Podcasts about Strad

Dzisiaj w Paweukowym zastępstwie polsko-czeski śląski Pawełek Pietrzak rozpływa się nad ściganiem klasy .2 podczas gdy Pioter stara się rozłożyć Stradę na czynniki pierwsze i zrozumieć dlaczego w pojkedynku tytanów to słoweński a nie polski mistrz świata był górą. Chcesz folołować? – Facebook: https://www.facebook.com/pncastCykChcesz popaczeć? – Instagram: https://www.instagram.com/pncast/Chcesz połoglondać? – YouTube: https://www.youtube.com/channel/UC5hNRM9CimnQAZTho-FBAcQ Chcesz pobiznesować? – e-mail: podnominal@gmail.com Chcesz dać zapomogę? – PATRONITE: https://patronite.pl/pncast Buycoffee: www.buycoffee.to/pncastPatroni : HIGROSYSTEM.PLMarek DrÓb

Protestele din Georgia continuă, în ciuda reacțiilor forțelor de ordine, care au arestat zilele trecute mai mulți protestatari, între care și un lider al opoziției. Din noiembrie, oamenii protestează constant față de decizia partidului de guvernămînt, Visul Georgian, de a suspenda negocierile de aderare la Uniunea Europeană pînă în 2028. Parlamentul georgian a adoptat recent legi care înăspresc regulile privind întrunirile publice și demonstrațiile. Nemulțumirile din societatea georgiană au început mai devreme. După alegerile parlamentare din octombrie 2024, datele oficiale au arătat că partidul Visul Georgian a obținut aproape 54% din voturi și opoziția pro-europeană aproape 38%. O parte considerabilă a opoziției a renunțat la mandatele obținute pentru Parlament acuzînd că votul a fost furat. În ce măsură protestatarii care contestă deciziile partidului aflat la putere sînt reprezentativi pentru societatea georgiană? Ce urmează în Georgia? Am întrebat-o pe Angela Grămadă, cercetătoare a spațiului ex-sovietic, președinta Asociației Experți pentru Securitate și Afaceri Globale.Ce legitimitate are un parlament în care nu sînt ocupate toate fotoliile?Angela Grămadă: „Legitimitatea este destul de contestată şi tocmai din aceste considerente lumea iese în stradă şi a transformat protestul într-unul continuu. Pe de-o parte avem acea decizie de la sfîrşitul lunii noiembrie, prin care Visul Georgian suspendă toate negocierile cu privire la procesul de integrare europeană a ţării. Dar pe de altă parte avem şi această legitimitate contestată. Dacă ne uităm pe cerinţele celor care ies în stradă şi protestează, ei nu vorbesc doar despre parcursul european, ei vorbesc şi despre lipsa de legitimitate a parlamentului şi despre faptul că preşedintele nou ales în Georgia, la sfîrşitul lunii decembrie (Mihail Kavelaşvili), nu este un preşedinte legitim al Georgiei şi în continuare o consideră pe Salome Zurabişvili ca fiind şeful statului care are mandat şi care a anunţat că va fi de partea străzii pînă vor fi organizate alegeri parlamentare anticipate.”Cum vedeți evoluția situației din Georgia?Angela Grămadă: „Dacă ţinem cont de ultimele evenimente – înăbuşirea protestelor cu utilizarea violenţei şi dosarele deschise împotriva jurnaliştilor, activiştilor civici sau arestarea liderilor opoziţiei – cred că situaţia ar putea să deraieze într-o direcţie şi mai puţin plăcută pentru georgieni dar şi pentru cei care astăzi sînt vîrful de lance în Georgia, societatea civilă cu tot ce înseamnă ea: oameni care reprezintă cultura, arta, presa independentă, activiştii civici. S-ar putea să fie o îndîrjre foarte mare şi o luptă pe viaţă şi pe moarte în această ţară.”Apasă PLAY pentru a asculta interviul integral! O emisiune de Adela Greceanu și Matei MartinUn produs Radio România Cultural 

This episode is an in-depth and inspiring conversation with 2022 Sphinx Competition winner Kebra-Seyoun Charles (they/them), a classical bassist and composer renowned for overcoming barriers and diversifying the landscape of classical music.   As a modern virtuoso and composer of concerti, ballets, and pop ballads, Kebra's music has been praised for its "buoyancy and verve — pushing the far reaches of tonality while savoring hummable grooves" (ICareIfYouListen). A rising star and advocate for a more inclusive classical music community, The Strad confirms that "Versatility defines Charles's approach."   We cover their musical journey, the importance of inclusive music education, experiences with stage fright and imposter syndrome, and the critical role of classical music in today's world. Kebra-Seyoun also shares insights into their creative process, the impact of mentorship, and the goal of merging classical music with mainstream culture.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Comenzamos el programa desde el Teatro Infanta Isabel a ritmo de música del Barroco y el Neoclasicismo bajo el humor de la compañía Yllana. La mítica productora de espectáculos de teatro, humor y circo continúa el legado de PaGAGnini con 'Maestrissimo', a mitad de camino entre el concierto de cámara, la comedia satírica y el retrato de época en el que se muestran las aventuras y desventuras de un cuarteto de cuerdas en un periodo indeterminado entre los siglos XVII y XVIII.Un show que aborda temas como la ética, la creación, la originalidad y el valor del arte en la sociedad, al mismo tiempo que repasa momentos cumbre de la música clásica.Nos acompañan sus intérpretes Eduardo Ortega, Jorge Fournadjiev, Isaac M. Pulet y Jorge Guillén “Strad”, que traerán con ellos su violines para tocar varios temas durante la entrevista

Comenzamos el programa desde el Teatro Infanta Isabel a ritmo de música del Barroco y el Neoclasicismo bajo el humor de la compañía Yllana. La mítica productora de espectáculos de teatro, humor y circo continúa el legado de PaGAGnini con 'Maestrissimo', a mitad de camino entre el concierto de cámara, la comedia satírica y el retrato de época en el que se muestran las aventuras y desventuras de un cuarteto de cuerdas en un periodo indeterminado entre los siglos XVII y XVIII.Un show que aborda temas como la ética, la creación, la originalidad y el valor del arte en la sociedad, al mismo tiempo que repasa momentos cumbre de la música clásica.Nos acompañan sus intérpretes Eduardo Ortega, Jorge Fournadjiev, Isaac M. Pulet y Jorge Guillén “Strad”, que traerán con ellos su violines para tocar varios temas durante la entrevista

Performance psychologist Noa Kageyama (NY License #19280) is on the faculty of The Juilliard School and the Cleveland Institute of Music. A conservatory-trained violinist with degrees from Oberlin and Juilliard before completing a Ph.D. in counseling psychology at Indiana University, Noa now specializes in working with performing artists, teaching them how to utilize sport psychology principles and more consistently perform up to their full abilities under pressure.He has conducted workshops for institutions ranging from Northwestern University, New England Conservatory, Peabody, Eastman, Curtis, McGill University, and the U.S. Armed Forces School of Music, to programs such as the Starling-Delay Symposium, The Perlman Music Program, and the National Orchestral Institute, and for organizations like the Music Teachers' National Association, the National Association of Teachers of Singing, the Sphinx Organization, the Performing Arts Medicine Association, and the Association for Applied Sport Psychology.Noa's work has been featured in The Wall Street Journal, NBC News, CNN, Slate, TED-Ed, Musical America, Strings Magazine, Strad, and Lifehacker. He has taught over 8000 musicians, educators, and learners through his online courses, and authors The Bulletproof Musician - a performance psychology blog and podcast which reaches over 45,000 subscribers every week.www.bulletproofmusician.com

Protestele de stradă continuă în Georgia, unde de mai bine de o săptămână au loc seară de seară ciocniri violente între manifestanții pro-europeni și forțele de ordine; numărul de răniți este în creștere iar cei arestați sunt bătuți și intimidați, transmite postul Europa Liberă, secțiunea în limba georgiană.  După o perioadă de acalmie, protestele s-au reluat în forță, atât la Tbilisi cât și în alte orașe din țară, în data de 28 noiembrie, când guvernul pro- rus a anunțat că amână pentru 2028 reluarea negocierilor de aderare la UE și că renunță la fondurile europene alocate pentru sprijinirea reformelor aferente. Cu toate aceste, guvernul a transmis că dorește aderarea țării la UE până în 2030.Cel puțin 150 de persoane au fost arestate și 44 au fost spitalizate ca urmare a rănilor provocate în timpul ciocnirilor. Printre cei spitalizați se află manifestanți, dar și jurnaliști și polițiști.Ministerul de interne a transmis în noaptea de 30 noiembrie spre 1 decembrie că intervenția forțelor de ordine a fost necesară pentru că manifestanții ar fi aruncat ”focuri de artificii” în interiorul clădirii Parlamentului, unde au fost provocate incendii în mai multe birouri. De asemenea, manifestanții ar fi forțat gardurile de protecție ale clădirilor guvernamentale și au ridicat baricade pe străzi.Ucraina: Modificarea Legii mass media în dezbaterea ParlamentuluiUn act normativ care vizează modificarea Legii pentru mass-media a fost adoptat în unanimitate de Comisia parlamentară pentru politici umanitare și informație și urmează să intre în dezbaterea planelui Parlamentului Ucrainei (Rada) până la sfârșitul acestui an, transmite publicația Detector.Documentul, realizat cu sprijinul experților din partea Consiliului Europei, prevede măsuri suplimentare pentru asigurarea independenței mass media și creșterea bugetului pentru Consiliul Național al Televiziunii și Radiodifuziunii.După cum a explicat un membru al comisiei parlamentare, Consiliul Național va fi abilitat să blocheze accesul la site-urile web de informații și la alte organisme mass media care au fost sancționate pentru dezinformare de către Comisia Europeană.”Modificările au fost concepute în urma consultărilor cu mai mulți experți mass-media, ținând cont de dezvoltarea fără precedent a tehnicilor bazate pe Inteligența Artificială și a dezinformării care poate fi propagată cu ajutorul acestor tehnici”, a precizat deputatul ucrainean.R Moldova: Interferența Kremlinului în procesul electoral va crește în 2025‍‍Interferența Kremlinului în procesele electorale din Republica Moldova va crește în 2025, iar acest fenomen nu poate fi combătut fără implicarea directă a tuturor partidelor politice democratice din țară, au afirmat mai mulți experți citați de publicația deschide.md.„Avem partide care din 2015 sunt finanțate din bugetul de stat. Avem politicieni care participă în campanii și nu le pasă de aceste fenomene, care s-au văzut și la alegerile locale, s-au văzut și la alegerile din Găgăuzia. ... Nu este posibil să construim o democrație fără partide politice. Trebuie ca toate partidele să vină cu o poziție foarte clară față de problema coruperii alegătorilor”, a declarat directorul de programe al organizației neguvernamentale Promo-Lex, Nicolae Panfil.„Există un interes și o interferență fără precedent a Rusiei în tot ce înseamnă politica din Republica Moldova și această interferență nu va fi mai mică în 2025. Iar de acest lucru trebuie să ne pregătim. Fiecare cetățean responsabil trebuie să-și asume că noi suntem o cetate în asediu. E vorba de asediu virtual, pentru moment, spre deosebire de vecinii noștri ucraineni. Nu suntem doar noi ținta acestor atacuri. Vedem ce se face în România. Are loc manipularea prin algoritmii rețelelor de socializare. Au loc pretinse campanii cu zero lei. Aceste practici seamănă cu tot ce se întâmplă în Republica Moldova. Este o altă manifestare a aceluiași manual de preluare a puterii din diferite state. E clar că Rusia vrea ca în regiune să fie haos, la conducerea țărilor să fie oameni docili, oameni care să asculte de indicațiile de la Moscova”, a spus la rândul său reprezentantul organizației Watchdog, Andrei Curăraru. Au contribuit la redactarea Revistei presei Europa Plus:Salome Sulakauri - Georgia;Crina Plăcintă - R Moldova;Inna Omeltchenko - Ucraina Europa Plus este un proiect RFI România realizat în parteneriat cu Agenția Universitară a Francofoniei 

Noul parlament georgian a avut luni prima ședință de la alegerile din octombrie. Politicienii din opoziție care au cîștigat mandate în Parlament și președinta Salome Zurabișvili au boicotat ședința. Mai mult, președinta Georgiei a solicitat anularea rezultatelor alegerilor din octombrie. Conform rezultatelor anunțate de Comisiei Electorale Centrale, partidul Visul Georgian a obținut 53,93% din voturi iar opoziția pro-europeană 37,97%. Sînt proteste în Georgia de mai multe săptămîni, oamenii acuză fraude extinse la vot. Vorbim despre situaţia din Georgia cu analistul politic Cătălin-Gabriel Done, vicepreședintele Asociației Experți pentru Securitate și Afaceri Globale, şi jurnalistul şi analistul politic Mihai Isac, expert în zona Mării Negre.Există dovezi că alegerile din Georgia au fost fraudate?Cătălin-Gabriel Done: „Există dovezi în acest sens, ele au fost documentate şi de către organisme internaţionale, inclusiv de Uniunea Europeană şi de partenerii internaţionali ai Georgiei. Am văzut şi declaraţii din partea congresmenilor americani cu privire la corectitudinea acestui scrutin. Cred că vorbim de o încercare clară a Rusiei de destabilizare a situaţiei politice din Georgia, a societăţii georgiene. Georgia era considerată povestea de succes a parteneriatului estic, a intergrării europene a regiunii, lucru care nu convine Kremlinului. Pentru că doctrina sa de politică externă vorbeşte foarte clar de păstrarea sferelor de influenţă din fosta Uniune Sovietică.”Mihai Isac: „Opoziţia politică de la Tbilisi a anunţat că nu va accepta aceste mandate. Actuala conducere pro-rusă de la Tbilisi a făcut presiuni imense asupra unor deputaţi individuali pentru a-i corupe, pentru a încerca să-i forţeze să accepte aceste mandate. Există anumite informaţii cu privire inclusiv la ameninţări la adresa membrilor de familie ai unor asemenea deputaţi. Prin faptul că reprezentanţii opoziţiei refuză să preia aceste mandate, practic nu fac decît să-şi continue strategia de a nu recunoaşte aceste alegeri, viciate din foarte multe puncte de vedere.”Apasă PLAY ca să asculți interviul integral! O emisiune de Adela Greceanu și Matei Martin Un produs Radio România Cultural 

În Georgia au avut loc la sfîrșitul săptămînii trecute noi proteste, după ce Comisia Electorală a anunțat rezultatele finale ale alegerilor din octombrie, conform cărora partidul Visul Georgian a obținut 53,93% din voturi. Opoziția pro-europeană, care a fost votată de 37,97% dintre alegători, conform rezultatelor anunțate, a declarat că renunță la mandatele obținute pentru Parlament și acuză că votul a fost furat. Președinta Georgiei, Salome Zurabișvili, cere organizarea de noi alegeri. În regiunea separatistă Abhaziaau fost de asemenea proteste față de un acord cu Rusia care urma să le permită companiilor rusești să investească în regiune. Despre situația din Georgia am vorbit cu Angela Grămadă, cercetătoare a spațiului ex-sovietic, președinta Asociației Experți pentru Securitate și Afaceri Globale.Dincolo de acuzații, există dovezi ale fraudei, există probe că voturile au fost furate de partidul aflat la putere, Visul Georgian?Angela Grămadă: „Deși misiunea de observare a OSCE a avut un raport cu un conținut evaziv, fără a spune direct că voturile au fost fraudate, totuși există foarte multe ONG-uri care monitorizează alegerile și care susțin că probele aduse de ele, evidente, nu au fost acceptate de Comisia Electorală Centrală din această țară. De asemenea, și observatorii internaționali, în afară de misiunea OSCE, au spus același lucru sau au subliniat că acele ONG-uri din interior trebuie să fie ascultate, pentru că probele lor sînt evidente. A existat și o acțiune a societății, „Votul meu”, care a monitorizat din inițiativă proprie, nefiind susținută financiar de vreo organizație internațională sau din interiorul țării, care a prezentat dovezi. Dar Comisia Electorală Centrală le-a respins ca fiind insuficiente sau nefondate. De aceea, atît opoziția, cît și Salome Zurabișvili, președinta Georgiei, insistă ca aceste alegeri să fie anulate și să fie organizate alegeri noi.”După confirmarea de către Comisia Electorală Centrală a acestui scrutin, există și alte căi de atac legale, cu privire la alegeri?Angela Grămadă: „După prezentarea raportului, pe 15 noiembrie, conform legislației în vigoare, Parlamentul georgian ar trebui să se întrunească în decurs de zece zile. Asta înseamnă că prima ședință a noului legislativ de la Tbilisi ar trebui să aibă loc pe data de 25 noiembrie. Mai există o prevedere legală, conform căreia, dacă nu se găsesc 100 de deputați care să-și ridice mandatele, atunci parlamentul nu este legitim și nu are bază să fie declarat funcțional. În momentul de față, 53% din voturile exprimate înseamnă 89 de mandate. Visul Georgian are 89 de mandate. Pentru ca parlamentul georgian să fie declarat legitim, trebuie să existe 100 de mandate. Formațiunile politice (de opoziție) și-au dat seama de acest lucru și au declarat că nu-și vor ridica mandatele de deputat.”Apasă PLAY pentru a asculta întregul interviu!O emisiune de Adela Greceanu și Matei Martin  Un produs Radio România Cultural  

durée : 01:29:03 - Baiba Skride, intensité et lyrisme - par : Aurélie Moreau - 1er Prix du Concours Reine Elisabeth en 2001, la violoniste Baiba Skride a développé une brillante carrière internationale. Le magazine The Strad a vu en elle "le plus excitant jeune talent depuis l'apparition de Perlman à la fin des années 1960 !".

Classical music can be such a slow-moving industry.  I'm fascinated by our innovators, like today's guest, who is developing new ways to serve and support his audience and students!    Since winning the BBC Young Musician strings category, Callum has soloed with the UK's leading orchestras (Royal Philharmonic, BBC Philharmonic, Hallé) and offered recitals in leading venues (Wigmore Hall, Konzerthaus Berlin, Auditorium du Louvre).  This season, he's heading on tour to China and Hong Kong and launching an interactive new recital series in London. With 3 albums to his name, his most recent, ‘Transatlantic', was a top 30 album on the UK classical charts and earned Callum features as Classic FM and Scala Artist of the Week. A dedicated pedagogue, Callum is a Violin Professor at the Royal Northern College of Music (RNCM), faculty member at Orford Musique, and mentor at Music Masters. Callum also shares violin tips with his Instagram community of 60k followers and is launching ‘Caidence', his free generative AI practice companion to support violinists in their musical journeys.  Recognized as a forward thinker in the industry, he has been invited to share insights in BBC Music Magazine, the Strad, BBC Radio 3's This Classical Life, Mind Over Finger, and more. Follow Callum on instagram, YouTube, or his website, and check out Caidence!   Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!        

Kathryn interviews Author Dr. Katherine Reid.Katherine Reid, a biochemist, and Barbara Price, a seasoned science writer, delve into the hidden dangers of MSG, revealing how this additive, prevalent in processed foods, is linked to conditions such as obesity, diabetes, autism, addiction, depression, and cancer. Their research not only sheds light on how MSG is produced during food manufacturing but also provides practical dietary solutions to combat its harmful effects. Dr. Reid also teaches us how to understand food labels and identify hidden MSG as well as practical tips for reducing MSG in your diet. With a background in biotech cancer pharmaceuticals, she brings a wealth of scientific knowledge to her work on chronic inflammatory illnesses. Dr. Reid is the founder of Unblind My Mind, Inc., a non-profit dedicated to improving health through informed food choices.Kathryn also interviews Author Laurinel Owen.International cellist and journalist Laurinel Owen knew her husband, Klaus, for 27 years — or so she thought. After nursing him through a lengthy illness and eventually mourning his passing, She discovered that Klaus had taken a devastating secret to his grave: she wasn't his only wife. But that wasn't all. Klaus had bilked her out of thousands of dollars and was the son of a Nazi murderer who had fled the United States amid FBI accusations of being the head of the American Gestapo. With honesty and vulnerability, Owen invites readers into her multi-faceted tale of deceit, self-deception and the high price she paid for living in denial. Her husband's transgressions spawned a three-continent lawsuit that she had to navigate while bearing the weight of the shame she carried over her part in the real-life drama. She has published over 130 articles in Strings Magazine and the British magazines The Strad and Muso on topics related to cello technique, soloist, luthier and music school profiles, concert, festival, and record reviews.

Kathryn interviews Author Dr. Katherine Reid.Katherine Reid, a biochemist, and Barbara Price, a seasoned science writer, delve into the hidden dangers of MSG, revealing how this additive, prevalent in processed foods, is linked to conditions such as obesity, diabetes, autism, addiction, depression, and cancer. Their research not only sheds light on how MSG is produced during food manufacturing but also provides practical dietary solutions to combat its harmful effects. Dr. Reid also teaches us how to understand food labels and identify hidden MSG as well as practical tips for reducing MSG in your diet. With a background in biotech cancer pharmaceuticals, she brings a wealth of scientific knowledge to her work on chronic inflammatory illnesses. Dr. Reid is the founder of Unblind My Mind, Inc., a non-profit dedicated to improving health through informed food choices.Kathryn also interviews Author Laurinel Owen.International cellist and journalist Laurinel Owen knew her husband, Klaus, for 27 years — or so she thought. After nursing him through a lengthy illness and eventually mourning his passing, She discovered that Klaus had taken a devastating secret to his grave: she wasn't his only wife. But that wasn't all. Klaus had bilked her out of thousands of dollars and was the son of a Nazi murderer who had fled the United States amid FBI accusations of being the head of the American Gestapo. With honesty and vulnerability, Owen invites readers into her multi-faceted tale of deceit, self-deception and the high price she paid for living in denial. Her husband's transgressions spawned a three-continent lawsuit that she had to navigate while bearing the weight of the shame she carried over her part in the real-life drama. She has published over 130 articles in Strings Magazine and the British magazines The Strad and Muso on topics related to cello technique, soloist, luthier and music school profiles, concert, festival, and record reviews.

The Cello Sherpa Podcast Host, Joel Dallow, interviews Brant Taylor, who has been a member of the Chicago Symphony Orchestra cello section since 1998. Brant shares a behind the scenes look at the most recent cello audition where the committee listened to 197 preliminary auditions. If you are interested in taking auditions, Brant provides a treasure trove of helpful information in these episodes!You can connect with Brant on Facebook and Instagram @batmanvcl For more information on Brant click here: https://cso.org/about/performers/cso-musicians/strings/cello/brant-taylor/To read his articles on CelloBello click here: http://www.cellobello.com/cello-blog/author/brant-taylor/Here is an article with Brant's audition tips for the Strad magazine: https://www.thestrad.com/10-tips-for-a-successful-orchestral-audition/14.articleAnother Interview with Brant: http://coregami.com/blogs/news/meditation-new-zealand-and-how-to-late-bloom-your-way-to-the-topInstructional videos with Brant: http://musaic.nws.edu/search?utf8=✓&query=brant+taylorIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram, TikTok and YouTube @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

The Cello Sherpa Podcast Host, Joel Dallow, interviews Brant Taylor, who has been a member of the Chicago Symphony Orchestra cello section since 1998. Brant shares a behind the scenes look at the most recent cello audition where the committee listened to 197 preliminary auditions. If you are interested in taking auditions, Brant provides a treasure trove of helpful information in these episodes!You can connect with Brant on Facebook and Instagram @batmanvcl For more information on Brant click here: https://cso.org/about/performers/cso-musicians/strings/cello/brant-taylor/To read his articles on CelloBello click here: http://www.cellobello.com/cello-blog/author/brant-taylor/Here is an article with Brant's audition tips for the Strad magazine: https://www.thestrad.com/10-tips-for-a-successful-orchestral-audition/14.articleAnother Interview with Brant: http://coregami.com/blogs/news/meditation-new-zealand-and-how-to-late-bloom-your-way-to-the-topInstructional videos with Brant: http://musaic.nws.edu/search?utf8=✓&query=brant+taylorIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram, TikTok and YouTube @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

I'm joined by cellist and online editor of the Strad, Davina Shum. We discuss practicing, careers in classical music, and practical tips for adult learners.Full blog postthe Strad PodcastArticles by Davina:Why don't string players practice pizzicato The importance and difficulty of playing softlyA case for deppingSend me a text messageFor lesson inquiries, contact me at violinclass.co/contact or violinclasspod@gmail.com.Violin Class Website | Instagram | Lesson inquiries

Send us a Text Message.In 2022, I (Benjamin Harding) had a podcast entitled, Piano Explored. I had the amazing opportunity to interview Edna Golandsky. My life has forever been changed. And so - today's episode is rather personal for me. This interview changed my life and I know it will have an affect on you as you listen. Here are the show notes from that particular episode. I hope you gain a glimpse into the great work that the Golandsky Institute is doing for musicians and especially, pianists. Founded by my guest today, Edna Golandsky, the Golandsky Institute has given insight to millions into how to play the piano pain-free.Edna Golandsky is one of the premiere students of Dorothy Taubman. Visit her websites listed in the descriptions below.Edna Golandsky is a world-renowned piano pedagogue and the leading exponent of the Taubman Approach. She has earned wide acclaim throughout the United States and abroad for her pedagogical expertise, and for using the Taubman piano technique. She is also known for her extraordinary ability to solve technical problems and for her penetrating musical insight.​Ms. Golandsky started piano study in Israel at the age of eight. A gifted pianist, she played recitals at the age of ten and was performing with orchestras by the age of twelve. Ms. Golandsky came to the United States when she was sixteen years old, and was immediately accepted to the Juilliard School in their Preparatory Division.  She remained at Juilliard for the next eight years, studying with Jane Carlson, Rosina Lhevinne and Adele Marcus, and graduating with bachelor and master's degrees in piano performance.​She has been featured in The New York Times,Classical Music UK, Authority Magazine, Piano & Keyboard Magazine, The Clavier Companion, New Work Weekly, Thrive Global and has written for The Strad, Interlude, TopMusic, Piano Marvel, and The Cross-Eyed Pianist among others.The Golandsky Institute was established in 2003 by Edna Golandsky, John Bloomfield, Robert Durso and Mary Moran to bring high-level training in the Taubman Approach to the musical community. This Approach has proven to be highly effective in the resolution of technical limitations and playing-related injuries. The aim of the Institute is to provide musicians with a foundation that allows for full artistic expression and the development of virtuosic technical ability.The work of the Golandsky Institute is presented internationally through private instruction, lectures, master classes, workshops, performances and symposiums by a team of expertly trained faculty members and teachers who are all highly regarded in their own right. In addition, the Institute produces critically acclaimed learning materials, including several series of DVDs, This Summer, Edna Golandsky, renowned pedagogue and leading expert on the Taubman Approach will release her first book with Amplify Publishing Group. Entitled ‘The Taubman Approach To Piano Technique: A Comprehensive Guide To Overcome Physical Limitations and Unlock Your Full Pianistic Potential.' Visit: www.ednagolandsky.com to learn more.The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

Sute de protestatari pro-palestinieni au fost arestați în ultimele zile în campusurile americane după ce mișcarea de protest care a început în urma atacului din 7 octombrie și a intervenției militare israeliene în Gaza, s-a intensificat. Unii protestatari au strigat lozinci pro Hamas sau antisemite și i-au intimidate pe colegii lor evrei. Unul dintre liderii mișcării de protest de la Columbia University a spus chiar pe Instagram că sioniștii, pe care îi numește naziști, nu ar trebui să trăiască.

Prefectul judeţului Prahova, Emil Drăgănescu, a anunţat joi că, având în vedere ultimele date primite şi informaţiile preliminare în cazul străzii surpate la Slănic, se impun măsuri suplimentare de evacuare în zona adiacentă craterului.

Host Don Wildman examines a concert program that marks one of the most infamous nights in the history of a prestigious music venue, a space capsule used by a heroic astronaut during a harrowing mission, and a DVD from an unusual film that blurred the lines between fact and fiction. Hosted on Acast. See acast.com/privacy for more information.

Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   TRANSCRIPT   Kathleen Parlow Part 1  Welcome to this very first episode of the Historical Strings Recording Podcast.  A show that gives you a chance to hear rare and early recordings of great masters and their stories.  Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles',  a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past.  I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world' on par with Mischa Elman, or the ‘greatest lady violinist in the world', and ‘the girl with the golden bow'.  She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow.  And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890.  Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco.  Very soon, still aged six, she gave her first recital in San Francisco.  So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest.  So where would we be without the chin rest, really? He's attributed with inventing it.  Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition.  of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? Like the teacher of the teacher of and all of a sudden you're in like the Well, Spohr was born 14, he's 14 years younger than Beethoven. Oh, okay. So, he was born in 1784, but he lived a lot longer. He lived over 20 years longer than Beethoven. Oh, wow. And that's fascinating. So, Henry Holmes, Kathleen Parlow's teacher, was taught by this guy who would have known Beethoven? Yes, absolutely. And objected to Beethoven.  Was shocked by his music. Well, I mean, I think sort of the, you might say the more mature Beethoven or the more daring Beethoven. But I think, you know, I'm sure maybe some of Beethoven's early works were much more acceptable. They were more normative, so to speak. Oh, okay.  So Kathleen's in San Francisco and her parents' marriage is breaking down. Her father, Charlie, moves back to Calgary where he dies of tuberculosis the year after. But Kathleen, she rockets on and is becoming more and more well known. Her new teacher sees real talent in the girl, and this teacher, Henry Holmes, he has contacts to make things happen. And he helps arrange a tour for her and playing engagements in England. So for this to happen, Kathleen's mum, she's, she's I'm getting stage mum vibes. Yes.  Because she's still very, still very young. Oh, yeah. I mean, I can't believe she wasn't playing with dolls.  And this would have been a conversation between Minnie, Kathleen's mum, and the teacher. It probably wouldn't have been a conversation with her as a child. No, probably not.  You don't really choose much when you're six, seven. No, that's true. So the problem they have is that they have no money. So, so what do you do, Eric? You have no money, you have a prodigy. You exploit the prodigy by having them play and make an income for you, which is something that happens unfortunately to many, many talented musicians coming from, you might say, less well-off families. They end up becoming the breadwinner. All their focus gets put upon these, these kids. And so not only do they have the added burden of playing and making sure they keep up They're playing well, but they also have the burden of making sure that they play well enough to make an income so that their families can survive. I mean, that's a very familiar story, and it's a story that has more failures than winners, I'm afraid, because you do hear about the winners. You do hear about the Misha Elmans or the Yasha. Well, Heifetz is a little different because he had a more middle-class family, but you do hear of Oskar Shumsky, for example, who I know I knew personally, he says, don't believe that these violence that you hear about having normal childhood behind every great violence, there's always a mama or a papa. And I think he himself endured that kind of pressure, the pressure to somehow become. The breadwinner, or let's say the some, the pressure to become a great violinist, primarily because he would serve as the breadwinner for the family. Well, if you think about it, you could say that.  Violin playing in the early 20th century was very dominated by Russians, particularly Russian Jews. And one of the reasons for that was that in Russia, all the Jews were confined to an area known as the Pale of Settlement.  In other words, a designated area that they could live in, but they could not leave that particular area. And basically, some very gifted young students could get into university or could go into a conservatory, and one of the big examples was Misha Elman, and Misha Elman, you might say left the Pale of Settlement to go study with Leopold Auer in St Petersburg. And they had to get all sorts of permission to do that. Well, the success of Misha Elman, the global success, the international success, I think resonated so well. with the people in the ghetto that they sort of saw, wow, this is one of our boys and look what he's done. He's now playing for the crowned heads of Europe. So I think for them, they felt this was a way out. And if you think about it, the film, Fiddler on the Roof,  which is a famous musical and it was adapted as a famous film. And basically, that film, just the very title, talks about the Fiddler on the Roof. And the setting is in the Pale of Settlement, the Jewish ghetto in Russia. They're often subjected to random attacks by the Cossacks and all sorts of difficulties. But here, despite all that, you know they manage to survive. And of course the image of the Fiddler on the Roof. The violinist is exemplified, you might say, by Misha Elman, who literally grew up in the Russian ghetto. Yeah, and Misha Elman, he'll, he'll become, he He'll become important in our story, yeah. The money. This is not a problem. There is a wealthy admirer called Harriet Pullman, Carolan, in San Francisco. And she pays for Kathleen and her mother to take the trip to England. And in 1904, at the age of 14, Kathleen plays for King Edward VII at Buckingham Palace. And then in the next year in 1905, she and her mother, they come back to England. This tour marks the beginning of a life that she would lead for years to come of performing and playing. And so by the time she was 15, she was touring and playing with the London Symphony. And it was in a concert at the Wigmore Hall in London that she really shoots to fame.  So is the Wigmore Hall, is that, is that still today an important place to play? Oh, extremely so. It's funny because the Wigmore Hall was originally called the Bechstein Hall, and obviously during the wars, it became a much more the name was more neutralized to become less dramatic, and it became named after the street it's on, which is Wigmore Street. It was always a very important venue, but around the sort of 60s In the 70s it had declined a bit in its status because the South Bank had been built and so the Wigmore Hall was a little bit relegated to a sort of a little second class status. But in the past 20 years or so the Wigmore Hall has catapulted to  fame again and it's today one of the most distinguished halls. In London. All right. Okay. And this is, this is pre war. So it's, it would have been called? Bechstein. Okay. So it would have been called the Bechstein Hall when she played? Probably. Oh yeah, definitely. So the Bechstein Hall was, I think first opened in 1901 and it was built by the piano manufacturers, the German manufacturers Bechstein, hence the name. And after the First World War, I believe it was changed to a more neutral sounding, less Germanic name, and it adopted the name of the street that it's currently on, which is Wigmore Street. Incidentally, the first concert at Wigmore Hall was actually performed, was a violin and piano recital, performed by Eugene Ysaye and Federico Busoni.  And then one night in London, Kathleen and her mother went to another concert of another child prodigy called Mischa Elman. And he was, so he's the fiddler on the roof guy, and he was almost exactly the same age as Kathleen. He was just a few months there's just a few months difference between them. And she, she hears him playing this concert and she's, she's just blown away. Blown away, and after the concert, she and her mother decide that Kathleen, she just has to go and have lessons from the same teacher as this, as this, as Mischa. So the only thing, only little thing about Mischa Elman's teacher is that he is in Russia. And as far as anyone knows, no foreigners study in the St. Petersburg Conservatorium, but that is about to change. Definitely no ladies. So, Kathleen and her mother had arrived in England with 300 raised by their church in San Francisco and this was, it just wasn't enough to get them to Russia and to the conservatorium where the famed Leopold Auer was a professor, but get there they would because Kathleen's mum, Minnie, still had a few tricks up her sleeve. She went and petitioned the Canadian High Commissioner.  So she must have been, I feel like Minnie, she must have been very persuasive. Like there was nothing was getting in between, you know, her daughter and this career. Forceful, a task to be reckoned with, certainly. Yeah. She's like we'll get to England, we have no money. Not a problem. We're gonna, we're gonna get this teacher. He's in Russia. Not a problem. No foreigners. It, you know, it doesn't, it doesn't seem to be a problem for her, no girls. Not a problem. No foreigner has ever studied in this St. Petersburg conservatorium. Not daunted. They're off. They go. So to pay the cost travel, Minnie managed to get a loan from Lord Strathconia, the Canadian high commissioner.  And from there, mother and daughter travelled to Russia. And in October of 1906, Kathleen becomes the first foreigner to attend the St. Petersburg Conservatorium. And in her class are 45 Students and she's the only girl. And we have to remember this is pre-revolutionary Russia. So there's still the Tsar Nicholas the second at this point. Yeah. She's mixing in, in that set. So it's an interesting place to be as a musician. Cause you're frequenting the sort of the upper classes but you can come from, from nothing and arrive there. Her professor was the famed teacher, Leopold Auer, who had a knack of discovering talent. Leopold Auer was actually a Hungarian violinist, and he was trained in Vienna, and he also studied with Joachim.  And what happened was Russia has always had a sort of love for the violin, and they employed many people to teach at the conservatory, because they really embraced Western culture. They had A number of important French violinists come, but their big, you might say, catch was to get Vieuxtemps, Henri Vieuxtemps,  to teach for a number of years at, in St. Petersburg. And after Henry Vieuxtemps, they actually got Henry Wieniawski to teach at the conservatory. And when Wieniawski decided to go back to Europe, they employed Leopold Auer to take his place at St Petersburg. Right. So he's up there with the big names. Well, they were a little bit let down. I mean, that's what they were, I think, a little bit disappointed to replace Wieniawski with Leopold Auer because Wieniawski was such a major violinist. So he had initially a little rough time, but he was adored by Tchaikovsky and Tchaikovsky loved Auer's playing, dedicated a number of works for him, including the famous serenade melancholic, and wrote a lot number of ballet scores, which Leopold Auer played the solos for. But of course, they had a big rift when Tchaikovsky wrote his violin concerto for Auer, because Auer said it was unplayable.  And that really hurt Tchaikovsky's feelings. And it laid dormant for several years before another Russian violinist. Brodsky took it up, learned it, and. Premiered it in Europe first, and only after its success in Europe did he bring it back to Russia, where it became a big success, and Auer felt very bad about that, and in fact, just before Tchaikovsky died, a few months before Tchaikovsky died, story has it that Auer went to Tchaikovsky and apologized to Tchaikovsky for his initial mistrust of the concerto. In fact, by that time, Auer himself had actually performed the concerto, championed it, and taught it to many of his students.  Yeah, and we'll see in this story how sensitive composers are, and how easy it is to hurt their feelings and really create. Like a lot of emotional turmoil. That's coming up. So Auer, like he might not have been their first choice for replacing, but he did have a knack of finding star pupils. That is something that we see, that I see in the conservatorium. Every now and then you have a teacher who's very talented at finding talent. Absolutely. And I know in Australia you have one very distinguished teacher who I think now has been poached by the Menuhin School in, in England. Yes. And we're not going to talk about that. Yes, we won't.  Because it's Must be a sore point.  But we do see, we do see him every now and then when he comes back. So along with Elman and Efren Zimbalist, Parlow becomes one of Auer's star pupils and Auer was so taken with her playing that he often called her Elman in a skirt, which I think is supposed to be a compliment. And in Auer's biography, he writes, he says, “It was during this year that my first London pupil came to me, Kathleen Parlow, who has since become one of the first, if not the first, of women violinists”.  And that, he says that in his biography, My Long Life in Music.  So, Every year, Auer had a summer school in Kristiana, which is Oslo today. And Parlow spent her summers there and became a great favourite in Norway, which leads us to the next and perhaps one of the most marking events in her career and life. At 17, having spent a year at the conservatory in Russia, Kathleen begins to put on public performances she gives solo performances in both St. Petersburg and Helsinki. So these are two places she knows quite well by now. And these concerts were, they were very important as Kathleen's mother really had no money to support them. And so, with but you know, Minnie doesn't bother her, she just ploughs on. And so with the money from these concerts this would have to tide her over.  From letters that I've read, they were living in like this small apartment and then another friend writes, you know this other person, they've been saying you live in a tiny little place, but I'm not going to spread that rumor. And, and so it was a, it was a thing on the radar that they didn't have much money and they were scraping by and they were like frequenting people of much more wealthier than they were, so they were sort of on the fringes of society, but with her talent that was sort of pushing, people wanted to know her. So she makes her professional debut in Berlin and then began, she begins a tour of Germany and the Netherlands and Norway. And in Norway, she performs for the King Hakon and Queen Maud. Of whom she'll become a favorite. And, and her touring schedule was phenomenal. It was just like nonstop. So, yeah. For a 17-year-old that's, you know, she's going all over the world. And you were saying that Auer knew . Do Tchaikovsky do you think Auer, was he was giving her these pieces that did, that influenced him? Yes.  I mean, Tchaikovsky  wrote a number of violin, solo violin works before the concerto, the most famous of which is, of course, the Waltz Scherzo and the Serenade  Melancholique. One is a fast, virtuoso piece, the other is a slow, soulful piece. And I know that Auer was the dedicatee of certainly the Serenade Melancholique, which she did play. So, so Auer's giving her stuff from, you know, his friend Tchaikovsky to play. Now she's 17 and she's touring to support herself and her mother and she has an amazing teacher who probably understands her circumstances all too well because Auer growing up also found himself in her position, supporting his father in his youth with his playing. So she's studying in St. Petersburg, which is an incredible feat in itself. So she must have had quite a strong character and her mother, Minnie, also appears to be very ambitious for her daughter. We're talking about her mother being ambitious, but for Kathleen to, you know, she's her daughter, she, she must've had quite a strong wheel as well. Yes. Well, she certainly did.  I wish we knew more about her because maybe she was very subservient, you know, we have no idea. Maybe she didn't have, I mean, it's a speculation, of course. Yeah. We do have like hundreds of letters from Kathleen and there's a lot between her and Auer, and there's a real sort of paternal, he really sort of  cared for her like a daughter almost and she looked up to him like a father and he was always very correct about it, you know, he would always write the letter to her. To Minnie, her mother the correspondents, it was, and it was always very, everything was very above board, but a very, they were very close. Kathleen later says that after expenses, her Berlin debut netted her exactly 10 pounds.  She didn't know it at the time, but this was an indication of what her future would be like, and she would be sort of financially in a precarious state most of her life, and she would so her routine was she studies with Auer every summer in order to prepare, like they were preparing her repertoire for the next season of touring. So now she has a tour  in 1908, so she's still 17, almost 18. It's in Norway, and to understand just a little bit of the political climate in the country, We can see that Norway, only three years earlier, had become independent of Sweden and had basically become its own country. So there's this this great sense of nationalism and pride in being Norwegian. And they have a newly minted king, King Hakon, who she's played for, and his queen, who was, He was in fact a Danish prince. And then when Norway, the Norwegian parliament asked him if he would like to become the king of Norway when they had their independence. And he said, why not? As part of this great sense of nationalism Norwegian musicians, composers, writers, and poets, they were celebrated and became superstars. And, oh gosh, yes, We can sort of understand. Poets have sort of dropped off the list, but back then poets, they were a big deal.  So you add to this a young, fresh faced, talented Canadian girl who knows and understands their country. She arrives in Oslo to play in the National Theatre, where Norway's very own Johan Halvorsen who's conductor and composer and violinist, he's conducting the country's largest professional orchestra. And that night for Kathleen's concert, she plays Brahms and some of  Halvorsen's compositions and the two, Kathleen Parloe and Halvorsen, they would go on to become quite good friends and Halvorsen regarded her very highly in saying, he said that her playing was superior almost to all the other famous soloists who made guest appearances in the city. So, I mean, a lot of people went through Oslo, so that was, you know, high praise.  And Kathleen quickly Becomes a admirer of his and she would become a driving factor in him finishing his violin concerto that he'd been dithering over for a very long time.  And this is Kathleen playing one of Halvorsen's compositions. It's not his concerto, it's Mosaic No. 4. So back to the theatre. And it was a magical night with the romantic music of Brahms to make you fall in love. And everyone did, just some more than others. And to finish off, there's music from their very own Johan Halvorsen to celebrate you know, a Norwegian talent. So Kathleen plays her heart out and when the concert ended, the crowd goes wild and the 17 year old soaks up the thunderous applause. She's holding on tight to her violin as she bows to adoring fans. Tonight she is the darling of Oslo.  In the uproarious crowd stands a man unable to take his eyes off this young woman. Her playing has moved him and her talent is unbelievable.  This man makes a decision that will change both their lives forever. So, Einar Bjornsson had fallen head over heels for the 17 year old Canadian there and then. She would turn 18 in a few months. And in that moment, he decided to give her the most beautiful gift she would ever receive.  So, who is Einar Bjornsson?  So what we were saying, poets, poets are less of a, you know, a hot shot today, but Einar was the son of a very, very famous poet. A Norwegian businessman and son of one of the most prominent public figures of the day, Bjørnstan Bjørnsson. He was a poet, a dramatist, a novelist, a journalist, an editor, a public speaker, and a theatre director. Five years earlier, in 1903, he was awarded the Nobel Prize for Literature, and one of his poems, called ‘Yes, We Love This Land', was put to music and is the Norwegian national anthem up to this day. So, you could say he was kind of famous in these parts, and his personality alone would have easily filled. A concert hall, that one in Oslo.  Einar's father here, we're talking about Einar's father, he's the poet. Einar himself doesn't appear to have written any poetry. And this, so this situation could have been just fine the whole infatuation, love at first sight thing, except for a few things that put a spanner in the works. To begin with, Einar Björnsson is somewhat older than the youthful Kathleen he's 26 years older.  Then her, in fact, and for a 17 year old, that is a big age gap. So he's 45, but that aside, there is a problem that he's also married and has two children. His daughter is actually almost the same age as Kathleen she's 16, but he doesn't really seem to  see that. All he can see is this violinist and her talent. And he's been just, he's besotted and he's going to make a grand gesture. So obviously, one way to support the arts is to, what patrons do is they will buy, a lovely instrument and lend it to someone. So that's your normal affair. Obviously, one way to show his devotion to her is to find her a better violin. Hers is absolutely not good enough for someone of her talent. And he has to find her something amazing because she is amazing. He's determined to give her the most wonderful gift she has ever received.  So he goes out and he's a businessman. And so he goes to his businessman contacts. And Kathleen would have spoken to her entourage. I imagine, and I now finally finds a violin worthy of Kathleen's virtuosity, and it happens to be one of the most expensive violins on the market in 1908, and it's a 1735 Giuseppe Guarneri Del Gesu violin. It had previously belonged to great violinists  such as Giovanni Battista Viotti and Pierre Baillot. So just to clarify in the violin making world Antonio Stradivari and Guarneri del Gesù are the two top makers. If you're comparing two instruments, if one was owned by no one not anyone that you know. And then another one was owned by Viotti and Pierre Baillot . The one that's owned by Viotti and Pierre Baillot is probably going to be worth more. Yeah. So Viotti, he was just huge. He had a lot of instruments. I think he did a little bit of teaching and dealing on the side, Viotti. Like with the number of instruments named after him, or he just went through a lot of instruments. So she buys this violin, and it's not all smooth sailing to get the violin. Because she, there's this, there's a big correspondence between her and Auer, and we see that actually there's this letter where it says from Auer saying, I saw Hamming very cross.  He says that the violin is compromised if he takes it back. So at one point, I think she may have changed her mind about this violin, but Hamming the dealer was not okay with this. All the I'm just trying to read his writing, it's not that easy. All the papers brought the news That Kathleen bought it so the newspapers have already, so the, you've got Hamming, that's annoyed, the papers have already said they've bought this violin and he could not, it says he could not sell it soon and repeat the sale, waiting till he finds something equal to the Guarneri. He showed me a Strad, indeed wonderful, asking 60, 000 livres, which must be pounds, right?  A nice fellow, isn't he?  And now, goodbye, write to me.  Love, Auer.  They do end up getting the violin. They, they don't get the 60, 000 Strad that Hamming Gets all upset about and offers, which I think he might have been exaggerating the price just to make him calm down about and to keep the del Gesu. Then Einar gives this to Kathleen. So this is a very kind of strange situation because normally you don't, you don't actually give, the patrons don't actually give their instrument to the No, absolutely. That's a remarkable gift. Just in terms of, I mean, the gesture is very magnanimous, but in terms of financial, there's just a financial cost or value of the gift is quite enormous. And  so really after only knowing her for a month, Einar transfers this money into her account and she travels, Kathleen travels to Germany to the Hamming workshop and purchases her del Gesu violin for two thousand pounds  and in today's money  according to an inflation calculator, that is three hundred thousand pounds. Almost four hundred thousand US dollars. More than half a million Australian dollars, which at the time was a lot for a violin as well. So we're not I mean, I, today you'd be kind of happy to buy a Del Gesu for half a million, but then it was, it'd be a bargain. So, it's interesting this, like, he buys this, this young violinist this very expensive present and it's a, and it's a grey area and it's fraught with debate ethically, really. And I feel like today musicians find themselves sometimes in this position where they're sort of indebted to the, to a benefactor. It's almost feudal. I I feel cause at the same time you're very happy that they're lending it to you, but got to keep an eye on if it's a healthy relationship to. To get the money he had to get, you know, half a million pounds pretty quickly. If you remember, Ina's father was a very famous poet who'd won a Nobel Prize in literature and part of the prize is that you win a large sum of money. And so, what does Einar do? He goes and asks Dad. So he asks, he borrows, he borrows most of the money actually. Goodness knows how he convinced him, but you know, he's a businessman. And also for the remaining, he's married, remember, and he's married to, actually, to an heiress, and he takes a bunch of her, her dowry money and transfers this to essentially a teenager he met a month ago. The purchase of this incredibly expensive violin attracted, it attracted the attention of the press internationally, but journalists It's never really questioned the fact that this, this gift was given to a young woman by a, by an established family man. So everyone was just like, Oh, isn't it amazing? Because normally in this circumstance, people don't often give the instrument. You buy it as an investment and you'll lend it to someone. I think I've heard of like very few, very few cases of things being gifted, but actually normally your standard practice is to, to lend it to people. And most people playing on strads, that's, that's what it is, someone's lent it to them. How would you feel about someone giving a 300, 000 instrument to your daughter, who's a teenager? Well, I'd be, I mean, I'd just hate the sort of obligation that would involve, because On one hand, it is a very wonderful gift if it is a gift, but you almost expect that  there is some expectation in return, don't you? Yeah. It's like he's bought her almost.  Kind of.  So, Einar, as, as I mentioned, he's, he's from a well known Norwegian family. They're very patriotic. His father's writings really established a sense of pride and meaning to what it was to be Norwegian. And he was. Like his father was this beloved figure in the country and he was quite frankly a hard act to follow. But his children gave it a good shot.  You have Einar was one of five children. His father Bjornstein Bjornsson was the poet and public figure. He worked in a theatre. His mother was an actress when he'd met her. Which is a little bit risque also for the time. So they're a bit more of sort of an acting bohemian theatre family. His older brother Bjorn Bjornsson, just to be complicated here, his brother's called Bjorn Bjornsson.  And not to be confused with Bjornstein Bjornsson, his father. So he was a stage actor and a theatre director.  Like his dad. He was a playwright and he was the first theatre director of the National Theatre. And that was the big theatre in Oslo where Kathleen played. He was also quite busy in his personal life, because his first wife was Jenny Bjornsson. I mean, another Bjornsson. Boarding house owner. So he married her for four years. So this is Einars older brother. He married her for four years, then he divorced her, then he married an opera singer. Called Gina Oselio for 16 years, but then he, they, they got divorced, and then he married in 1909 Aileen Bendix, who was actually Jewish, and that's an important point, that she was Jewish, because at this time, things are kind of soon things will start heating up in Europe. And then he was, then there was Einar's younger brother called Erling Bjørnson, and he was a farmer and a politician for the Norwegian Far Right Party. So he was extreme right. Bit of a fascist. The other brother. So he was elected to the parliament of Norway and he was very active during World War II. So his two brothers have very, like, polarized opinions. Einar himself, he was a passive member of the far right party, but during the war years at that time that was the only party that people were allowed to be part of, so you can't, it's hard to tell his political leanings from that. Then he has a younger sister.  Bergliot Bjornson, and she was a singer and a mezzo soprano, and she was married to a left wing politician Sigurd Ibsen, who was, he was the son of a playwright, and he becomes the Norwegian Prime Minister, so he plays a central role in Norway getting its independence. He met Einar's sister because he's a big patriot. Einar's father is a big patriot and that's how they were kind of family friends. It's not bad, you know, having your husband as the prime minister. Then he has another little sister called Dagny Bjornson and she was 19 when she marries a German publisher called Albert Langdon and so they're sort of like leftish as well. So Einar, he marries the sister of Albert Langdon. So they have this joint brother sister wedding. On the same day, the Bjornson brothers sisters marry the Langdon brothers sisters. But, the important thing to know is that the Langdons are very, very wealthy. They're orphans and they, they've inherited a lot of money. And so, but then Dagny, she ends up leaving her husband. Goes to Paris and works at another newspaper. And this is all in the, you know, the early 1900s.  So she had this amazing life and then and then she marries another man, a French literate called Georges Sartreau well he comes also from a very wealthy family. Then you have Einar, who's a businessman, and he marries Elizabeth and they have two children, and his life is like not that remarkable. I think the most exciting thing he does is fall in love with Kathleen, I suppose, and sort of runs after her and her violin. From Kathleen's diaries, we can see the day after this concert in Oslo on the 10th of January, it's written 10th January, Mr Bjornson, 11;30am She meets with him the day after skiing and tobogganing with the Bjornsons. She has a concert the next day, but the day after that it's dinner with the Bjornsons, then another concert. And then she plays for the King. Then she goes to dinner with the Bjornsons. So this is just an excerpt from her diary for those weeks. And the next day, it's just Mr. Bjornson. That's just her meeting him not with the family. And maybe this is where he says, you know, I'll get you a violin. Maybe that was that meeting. And then on the 28th of February, she's in Germany and, and he's there. Einar is there. He goes to see her. Then on the 6th of March, she's in Amsterdam and in her diaries, you know, Mr Bjornson, he's there. He's kind of like, I don't know if this is creepy. He's following her around and then, and it's around about this time that he buys the violin for her. So she finishes her tour and she goes back to England and a month later in her diary, who rocks up?  I know, he's there.  In England, and she's still only 17 there. It's like he's kind of shadowing her a bit. Yes, it's that next level patronage.  And then there's the, the aesthetic at the time, the, the pre-Raphaelite willowy type woman, which she fits perfectly into. And Kathleen, if you, if you see Kathleen, it's kind of like. John William Waterhouse, his paintings. There's women in these long flowy robes with flowers in their hair and long willowy postures and, they're often like, you know, they're flopping about on something like a chair or there's this one holding this pot of basil. And there's that famous painting, The Lady of Shalott, where you've got this woman float, is she, is she dead? She's floating in the water with her hair and, and all this fabric and flowers and.  In a promotional article, there was this quote from a review in the Evening Sun. “Kathleen Parlow, tall, straight, slim, and swaying as the white birch sapling of her native Canada, but a spring vision, but a spring vision all in pink from her French heels to her fiddle chin rest and crowned with parted chestnut hair of a deeper auburn than any Stradivarius violin made an astonishing impression of masterful ease”. I don't know if men were described like this, but they loved her. She's like a white birch.  Well she's very slender, she had beautiful long hair she was very thin, very fragile, and I think she sort of exemplified this pre Raphaelite beauty basically and that was so enchanting to have someone who  was almost from another world playing the violin divinely. I think she must have cut an incredibly attractive image  for the day. Absolutely. Yeah. And then she would have been like playing these like incredible romantic pieces. It would be juxtaposed with her playing. Yeah. And yeah. Yes. So she was this real William Waterhouse figure with her violin.  So she's lithe and willowy, and she has her touring schedule, which was phenomenal. She, so she tours England, Finland, Belgium, Germany, Poland, Denmark, Sweden, Norway. Just to name a few. It just kind of stopped after that. It was just never ending. And you have to remember it's the beginning of the 20th century,  and traveling, it's not like it is today. It was much more. Uncomfortable. I mean, it's incredible. You see one day she's in one country, the next day in another country. So this must have been quite fatiguing. And she's just playing night after night. Her mother, Minnie, she's her, she's, they're quite close. She's, and often like with these, with prodigies, often their parents. They're best friends, like they're the only constant in their life. So in the summers, she returns to Oslo every year for the summer school hour that's helping her for the next concerts. She spends quite a lot of time with Halverson, going to lunches and teas and rehearsals with him. You can see this in her diaries.  But is this, is this kind of the life of a musician as well? Like you have to, you have to go to a lot of teas and lunches with people to please patrons and so on. Yes, I think you do because musicians don't normally have much money and so to ingratiate themselves to patrons and sponsors they really had to coax them into help Yeah, because she's living this life sort of beyond her means, going to the theater, going to concerts and things, and sort of a balancing act. Back in Norway, and a week after she turns 18, there's an entry in her diary, play for Mr. Bjornson, and the next month her entries, they change slightly, and she'll now just call him E. B. For Einar Bjornson and the entries will say things like E. B. arriving and then often like a week later It's E. B. leaving and in her diaries, it's intermittently always though he'll be there for a week wherever she is often in England or and every few months He'll just pop up, you know in London in Germany in the Netherlands And he just always happens to be happens to be there and what's interesting is she has these hundreds of letters archived Of her writing to friends, to family, to her pianist. And it's really interesting that there's zero letters to Einar. There's no correspondence between them, which I think is maybe on purpose, they may be, they have to have been removed because she just writes letters to everyone, but we don't have these, any letters from them, so it just leaves things up to speculation. This brings us to the end of part one in the story of Kathleen Parlow. I would encourage you to keep listening to the music of Kathleen. To do this, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify, or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. I hope you have enjoyed her story so far, but stick around for part two to find out what will happen with her career, the violin, the man who gave it to her, and the mystery behind a missing concerto that Kathleen would, in part, help solve after her death.  Goodbye for now.   ​ 

The Badventure Club is back again, last time we left them with the click of a lock. Strad has locked them into his study, but why? What's going on in this seemingly beautiful mansion? Will our heroes make it out with their lives? Special thanks to: Airgl0w for our theme music JStewIllustrations for our artwork

With “a prodigious clarity of diction” (Scherzo) and “a moving tendresse” (BBC Music Magazine), Esther Yoo has been described as “the model of a violin soloist in the modern age.” (The Strad). In 2010, she became the youngest prizewinner of the International Jean Sibelius Violin Competition, and of the Queen Elisabeth Competition two years later. She talks about both. In 2014, she became a BBC Radio 3 New Generation Artist and in 2018 she was selected as one of Classic FM's Top 30 Artists under 30. In 2020, she was named one of WQXR's ‘20 For 20' artists to watch.  We talk about the value of competitions, the physical and mental health of performing musicians and lots more on this delightful episode.

This month we had the pleasure of speaking with cellist turned journalist Ruth Hallows. You may know her from her blog From A Cellist's Perspective. She shares with us her experiences and challenges going through music school, why she turned to journalism and how she is marrying the two to create the career of her dreams.    Ruth Hallows Bio: British cellist Ruth Hallows graduated from the Royal College of Music and was winner of both the Pendle Young Musicians Bursary Competition and the Reuben Burton Foundation Scholarship. Ruth has studied with famous cellists including Raphael Wallfisch and Gregor Horsch. As a chamber musician, Ruth performed on BBC Radio 3 In Tune, collaborated with the award-winning Sacconi Quartet and played at UK venues including the Wigmore Hall and the Royal Albert Hall. Ruth Hallows is now a freelance journalist with experience in investigative reporting, conflict analysis, local news and video journalism. Due to complete her MAJ at Goldsmiths University in Sept 2023, Ruth has been the online assistant for The Strad, Lewisham correspondent for EastLondonLines and worked as a freelancer as part of the Telegraph's Investigations Team. Internships include Tortoise Media and Airwars. Show Notes: Royal College Of Music  Creative Career Center Royal Welsh College of Music and Drama Abbey Roads Studios Alexander Chaushian  Danny Howard  Goldsmiths University  Polyphony - The New Voice of Classical Music  On All Fronts by Clarissa Ward

The Strad violin is noted for its tonal qualities and superior craftsmanship. And for its price tag. There are many theories why the Strad sounds so great, from the wood to the lacquer, to the simple fact that Antonio Stradivari was really good at what he did. Rosin up your bow and take a listen to this classic episode.See omnystudio.com/listener for privacy information.

GRAMMY-nominated violinist and composer Curtis Stewart releases of Love., an album dedicated to his mother, Elektra Kurtis-Stewart, who died of brain cancer on Sept. 7, 2021, at age 66. “He is a giant … combining omnivory and brilliance” (The New York Times), “a gem of a string player” (The Strad), “whose über passionate and virtuosic outpourings … grapple with reconciling the classical and jazz camps” (Downbeat Magazine). On of Love., a through-composed collection of 20 works, Curtis Stewart celebrates the perseverance of Kurtis-Stewart, a violinist and composer herself. Recorded in his late mother's Upper West Side, Manhattan, apartment  — the apartment where Stewart was raised, the apartment where he cared for his mom during her dying days — of Love. is a requiem to cherish life, time, and lifetimes.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Katy Salomon representing Primo Artists.

Dr. Rebecca MacLeod is Professor of Music Education at the University of North Carolina Greensboro, where she directs the string education program and conducts the UNCG Sinfonia. She is the author of Teaching Strings in Today's Classroom and is published in Journal of Research in Music Education, International Journal of Music Education, Bulletin for the Council of Research in Music Education, Update: Applications of Research in Music Education, Journal of Music Teacher Education, String Research Journal, Psychology of Music, The Strad, American String Teachers Journal, and various state music education journals. She has served on the editorial boards of the Journal of Research in Music Education, the String Research Journal, and as guest reviewer for the International Journal of Research in Music Education. She is the recipient of the UNCG School of Music, Theatre and Dance Outstanding Teaching Award, the American String Teacher Association National Researcher Award, and the UNCG Junior Research Excellence Award. A passionate advocate for increasing access to string education to all students, Dr. MacLeod directs two community partnership programs that provide string instruction to underserved students: the Lillian Rauch Beginning Strings Program and the Peck Alumni Leadership Program. Students of these programs have performed for Dr. Maya Angelou, Dr. Gloria Ladsen-Billings, and the Sphinx Virtuosi. Her research on working with underserved populations, vibrato technique, music teacher education, and music perception has been presented at the International Conference of Music Perception and Cognition (Thessoloniki, Greece), Music Research and Human Behavior International Conference (Barcelona, Spain), International Society for Music Education (Glasgow, Scotland), Music Educators National Conference, National Association for Music Education National Conference, American String Teachers National Conference, Midwest Band and Orchestra Clinic, Society for Music Teacher Education, and music educators state conferences. Prior to joining the UNCG faculty, she taught elementary, middle, and high school orchestra in Hollidaysburg, Pennsylvania and was orchestra director and chair of music activities in Beaver, Pennsylvania. She was the assistant artistic director and conductor of the Tallahassee Symphony Youth Chamber Orchestra and Philharmonia Orchestra in Tallahassee, Florida. She has served on the American String Teachers Association National Board and is past president of the North Carolina ASTA chapter. She was a guest lecturer at Xi'an University and Shaoguan University (China) in summer 2016 and 2017. Dr. MacLeod received her undergraduate degree from Duquesne University and her MME and PhD from Florida State University. She is a frequent guest conductor and clinician throughout the United States and abroad. https://teachingstrings.online https://vpa.uncg.edu/home/directory/bio-rebeccamacleod/ ------- Your support is appreciated! If you are enjoying The Orchestra Teacher Podcast, please consider becoming a supporter for as little as 99 cents per month. I am working hard to bring on some amazing educators who will share ideas, tell their story, and offer some support for all of you. I have invested a lot of time in putting it all together and money purchase equipment that will help provide the best possible listening experience. Here is the link: https://anchor.fm/orchestrateacher/support Thank you for your continued support! If you have suggestions for podcast guests, please let me know by providing a name and contact information. --- Support this podcast: https://podcasters.spotify.com/pod/show/orchestrateacher/support

De două săptămâni, profesorii din școli și din licee sunt în grevă. Cer demnitate, dar o fac în fața unor demnitari cărora însăși ideea de demnitate publică le e străină. În zgomotul general, accentele se pun, la întâmplare, când pe salarii, când pe nevoia de performanță, când pe așa-zisele oferte cu care guvernul încearcă să-i retrimită în clase. Celor care au lăsat cataloagele din brațe societatea vocală le strecoară constant îndoiala că lupta lor și-ar fi găsit momentul potrivit. Dar zeci de mii de profesori merg totuși mai departe, în marșuri cuminți, care nu mai pot fi ignorate.    După șase ani la catedră, Mihai Crangă – profesor la o școală de stat din București – s-a gândit că și mesajul lor, al idealiștilor, trebuie să se facă auzit în stradă: „Preferatul meu fost că nu plecăm. Eu nu-mi doresc să plec din învățământ. Mă gândesc la asta, destul de des, dar suntem mulți care nu ne dorim să plecăm, mai ales că suferă și școlile de o anumită deșertificare în unele zone – nu vin profesori tineri, pleacă foarte mulți, e o lipsă de personal – și cred că e un mesaj important să rămânem, cei care suntem, și să dăm un exemplu.”  Urmează, așadar, un episod On the Record dintr-o perspectivă subiectivă – a exasperării și a așteptărilor unui tânăr profesor care nu e încă gata să-și dizolve entuziasmul de a preda într-o luciditate amară. On the Record este un podcast săptămânal produs de Recorder. Partener: Aqua Carpatica.

On this Season #1 Finale of the Pretty Boi Podcast, Pretty Boi Chris jumps into a warp pipe to discuss the Super Mario Bros. Movie and how it crosses $1 Billions of Dollars at the Worldwide Box Office. He also talks about the Many Adventures that Rage Game Network has had while we have been gone and what Games Pretty Boi Himself has played recently. Pretty Boi also discusses the ongoing legal issues that are plaguing Microsoft and Activision with the recent news in the UK. We also discussed changes in Youtube gaming and Star Wars Jedi Series getting a third game.   Articles: Mini Topic Articles: #1: The Super Mario Bros. Movies crosses the 1 billion Dollar Box Office https://www.nytimes.com/2023/05/01/business/media/super-mario-bros-movie.html #2: RGN's D&D Campaigns                 Curse of Strad:                 https://www.amazon.com/Curse-Strahd-Dungeons-Sourcebook-Supplement/dp/0786965983/ref=asc_df_0786965983/?tag=hyprod-20&linkCode=df0&hvadid=312178241251&hvpos=&hvnetw=g&hvrand=9960516671494589561&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9005653&hvtargid=pla-436610300341&psc=1&tag=&ref=&adgrpid=60258871577&hvpone=&hvptwo=&hvadid=312178241251&hvpos=&hvnetw=g&hvrand=9960516671494589561&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9005653&hvtargid=pla-436610300341 Tales From the Yawning Portal [sunless Citadel (One Shot)] https://www.amazon.com/Tales-Yawning-Portal-Dungeons-Dragons/dp/0786966092/ref=asc_df_0786966092/?tag=hyprod-20&linkCode=df0&hvadid=312151229432&hvpos=&hvnetw=g&hvrand=9960516671494589561&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9005653&hvtargid=pla-436386742943&psc=1&tag=&ref=&adgrpid=61316180639&hvpone=&hvptwo=&hvadid=312151229432&hvpos=&hvnetw=g&hvrand=9960516671494589561&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9005653&hvtargid=pla-436386742943   Main Topic Articles: Topic#1: UK Blocks Microsoft and Activision Deal https://kotaku.com/activision-blizzard-xbox-merger-call-duty-game-pass-1850387323 Topic #2: Microsoft and NVIDIA Announce Expansive New Gaming Deal https://nvidianews.nvidia.com/news/microsoft-and-nvidia-announce-expansive-new-gaming-deal Topic#3: YouTube Gaming Leadership Change & Creative Deals https://www.hollywoodreporter.com/business/digital/youtube-gaming-leo-olebe-1235339627/ Topic#4:  Star Wars Jedi: Survivor Director Wants the Series to Be a Trilogy https://www.gameinformer.com/2023/03/02/star-wars-jedi-survivor-director-wants-the-series-to-be-a-trilogy   Pretty Boi Chris' Game of the Week: FINAL FANTASY VII REMAKE INTERGRADE Steam: https://store.steampowered.com/app/1462040/FINAL_FANTASY_VII_REMAKE_INTERGRADE/ Website: https://ffvii-remake-intergrade.square-enix-games.com/en-us/   Find RGN on Facebook, Instagram, Discord, and YouTube and many platforms where podcasts are streamed. Other social media sites, that you can find Rage Game Network on include: Facebook: https://www.facebook.com/ragegamenetwork Instagram: https://www.instagram.com/ragegamenetwork/   Discord: https://discord.gg/S6X4swcHCX YouTube: https://www.youtube.com/channel/UCFBjANe8Aa3YetTA6_IqYGg/featured Email: ragers@ragegamenetwork.com Website: www.ragegamenetwork.com You can find me (Pretty Boi Chris) on Facebook, Discord, Twitch and YouTube. I do play on the PC and PS4 as either Blahblah267 &/or Blahblah0267, so reach out to me any we can play any games you would like to play!!!! Facebook: Pretty Boi Podcast | Facebook Discord: https://discord.gg/Gey8GxjsEf Twitch: https://www.twitch.tv/prettyboichrisrgn YouTube: https://www.youtube.com/channel/UCYxsFnCxVGs0o5g5QkJQo5A E-mail: Blahblah0267@gmail.com #Ragingout   Opening & Closing Music Deflector by Ghostrifter Official https://soundcloud.com/ghostrifter-official Creative Commons — Attribution-ShareAlike 3.0 Unported — CC BY-SA 3.0 Free Download / Stream: http://bit.ly/-deflector Music promoted by Audio Library https://youtu.be/ItZMEV_Q2ww --- Support this podcast: https://podcasters.spotify.com/pod/show/ragegamenetwork/support

There were no downsides to this crossword, whose theme revolved around FLIPSIDES. Jean had just a spot of bother, conflating STRAT with STRAD, and Mike felt cert. that Colombo was in the NYPD, not, as 1D, "Colombo org." would have it, the LAPD. All in all a fine puzzle, we give it 5 squares on the JAMCR scale, encore!Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Join the Tandy Time Playback room, it's free! We've been doing a lot of streaming there: http://playback.tv/tandytime Today we welcome STRAD, a veteran YouTube creator who has been covering NBA Top Shot since March 2021 - it's his livestream debut

This season we are kicking off our first interview episode with Noa Kageyama! Noa shared with us his journey into performance psychology for musicians, how performance psychology can benefit musicians, and what it looks like to work with him.  Noa Kageyama bio: Performance psychologist Noa Kageyama is on the faculty of The Juilliard School and is a performance coach for the New World Symphony in Miami, FL. A conservatory-trained violinist with degrees from Oberlin and Juilliard before pursuing a Ph.D. in psychology at Indiana University, Noa now specializes in working with performing artists, teaching them how to utilize sport psychology principles and more consistently perform up to their full abilities under pressure. He has conducted workshops at institutions ranging from Northwestern University, New England Conservatory, Peabody, Eastman, Curtis, McGill University, and the U.S. Armed Forces School of Music, to programs such as the Starling-Delay Symposium, The Perlman Music Program, and the National Orchestral Institute, and for organizations like the Music Teachers' National Association and the National Association of Teachers of Singing.  Noa's work has been featured in The Wall Street Journal, NBC News, Musical America, Strings Magazine, Strad, and Lifehacker. He maintains a private coaching practice and online mental skills courses, and authors a performance psychology blog and podcast called The Bulletproof Musician. The Bulletproof Musician  Show Notes: Oberlin Conservatory of Music Juilliard  New World Symphony  Don Greene Deliberate Practice Model Make It Stick by Peter C. Brown  The Inner Game of Tennis by W. Timothy Gallwey  Performance Success by Don Greene 10 Minute Toughness by Jason Selk 

The Piano Pod team had the privilege of interviewing Ms. Edna Golandsky, Founder and Artistic Director of the Golandsky Institute, for the opening episode of Season 3! During the show, we got to hear her personal stories:✅ her youth and training✅ her relationship/training with Mrs. Taubman✅ how the Taubman Approach/Technique can solve most common pianists' problems✅ how she developed The Golandsky Institute.and more!If you are a pianist or serious piano student, who would like to have a long, injury-free career in performing arts,ORIf you are a piano teacher whose students deal with issues of tension while playing/practicing piano, THIS EPISODE IS JUST FOR YOU. [Ms. Edna Golandsky]Ms. Golandsky is a world-renowned piano pedagogue and the leading exponent of the Taubman Approach. She has earned wide acclaim throughout the United States and abroad for her pedagogical expertise and for using the Taubman piano technique. She is also known for her extraordinary ability to solve technical problems and her penetrating musical insight. Ms. Golandsky started the piano study in Israel at the age of eight. As a gifted pianist, she played recitals at age ten and performed with orchestras by twelve. Ms. Golandsky came to the United States when she was sixteen years old and was immediately accepted to the Juilliard School in their Preparatory Division. She remained at Juilliard for the next eight years, studying with Jane Carlson, Rosina Lhevinne, and Adele Marcus and graduating with bachelor's and master's degrees in piano performance. She has been featured in The New York Times, Classical Music UK, Authority Magazine, Piano & Keyboard Magazine, The Clavier Companion, New Work Weekly, Thrive Global, and has written for The Strad, Interlude, TopMusic, Piano Marvel, and The Cross-Eyed Pianist among others. For more information about Edna, please visit ednagolandsky.com. You can also learn more about The Golandsky Institute by visiting golandskyinstitute.org. [The Taubman Approach] The Taubman Approach is a groundbreaking analysis of the mostly invisible motions that function underneath a virtuoso technique. The resulting knowledge makes it possible to help pianists overcome technical limitations and cure playing-related injuries. It is also how tone production and other components of expressive playing can be understood and taught. Edna Golandsky is the person with whom Dorothy Taubman worked most closely. In 1976 Ms. Golandsky conceived the idea of establishing an Institute where people could come together during the summer and pursue an intensive investigation of the Taubman Approach. She encouraged Mrs. Taubman to establish the Taubman Institute, which they ran together as co-founders. Mrs. Taubman was Executive Director, and Ms. Golandsky served as Artistic Director. Almost from the beginning, Mrs. Taubman entrusted Ms. Golandsky with the planning and programming of the annual summer session. She gave daily lectures on the Taubman Approach and later conducted master classes as well. As the face of the Taubman Approach, Ms. Golandsky discusses each of its elements in a ten-volume video series. Mrs. Taubman has written, "I consider her the leading authority on the Taubman Approach to instrumental playing.

Gabel's eatery is always open, feeding hungry hearts, bodies, and souls. When Strad, a young man at odds with life, wanders in, an uncanny encounter propels him on a journey to the hidden Fifth-Dimension of Altruego. He meets a people with ancient roots and a mysterious mission, whose curious customs and odd-sounding ideas somehow snap the missing puzzle pieces of Strad's life into place. Tune in as we speak with Ben Ackerman about his mystical novel: Open When You Are: Discovering the forgotten secret that makes life make sense. Michael Morales is Professor of Biblical Studies at Greenville Presbyterian Theological Seminary, and the author of The Tabernacle Pre-Figured: Cosmic Mountain Ideology in Genesis and Exodus(Peeters, 2012), Who Shall Ascend the Mountain of the Lord?: A Biblical Theology of Leviticus (IVP Academic, 2015), and Exodus Old and New: A Biblical Theology of Redemption (IVP Academic, 2020). He can be reached at mmorales@gpts.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Gabel's eatery is always open, feeding hungry hearts, bodies, and souls. When Strad, a young man at odds with life, wanders in, an uncanny encounter propels him on a journey to the hidden Fifth-Dimension of Altruego. He meets a people with ancient roots and a mysterious mission, whose curious customs and odd-sounding ideas somehow snap the missing puzzle pieces of Strad's life into place. Tune in as we speak with Ben Ackerman about his mystical novel: Open When You Are: Discovering the forgotten secret that makes life make sense. Michael Morales is Professor of Biblical Studies at Greenville Presbyterian Theological Seminary, and the author of The Tabernacle Pre-Figured: Cosmic Mountain Ideology in Genesis and Exodus(Peeters, 2012), Who Shall Ascend the Mountain of the Lord?: A Biblical Theology of Leviticus (IVP Academic, 2015), and Exodus Old and New: A Biblical Theology of Redemption (IVP Academic, 2020). He can be reached at mmorales@gpts.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Gabel's eatery is always open, feeding hungry hearts, bodies, and souls. When Strad, a young man at odds with life, wanders in, an uncanny encounter propels him on a journey to the hidden Fifth-Dimension of Altruego. He meets a people with ancient roots and a mysterious mission, whose curious customs and odd-sounding ideas somehow snap the missing puzzle pieces of Strad's life into place. Tune in as we speak with Ben Ackerman about his mystical novel: Open When You Are: Discovering the forgotten secret that makes life make sense. Michael Morales is Professor of Biblical Studies at Greenville Presbyterian Theological Seminary, and the author of The Tabernacle Pre-Figured: Cosmic Mountain Ideology in Genesis and Exodus(Peeters, 2012), Who Shall Ascend the Mountain of the Lord?: A Biblical Theology of Leviticus (IVP Academic, 2015), and Exodus Old and New: A Biblical Theology of Redemption (IVP Academic, 2020). He can be reached at mmorales@gpts.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Violinist Tatianna Berman introduces The Power of Sound and how music affects our emotions, behavior, and shapes our reality.Tatiana Berman is a violinist, artist, and cultural entrepreneur who finds fresh ways of connecting classical music and fine arts with a broader audience. Tatiana is the founder of Constella Arts, creator of The Power of Sound project, co-creator of Not So Classical, and star of the documentary Forte available internationally. During the 2020 pandemic, in partnership with Culturenet Tatiana became an online sensation generating hundreds of thousands of views for her virtual solo performances.Tatiana's unique projects brought her to venues such as Carnegie Hall, The Kennedy Center, Elbphilharmonie Hamburg, Chicago Contemporary Art Museum, Santa Fe Symphony, and the Lafon Performing Arts Center. The Not So Classical album is available on all digital platforms, and the accompanying visual experience is available on Culturenet. The original performance concept Not So Classical has been praised by Forbes, NPR, and Playbill for its innovative approach to presenting a classical music experience. As founder and artistic director of the Constella Arts, Tatiana facilitated the presentations of over 70 world premieres and brought music to schools where arts funding has been cut. Tatiana's music video Vitali Variations and other projects can be experienced on NRK, Culturenet, CmusicTV, Sky, and Apple TV. Tatiana is a producer of documentaries Maestro (maestromovie.com) and Nordic Pulse (nordicpulsefilm.com).Tatiana studied violin at the Yehudi Menuhin School, and the Royal College of Music in London, earning full scholarships and international awards along the way. Throughout her international career as a concert violinist, Tatiana has collaborated with renowned musicians including Ksenia Bashmet, Joshua Bell, Jeremy Denk, Bryce Dessner, Ivry Gitlis, Steven Isserlis, Elisabeth Leonskaja, Anthony McGill, Nico Muhly, and Simon Trpceski. She has worked with conductors Paavo Jarvi, Sarah Ioannides, Tito Muños, Jose Luis Gomez, François López-Ferrer, and the late Yehudi Menuhin, appearing with both European and U.S. orchestras. London's The Strad described Tatiana as “a violinist with a mature, compelling musical personality.” She is an ardent performer of new music, commissioning and collaborating with dancers and digital artists. Notable performances include world premieres of Violin Concertos by Charles Coleman and Michael Csányi-Wills. Tatiana was Arts Ambassador and a Tedx Talk speaker. Her paintings are sought after by collectors from around the world, to see her visual art, go to the Art Gallery.Currently, Tatiana is recording her next Not So Classical album, touring The Power of Sound project, and directing a documentary by the same name. She also leads various workshops and appears at a limited number of speaking engagements on topics including the power of music, music education, and culture.www.tatianaberman.comHost Bonnie Burkert melds the worlds of media and higher consciousness, sharing tools for transformation for wellbeing and spiritual awakening . www.instagram.com/yogi_bon

Welcome to the Piano Explored Podcast! I'm your host, Dr. Benjamin Harding. You can follow us on Instagram and get involved in a group discussion on Facebook. Just search for Piano Explored Podcast. You can also find my website at www.benjaminharding.net for special offers from my affiliate links. I've got special offers there for you from a variety of companies and shops that I absolutely love.  I hope you gain a glimpse into the great work that the Golandsky Institute is doing for musicians and especially, pianists. Founded by my guest today, Edna Golandsky, the Golandsky Institute has given insight to millions into how to play the piano pain-free. Edna Golandsky is one of the premiere students of Dorothy Taubman. Visit her websites listed in the descriptions below. Edna Golandsky is a world-renowned piano pedagogue and the leading exponent of the Taubman Approach. She has earned wide acclaim throughout the United States and abroad for her pedagogical expertise, and for using the Taubman piano technique. She is also known for her extraordinary ability to solve technical problems and for her penetrating musical insight.​Ms. Golandsky started piano study in Israel at the age of eight. A gifted pianist, she played recitals at the age of ten and was performing with orchestras by the age of twelve. Ms. Golandsky came to the United States when she was sixteen years old, and was immediately accepted to the Juilliard School in their Preparatory Division.  She remained at Juilliard for the next eight years, studying with Jane Carlson, Rosina Lhevinne and Adele Marcus, and graduating with bachelor and master's degrees in piano performance.​She has been featured in The New York Times,Classical Music UK, Authority Magazine, Piano & Keyboard Magazine, The Clavier Companion, New Work Weekly, Thrive Global and has written for The Strad, Interlude, TopMusic, Piano Marvel, and The Cross-Eyed Pianist among others.The Golandsky Institute was established in 2003 by Edna Golandsky, John Bloomfield, Robert Durso and Mary Moran to bring high-level training in the Taubman Approach to the musical community. This Approach has proven to be highly effective in the resolution of technical limitations and playing-related injuries. The aim of the Institute is to provide musicians with a foundation that allows for full artistic expression and the development of virtuosic technical ability.The work of the Golandsky Institute is presented internationally through private instruction, lectures, master classes, workshops, performances and symposiums by a team of expertly trained faculty members and teachers who are all highly regarded in their own right. In addition, the Institute produces critically acclaimed learning materials, including several series of DVDs, a photo-rich book, and videos of lectures, master classes, and seminars available as downloads or through the digital subscription streaming service.

The Cello Sherpa Podcast Host, Joel Dallow, interviews Brant Taylor, who has been a member of the Chicago Symphony Orchestra cello section since 1998. He is also a member of the faculty at DePaul University's School of Music. They talk about his journey through chamber music followed by his incredible early success in multiple orchestra auditions and Brant also shares details about his teaching style and philosophy. You can connect with Brant on Facebook and Instagram @batmanvcl For more information on Brant click here: https://cso.org/about/performers/cso-musicians/strings/cello/brant-taylor/To read his articles on CelloBello click here: http://www.cellobello.com/cello-blog/author/brant-taylor/Here is an article with Brant's audition tips for the Strad magazine: https://www.thestrad.com/10-tips-for-a-successful-orchestral-audition/14.articleAnother Interview with Brant: http://coregami.com/blogs/news/meditation-new-zealand-and-how-to-late-bloom-your-way-to-the-topInstructional videos with Brant: http://musaic.nws.edu/search?utf8=✓&query=brant+taylorIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on twitter and instagram @theCello Sherpa

A conversation from The Strad Podcast about performance anxiety and nerves, self-compassion, assessment vs judgement when playing, and dealing with inner battles when the stakes are so high. The Strad Magazine & Strad Podcast: Website: https://www.thestrad.com/ Subscribe – USE CODE MOFP20: https://www.thestrad.com/subscribe The Strad Podcast: https://www.thestrad.com/playing-hub/podcasts Facebook: https://www.facebook.com/thestrad/ Instagram: https://www.instagram.com/the_strad_/ Twitter: https://twitter.com/TheStradMag     THE MUSIC MASTERY EXPERIENCE: Enrollment for THE life-changing, highly personalized group coaching program for musicians is now open! You will go beyond just strategies and methods by getting to the root cause of issues and unlock everything that's keeping you stuck to help you experience amazing results (in every level of your music-making and life). We cover everything from practice methods that work, to performance preparation strategies that have you perform with confidence, and mind management techniques that will remove all the obstacles and self-limiting beliefs that hold you back. So if you're ready to make big dreams, plans, and more happen in your musical life, book a call today at MindOverFinger.com and let's make it happen.   THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for you. Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme.  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Thank you to pianist-singer-song-writer Louise Kelly for the introduction!  You can find out more about Kelly and her creative work by visiting louisekelly.com.    MIND OVER FINGER: Visit MindOverFinger.com for resources on mindful practice and information on how to work with me. Sign up for my newsletter and receive your free guide to a highly productive mindful practice using a metronome. Don't forget to join the Join the Mind Over Finger Community  for access to my live videos and to exchange with a community of like-minded musicians. www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/  

Lisa is hosting solo and is  joined by Brendan Slocumb, who talks about his book, The Violin Conspiracy. Brendan Nicholaus Slocumb was born in Yuba City, California and was raised in Fayetteville, North Carolina. He is a graduate of the University of North Carolina at Greensboro with a degree in music education, concentrations on Violin and Viola. While at UNCG, Brendan was the concertmaster for the University Symphony orchestra and served as the principal violist. He performed with numerous small chamber ensembles, including flute and clarinet choirs, and in the BESK string quartet.As a musician, Brendan has performed on violin with the Washington Metropolitan Symphony, the McLean Symphony, the Prince George's Philharmonic, and the Alexandria Symphony. He currently serves as the concertmaster for the NOVA- Symphony Orchestra. Brendan has been a frequent adjudicator and guest conductor for several district and regional orchestras throughout North Carolina and Virginia. He also performs chamber music with members of the Annandale symphony. He maintains a private music studio teaching lessons to students on violin, guitar and piano. He is the founder of the nonprofit organization, Hands Across the Sea, based in the Philippines. After touring the Philippines with the Northern Virginia Chamber Ensemble and witnessing firsthand the conditions that many of the young music students and their families endure, Brendan founded the Hands Across the Sea to offer support to the Berea School of the Arts in Manila, by providing instruments, lessons, and monetary support. The organization also supplements school supplies and dental and medical assistance. In his spare time, Brendan enjoys writing, exercising, collecting comic books and action figures, and performing with his rock band, Geppetto's Wüd.BOOK DESCRIPTION: The Violin ConspiracyGrowing up Black in rural North Carolina, Ray McMillian's life is already mapped out. If he's lucky, he'll get a job at the hospital cafeteria. If he's extra lucky, he'll earn more than minimum wage. But Ray has a gift and a dream—he's determined to become a world-class professional violinist, and nothing will stand in his way. Not his mother, who wants him to stop making such a racket; not the fact that he can't afford a violin suitable to his talents; not even the racism inherent in the world of classical music.  When he discovers that his great-great-grandfather's beat-up old fiddle is actually a priceless Stradivarius, all his dreams suddenly seem within reach. Together, Ray and his violin take the world by storm. But on the eve of the renowned and cutthroat Tchaikovsky Competition—the Olympics of classical music—the violin is stolen, a ransom note for five million dollars left in its place. Ray will have to piece together the clues to recover his treasured Strad ... before it's too late. With the descendants of the man who once enslaved Ray's great-great-grandfather asserting that the instrument is rightfully theirs, and with his family staking their own claim, Ray doesn't know who he can trust—or whether he will ever see his beloved violin again.

Joe chats with performance psychologist Noa Kageyama about his musical journey starting with training with Dr. Shinichi Suzuki as a young musician to learning how to practice as a teenager and getting his undergraduate degree from Juilliard. He shares what studying with an olympic sports psychologist taught him about navigating performance anxiety and the insight that prompted him to learn the secrets of peak performance while getting his Doctorate in Psychology. Ultimately, whether standing on a stage at Lincoln Center, or in a classroom in front of the next generation of world class musicians, Noa shares insights about effective practice, the building blocks of confidence and so much more to inspire us on our journey as lifelong learners. Who is Noa? Performance psychologist Noa Kageyama is on the faculty of The Juilliard School and is a performance coach for the New World Symphony in Miami, FL. A conservatory-trained violinist with degrees from Oberlin and Juilliard before pursuing a Ph.D. in psychology at Indiana University, Noa now specializes in working with performing artists, teaching them how to utilize sport psychology principles and more consistently perform up to their full abilities under pressure. He has conducted workshops at institutions ranging from Northwestern University, New England Conservatory, Peabody, Eastman, Curtis, McGill University, and the U.S. Armed Forces School of Music, to programs such as the Starling-Delay Symposium, The Perlman Music Program, and the National Orchestral Institute, and for organizations like the Music Teachers' National Association and the National Association of Teachers of Singing. Noa's work has been featured in The Wall Street Journal, NBC News, Musical America, Strings Magazine, Strad, and Lifehacker. He maintains a private coaching practice and online mental skills courses, and authors a performance psychology blog and podcast called The Bulletproof Musician. website: bulletproofmusician.com facebook: facebook.com/bulletproofmusician instagram: @bulletproofmusician Upcoming projects: I've begun offering live classes for music professionals and educators as well as for amateurs and lifelong learners. More info at: bulletproofmusician.com/courses Noa's (current) favorite quote: E.E. Cummings — 'It takes courage to grow up and become who you really are.' Notes: Anders Ericsson on Larry King: on the science of expertise https://www.youtube.com/watch?v=7gn3f8sEb8Y Dr. Suzuki https://suzukiassociation.org/about/suzuki-method/shinichi-suzuki/ Julliard https://www.juilliard.edu/ Sports Psychology https://www.verywellmind.com/what-is-sports-psychology-2794906 Daily Writing Practice (don't break the chain/atomic habits) https://jamesclear.com/stop-procrastinating-seinfeld-strategy Sports Psychology for Dummies https://www.goodreads.com/book/show/8318638-sports-psychology-for-dummies Grit-Angela Duckworth https://www.ted.com/talks/angela_lee_duckworth_grit_the_power_of_passion_and_perseverance?language=en