn + Alexa, Podbean,  iHeartRadio,  Google, Amazon Music/Audible, Deezer, Podcast Addict, and iTunes Apple Podcasts, which supports Overcast, Pocket Cast, Castro and Castbox.  

Welcome back to The Forever DMs!We return to our heroes plotting and beginning an epic heist. Flipping their way from the red carpet into a gala, our Yggdrasil Team ventures to find one of the vestiges needed to seal the loop! Don't flip out, we're gonna do plenty of that for you. (Hijinks are abound in this episode of The Forever DMs, you have been warned.) Hosted on Acast. See acast.com/privacy for more information.

ReferencesGuerra, DJ.2025 Unpublished LecturesPLoS Genet. 2011. 7(12): e1002427. JLR . 2020. V. 61, Issue 12, December:1675-1686Bach, JS.1739. Duets 802-805https://music.youtube.com/watch?v=9tQn5bTE5K4&si=gntLhJ2tkafnd3Q_Couperin, F 1722. Sonata in C-Minorhttps://music.youtube.com/watch?v=eSzJTaev-zA&si=lAM5IcmRTvRXgpneHopkins, N. 1969. Edward the Mad Shirt Grinder. QMShttps://music.youtube.com/watch?v=iJBPlmqQ2DY&si=JhuiTun58fP5J61f

A growing number of vehicles on the road still lack tire pressure monitoring systems, and Schrader is hoping to change that with its new Aircheck BLE retrofit kit. In this episode of What's Treading, David Sickels talks with Kelly Sadler, vice president and general manager for Sonata's aftermarket business, about how the product works and what it means for both drivers and service shops.The Aircheck BLE is designed to fit nearly any light-duty vehicle and deliver tire pressure, temperature, and sensor battery life information directly to the dashboard through Android Auto or Apple CarPlay. Sadler explains that the system uses Bluetooth Low Energy and a range extender to ensure reliable communication even over long distances, such as when towing a trailer.For installers, Schrader kept setup simple. The sensors mount internally to protect against tampering and provide more accurate readings, while an app-based configuration removes the need for hard-wiring and specialized tools. Sadler says installation typically takes less than five minutes and that the company has produced full training materials and videos to help technicians get up to speed.With roughly 250 million vehicles still operating without TPMS, the retrofit market represents a sizable opportunity for tire dealers looking to expand their services. Sadler notes that the Aircheck BLE's single-SKU design helps streamline inventory and reduce complexity in the bay, giving shops a way to add value for customers who want better tire health monitoring without replacing their vehicle.Tire Review: www.tirereview.comHunter Engineering: www.hunter.com

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.

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"

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! 

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