Podcasts about stravinsky

durée : 00:04:13 - Igor Stravinsky, Chaplin et le cinéma - par : Max Dozolme - Les éditions Allia font paraître le deuxième volume des entretiens accordés par Igor Stravinsky à son ami, le critique musical Robert Craft. Un ouvrage passionnant où l'on découvre notamment les rapports que le compositeur entretenait avec le cinéma ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Charlie Parker was punk rock before there was punk rock. His bebop was underground music: subversive, intellectual, and a major departure from popular music of the day (think: Nat King Cole, The Andrews Sisters, Perry Como). He was an intellectual heavyweight, nearly untouchable in his technical ability and pushing music to places no one else was daring to go. So where did Charlie Parker with Strings, his most accessible album, come from?It's not Bird going commercial, like some have claimed. Charlie Parker with Strings is an album he fought to make. He loved Bach and Stravinsky (even quoting the opening of Stravinsky's 'Firebird Suite' mid-solo in one legendary performance), and had longed to make a record where his jazz saxophone was accompanied by strings.The resulting record is music's greatest improviser at his best. Jazz pianists Peter Martin and Adam Maness listen to select tracks (like "Just Friends" and "Summertime"), breaking down the theory behind the music to understand what makes this album great. Jazz is the foundation of the most GENIUS music in recent history: Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo. In this popular music series, You'll Hear It, Adam and Peter break down the greatest albums of all time. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.Like the jam at the end of the show? Head to @openstudiomusic on YouTube for more.Visit openstudiojazz.com for ALLLLL your jazz lesson needs.00:00 - Intro: Charlie Parker with Strings01:10 - "Just Friends"04:40 - Want to Be a Great Musician? Study This Track10:20 - Early Recording: "Swingmatism" (1941)12:45 - The Secret to Charlie Parker's Genius: Practice15:20 - The Savoy Sessions: "Now's the Time" & Young Miles Davis18:20 - The Contrafact Built in Real Time21:45 - "Koko": Miles Davis Couldn't Play It?!24:30 - Musicians NEED to Listen to This27:15 - Think Parker Sold Out? Think AGAIN28:55 - "April in Paris": Parker's Chosen Tune33:55 - About Mitch Miller's Oboe ... 38:25 - "Summertime"44:10 - "Out of Nowhere"46:35 - We Have An Album! 47:20 - "East of the Sun"53:00 - "I'll Remember April"55:50 - Categories: Desert Island Tracks56:35 - The BEST Moments on Strings1:11:10 - Open Studio Plays "Just Friends"

Em cada dia, Luís Caetano propõe um poema na voz de quem o escreveu.

Laura Jackson, Reno Phil music director and conductor, speaks with Chris Morrison about the fourth concerts of the Reno Phil's 2025-26 Classix season, "Stravinsky's Firebird," on February 21 and 22, 2026. The concerts include What Trees May Speak by Jonathan Sokol, the Suite from Igor Stravinsky's ballet The Firebird, and the Piano Concerto No. 1 in B-flat minor by Piotr Ilyich Tchaikovsky, with piano soloist Jon Nakamatsu.

Marty is joined by Principal Conductor Designate of National Symphony Orchestra Ireland, Alexander Shelley, as he prepares to conduct two very personal concerts of works by Schumann, Stravinsky and Rachmaninov

In this episode of Busy Kids Love Music, we wrap up our three-part series on composer Igor Stravinsky with one of the most famous — and most shocking — pieces in music history: The Rite of Spring. When this ballet premiered in Paris in 1913, audiences expected graceful dancing and pretty melodies. Instead, they heard pounding rhythms, clashing sounds, and music that felt wild and unpredictable. Some people loved it… and others were so surprised that they began shouting during the performance! We'll explore why Stravinsky's music sounded so different from anything audiences had heard before and how this bold piece eventually became one of the most important works of the 20th century. Get ready to listen for thunder-like drums, blasting horns, and rhythms that feel like the earth shaking beneath your feet! What You'll Learn in This Episode  What a ballet is and how music and dance work together The ancient spring rituals that inspired The Rite of Spring Why the music sounded shocking in 1913 What made the rhythms and harmonies so unusual The famous "Rite of Spring riot" How this piece changed the future of classical music Listening Challenge for Kids When you listen to The Rite of Spring, don't try to hear it as calm or gentle music. Instead, imagine: Animals running Thunder crashing The ground shaking People dancing with all their strength Listen for:  Loud drums  Blasting horns Fast, exciting rhythms This is music that feels alive! Listen to The Rite of Spring We recommend listening to the full ballet here:

In this episode, I sit down with percussionist Colin Currie for a wide-ranging conversation about curiosity, originality, live performance, and the lifelong pursuit of musical meaning. Colin is one of the most influential percussionists of our time, known for his deep commitment to contemporary music, his close collaboration with composers, and his transformative interpretations of Steve Reich's work. This conversation explores how curiosity, patience, and listening have shaped his career and his approach to music-making.We begin by talking about technology, access to recordings, and the changing landscape of music education. Colin reflects on growing up in a time when discovering music required effort, intention, and physical presence in libraries and record shops. He shares concerns about students learning pieces by copying online performances rather than developing their own ideas, and he speaks passionately about the importance of solitude, curiosity, and learning music on one's own terms.Colin traces his musical beginnings back to early childhood, from piano lessons at age five to his first drum lesson at six, describing the joy, excitement, and physical energy that initially drew him to percussion. He talks about how that sense of wonder has never left him and why live performance remains a magical, irreplaceable experience. We explore why percussion continues to evolve so rapidly, how technique has advanced across the field, and why musical intent always matters more than virtuosity alone.A significant portion of the conversation focuses on Colin's connection to contemporary music and the composers who shaped his artistic identity. He describes hearing The Rite of Spring as a teenager, discovering post-war modernist composers through library scores, and developing an instinctive attraction to music that felt strange, challenging, and unfamiliar. Colin shares how his love for new music was never about understanding it intellectually, but about responding to it emotionally and instinctively.We also dive deeply into Colin's relationship with Steve Reich, including their first meeting, their long-standing collaboration, and the formation of the Colin Currie Group. Colin reflects on recording Music for 18 Musicians at Abbey Road Studios, explaining how the goal was to capture the intensity and emotional risk of live performance rather than create a polished studio artifact. He talks about groove, sonority, emotional depth, and why Reich's music demands both precision and expressive freedom.Colin discusses his growing role as a conductor and how stepping onto the podium has changed the way he listens, leads, and collaborates with ensembles. He shares stories from recent performances, lessons learned from orchestral musicians, and how listening remains the central skill, whether playing or conducting. We also talk about his record label, Colin Currie Records, crowdfunding new projects, and the upcoming release of a Steve Reich album featuring Sextet, Double Sextet, Six Marimbas, and Dance Patterns.As we look ahead, Colin reflects on 2026 as a landmark year, including Steve Reich's 90th birthday, dozens of performances of Reich's music worldwide, and the premiere of Colin's 40th percussion concerto. This is a thoughtful, inspiring conversation about curiosity, commitment, and the lifelong responsibility of serving music.Music from the Episode:Mallet Quartet (Steve Reich - Colin Currie Group)Music for 18 Musicians - Section VI (Steve Reich - Colin Currie Group)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Richard Stokes has been passionate about song since he was a teenager – although, as he readily admits, he's not a great singer. Instead, he's become one of the world's leading authorities on German art songs – or lieder – and has also co-written books on English, French and Spanish songs. His work as a translator includes the complete Bach cantatas and the complete songs of Hugo Wolf, as well as operas by Wagner and Berg. He also collaborated with the pianist Alfred Brendel on translations of his poetry. Since 2006 he's coached young singers at the Royal Academy of Music in London, where he's Professor of Lieder. His choices include music by Bach, Mahler and Stravinsky. Presenter Michael Berkeley Producer Graham Rogers

Walter Martin spent decades making and playing music, most famously with the indie rock bands Jonathan Fire*Eater and The Walkmen. Recently, he's started a new crazy good turn,  helping people like you and me rediscover the joy of music through his Walter Martin Radio Hour show and Substack. In this episode, we discuss: How a single instrument (like the organ) can change how you hear a song. Why Walter chooses positivity over rock criticism. Moving past the "judgmental" years to love bands you once dismissed. The "Crazy Good Turn" of human-to-human music discovery. Chapters & Timed Links: [05:07] The Austin Kleon Connection: How two creators found each other through "the magic of the internet." [07:29] From NYC to Upstate: The origin of The Walter Martin Radio Hour. [10:16] The Classical Club: Why Walter is diving deep into Strauss and Stravinsky. [12:07] The Organ Episode: Learning to hear the difference between a Hammond and a Farfisa. [21:43] Breaking the "Teenage Rules": How Walter learned to love the Grateful Dead and Neil Young. [23:52] Walter's Favorite new musician right now.  [28:57] Walter's Songs: Discussing "The Rat" and the autobiographical beauty of "The Soldier." [31:33] Who's done a Crazy Good Turn for Walter?  

durée : 01:28:33 - Relax ! du lundi 02 février 2026 - par : Lionel Esparza - La guerre vient tout juste de s'achever que des chefs-d'œuvre émergent déjà, comme "La Valse" de Ravel ou "Pulcinella" de Stravinsky, qui marque le tournant néo-classique du compositeur. Mais des traumatismes restent vivaces, comme en témoigne le "Tombeau de Couperin", hommage aux soldats disparus. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 01:28:33 - Relax ! du lundi 02 février 2026 - par : Lionel Esparza - La guerre vient tout juste de s'achever que des chefs-d'œuvre émergent déjà, comme "La Valse" de Ravel ou "Pulcinella" de Stravinsky, qui marque le tournant néo-classique du compositeur. Mais des traumatismes restent vivaces, comme en témoigne le "Tombeau de Couperin", hommage aux soldats disparus. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Episode 19: Pete Christlieb is a legendary saxophonist whose powerful sound and fearless improvisation continue to shape both jazz and commercial music. He rose to international prominence as a longtime featured soloist with the Doc Severinsen–led Tonight Show Band, where his commanding tenor voice and electrifying presence became instantly recognizable. Christlieb's recording legacy includes some of the most iconic saxophone moments in popular music, including his lyrical solo on “Deacon Blues” by Steely Dan and his elegant playing on “Unforgettable” by Natalie Cole. Equally respected in the jazz world for his collaborations with Warne Marsh and Chet Baker, Christlieb continues to perform and inspire, embodying a rare blend of virtuosity, soul, and authenticity that resonates across generations.►about Pete Christlieb: https://petechristlieb.com/?utm_source=chatgpt.com►Key Moments:0:00 - Introductions1:47: Drag racing, Valley College (Los Angeles), First road gig with Si Zentner6:00: The art of playing dance music9:01: Gerry Mulligan, Chet Baker, Ray Brown…16:50: Las Vegas, Jerry Gray, Tex Beneke, Peggy Lee, Lou Levy26:00: Cannonball Adderley30:30: Louie Bellson, Woody Herman31:50: Tom Scott, Glenn Campbell Show, and Marty Paich…34:24: “Play horn, get check”41:20: Snooky Young, The Tonight Show…, and Steely Dan44:45: “Deacon's Blues”51:13: Warne Marsh collaboration1:00: Violin to saxophone…1:05:35: Saxophone sounds…Stan Getz, Sonny Rollins, Sonny Stitt…1:13:35: The pinnacle is the next gig, payola, and back to the Warne Marsh collaboration, back to Johnny Carson and The Tonight Show…1:26:00 New chapter of life in Washington1:28:00 Stravinsky, Schoenberg, Michael Brecker, and woodwind doubling…1:37:00 Closing graitude►Follow John Daversa Online:Instagram: https://www.instagram.com/johndaversa/Facebook: https://www.facebook.com/JohnDaversaMusic/YouTube:  https://www.youtube.com/johndaversamusicWebsite: http://www.johndaversa.com  ►CreditsHost and Producer: John DaversaVideo Capture: Yang YangAudio Capture: Yang YangVideo and Audio Editing: Izzi GuzmanGraphic Design: Izzi GuzmanRecorded in Coral Gables, FL, November 18, 2024Support the show►CreditsHost and Producer: John DaversaVideo: Max Nierlich Audio: Dudley MerriamAdditional Audio: Jake SondermanVideo and Audio Editing: Yang YangIzzi Guzman: Graphic DesignRecorded in Miami, FL►Music"The John Daversa Podcast""Moonlight Muse""Junk Wagon" All compositions composed and arranged by John DaversaDaversafications Publications (ASCAP)

durée : 00:04:30 - Les Bateliers de la Volga : de Balakirev à Marie Laforêt - par : Max Dozolme - A la découverte d'une chanson populaire qui évoque le travail fastidieux des haleurs, les bateliers de la Volga qui tractent les navires depuis les rives du fleuve. Un air traditionnel repris par Stravinsky, Glenn Miller et son big band ou encore la chanteuse Marie Laforêt. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Igor Stravinsky became famous almost overnight thanks to one magical ballet — The Firebird. In this episode, I'll take you inside the glowing, mysterious world of this Russian fairy tale, filled with enchanted creatures, an evil sorcerer, brave heroes, and powerful music that tells the story without words. Based on centuries-old Russian folk tales, The Firebird follows Prince Ivan, who captures a magical Firebird and receives a glowing feather in return for her freedom. That feather later helps him defeat Kashchei the Immortal, an evil sorcerer who has trapped princesses and turned travelers into stone. With the Firebird's help, Ivan breaks Kashchei's spell, frees the princesses, and brings peace back to the enchanted forest. Stravinsky's music brings every moment of this story to life — from the shimmering Firebird theme to the pounding rhythms of Kashchei's Infernal Dance and the glowing, triumphant Finale.

Igor Stravinsky, Part 1: The Composer Who Changed Music In this episode of Busy Kids Love Music, we begin a brand-new three-part series all about one of the most bold and imaginative composers in music history: Igor Stravinsky. From ballet stages to concert halls, Stravinsky's music changed the way people thought about rhythm, sound, and storytelling in music. In Part 1, we explore Stravinsky's life story—where he grew up, how he was introduced to music, and how he became one of the most important composers of the 20th century. We also learn how Stravinsky's life was shaped by major world events, including two world wars, which caused his family to move from Russia to Switzerland, then France, and eventually the United States. Despite all these changes, Stravinsky continued to write groundbreaking music, proving that creativity can thrive even in difficult times. In this episode, we also explore what makes Stravinsky's music sound so different from other composers. What's Next in the Series? This episode is just the beginning of our Stravinsky adventure! In the next two episodes, we'll explore: Episode 2: The Firebird – A magical ballet filled with glittering orchestral sounds and fairy-tale characters Episode 3: The Rite of Spring – The shocking, groundbreaking work that caused one of the most famous moments in music history

DescriptionMusic After World War I: Art in a Shattered World in 60 Seconds. Take a minute to get the scoop!Fun Fact In 1918, Erik Satie described postwar music as needing “fewer perfumes and more reality.” Many composers shared this sentiment, favoring sharp edges and transparency over lush emotion. Audiences weren't always thrilled—but history proved these reactions marked the birth of modern music, not its collapse.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.Support the show

Sir William Walton va ser un compositor influ

Welcome back to When Words Fail, Music Speaks, the podcast where host James Cox explores how music can lift us out of depression and open doors to imagination. In today's episode, James sits down with the multitalented composer‑author Christopher Kaufman—a Brooklyn‑based classical composer, storyteller, and environmental sound‑artist whose work fuses symphonic scores, natural soundscapes, and illustrated fantasy.We'll hear Christopher describe life in his peaceful Brooklyn neighborhood, the eclectic musical “vibes” that swirl from jazz ensembles to full‑blown orchestras, and how his lifelong love for Stravinsky, Metallica and classic fantasy literature fuels his creative engine. Through a rapid‑fire “lightning round,” he reveals his artistic rituals—ink versus instruments, favorite mythic creatures, and the superpower he'd pick for a day (perfect emotional pitch).Christopher then takes us inside his magnum opus, Tales of the Ocean City, a series of eight immersive “audio‑books” that blend orchestral storytelling, original illustrations, and video‑book experiences. He explains how musical tension and resolution shape narrative arcs, how his telepathic Pegasus‑like “Parianths” echo his childhood bond with a beloved dog, and why an organ‑driven theme for King Brohuyn and an electric‑guitar leitmotif for the bard Elah perfectly capture each character's spirit.We'll also explore his belief that imagination can literally heal: by turning the gray sameness of modern life into vivid, musical worlds, we can push back against depression and find hope. Finally, Christopher shares upcoming projects—book 8 of the series, his “Fantastic Theater” performances, and the ever‑growing sound‑artist community on SoundArtists.com, Instagram, and Facebook.Stick around for a sneak‑peek audio excerpt from Tales of the Ocean City, and discover why, for James and Christopher, when words fall short, music tells the whole story.

The “fresh, daring and incisive” (Fanfare) compositions of Amy Williams have been presented by leading international performers, including the Pittsburgh Symphony Orchestra, Buffalo Philharmonic Orchestra, JACK Quartet, Bent Frequency, Ensemble Musikfabrik, Wet Ink, International Contemporary Ensemble, Junction Trio, Orpheus, pianist Ursula Oppens, soprano Tony Arnold, and bassist Robert Black. As a member of the Bugallo-Williams Piano Duo, she has performed throughout Europe and the Americas and recorded six critically-acclaimed CDs for Wergo (works of Nancarrow, Stravinsky, Varèse/Feldman and Kurtág), as well as appearing on the Neos and Albany labels. She is a Professor of Composition at the University of Pittsburgh and Artistic Director of the New Music On The Point Festival in Vermont.On January 8, 2026, Williams will perform Morton Feldman's Triadic Memories for Other Minds at Mills College at Northeastern University in Oakland, California. She joins us to talk about her early impressions of Feldman in Buffalo, New York, his influence on 20th century music, and her upcoming performance in Oakland.Music: Triadic Memories by Morton Feldman, performed by Amy Williams (Alan Wonneberger, engineer); Piece for Four Pianos by Morton Feldman, performed by the Bugallo-Williams Piano Duo (WERGO); Piano and String Quartet by Morton Feldman, performed by Amy Williams and the JACK Quartet (live at Black Mountain College)Follow Amy Williams on Instagram.amywilliamsmusic.comFollow us on Instagram and Facebook.otherminds.orgContact us at otherminds@otherminds.org.The Other Minds Podcast is hosted and edited by Joseph Bohigian. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).

In this episode of The Bandwich Tapes, I reconnect with conductor and educator Aaron Kula, who shaped my summers in the Chautauqua Youth Orchestra at the Chautauqua Institution in New York in 1994 and 1995. We talk about what it means to trust young musicians with major repertoire, including the time we took on Stravinsky's The Rite of Spring, and what that experience taught me about preparation, accountability, and confidence. Aaron shares his philosophy for building ensemble culture: learning every student's name, holding individuals responsible while serving the collective, and making the rehearsal process both rigorous and engaging. We dig into how his multi-genre musical life, from classical training to folk and ethnic traditions, and his deep connection to Jewish music, shaped the way he hears rhythm, style, and culture inside the orchestra. Aaron also explains how conducting changes when moving from the concert stage to ballet, how tempo becomes a real-time collaboration with dancers, and why a conductor has to know when to lead, when to release, and when to stay out of the players' way. This conversation is equal parts music, mentorship, and reflection, and a reminder that the seeds teachers plant can continue to grow for decades. I'm grateful for the chance to say thank you, and for the lessons from those summers that still guide how I work with students and teams today.To learn more about Aaron, visit his website. Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

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

Igor Stravinsky regularly gets mentioned among the 20th century's greatest composers.  Anatoly Lyadov requires some digging to find much of his music.  The story that links the composers Lyadov and Stravinsky is one of several great examples of opportunity, and how you can either be ready for it or not.  This episode explores their story along with a few others to learn how to be prepared for when your opportunity strikes. Musicianship Mastery is formerly known as The Musician Toolkit. Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps music teachers with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.   

In this episode of The Bandwich Tapes, I sit down with percussionist Chris DeChiara, whose musical journey spans from teenage rock bands to drum corps, classical training, and ultimately, more than two decades with the U.S. Navy Band in Washington, D.C. I first discovered Chris after hearing him on a Classical Breakdown episode, and I was blown away by his playing, his sound, and the way he talked about percussion. I reached out immediately, and I'm so glad he agreed to come on the show.Chris and I discuss how he found his way into classical music later than most, and how that discovery completely altered the direction of his life. We explore how drum corps shaped his sense of time and listening, as well as the pressure of performing high-level percussion parts night after night. He recounts the story of joining the Navy Band just before 9/11, and we discuss the weight and responsibility of performing military funerals and ceremonial duties at Arlington.We also delve into his book on Stravinsky's Rite of Spring, which originated from a graduate school paper and evolved into a comprehensive research project during the pandemic. Hearing how he approached the timpani part, the historical context, and the self-publishing process was fascinating. From there, we discuss what it truly takes to balance drum set and orchestral percussion, the challenge of leading time within a large ensemble, and the mindset shift required to blend, anticipate, and adapt depending on one's position on stage.Chris and I share a love of the Beatles, so of course, we dive into why those songs are so deceptively complex. Chris also fills me in on what his life looks like now: performing with the Alexandria Symphony, gigging with his long-running band Dr. Fu, playing in tribute acts (including an Iron Maiden tribute), teaching at Catholic University, and tackling a Britney Spears musical mainly played on a sample pad.This is a rich and wide-ranging conversation filled with great stories, thoughtful musical insight, and an inside look at a fascinating career in percussion. I had a great time talking with Chris, and I think you're going to enjoy this one.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.Theme music: "Playcation" by Mark Mundy

Een zelfportret van een fotograaf: ze kijkt in haar eigen camera met een volle, maar niet uitgelaten lach. We zien Hanna Elkan. Als eerste vrouwelijke fotograaf had ze haar eigen fotostudio in Amsterdam. Beroemde schrijvers en muzikanten, onder wie Rachmaninov en Stravinsky, kwamen vanuit het nabijgelegen Concertgebouw naar haar studio om zich te laten portretteren. Elkan en andere vrouwelijke fotografen creëerden met hun fotografie een uniek beeld van het Amsterdam.

We're continuing our series of episodes inspired by the 2024 documentary Soundtrack to a Coup D'Etat with an examination of some of the film's key characters: the so-called ‘Jazz Ambassadors', a group of mostly black US musicians sent around the world to (unwittingly) promote American soft power during the Cold War. Tim and Jeremy give a brief history of the emergence of the CIA in the post-war USA, explain the role of NATO, and detail a few of the great many instances of US interference in newly decolonised states around the globe. We hear about Louis Armstrong in Ghana, Dizzy Gillespie's tours to West Asia and revisit Max Roach from our previous show, alongside Brubeck, Stravinsky and… Bing Crosby. The guys discuss these various attempts to portray America as a haven of free self expression at home while it repeatedly violated sovereignty and democracy abroad. Also included in this show: Fantasia, the Military Industrial Complex, the Kennedy assassination and some speculative White House tripping. Edited by Matt Huxley. Become a Patron at Patreon.com/LoveMessagePod.www.LoveistheMessagePod.comTracklist:Aaron Copeland - Fanfare for the Common Man Bing Crosby - The Isle of InnisfreeIgor Stravinsky - The Rite of Spring Louis Armstrong - (What Did I Do To Be So) Black and Blue Louis Armstrong - Spooks Dizzy Gillespie - Tour de Force Dave Brubeck - Take Five Max Roach - Triptych: Prayer / Protest / Peace The Byrds - He Was a Friend of Mine Books:William Blum - Killing Hope Susan Williams - White Malice 

Send us a textDescriptionThe Pulse Redefined: Rhythmic Complexity in 20th-Century Music in 60 Seconds. Take a minute to get the scoop!Fun FactWhen The Rite of Spring premiered in Paris, 1913, its jarring rhythms helped cause a near riot. Audience members shouted, booed, and even fought. A century later, the same rhythms are considered masterpieces of modernity—proof that innovation often sounds like chaos before it becomes art.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

One of the most revered and prolific British classical musicians, Thomas Adès made his name with his 1995 opera Powder Her Face, written when he was just 24 years old. His orchestral composition Asyla was nominated for the Mercury Prize for album of the year in 1999. Recordings of his opera The Tempest and, more recently, his score for the ballet The Dante Project have both won Grammy Awards. His ten symphonic works, three operas and numerous chamber pieces are performed all round the world. In 2024 Adès was presented with the Royal Philharmonic Society's prestigious Gold Medal, previous recipients of which include Stravinsky, Brahms and Elgar.Thomas Adès talks to John Wilson about the influence of his family, including his art historian mother who is an expert in surrealism. Through her he was introduced to the surrealist artists, the films of Luis Buñuel and met the painter Francis Bacon. His grandmother introduced him to the work of T.S. Eliot as read by Sir Alec Guinness on a cassette recording, and it was some of these poems that he was to eventually set to music for his first ever composition. Adès also recalls getting to the semi-finals of the BBC's Young Musician of the Year in 1990, a watershed moment for him as it prompted him to pursue music as a composer rather than a pianist. He also cites going regularly to the English National Opera as a formative influence and talks about writing his own operas including Powder Her Face about the Duchess of Argyll, and The Exterminating Angel, based on the film by Luis Buñuel.Producer: Edwina Pitman

I am so excited to say that my guest on the GWA Podcast is one of the most exciting young painters working today, Eva Helene Pade. Born in Denmark in 1997, and based in Paris – where we are recording today – Pade is known for her rich and emotionally-charged, large-scale canvases populated with figures that morph in and out of abstraction. Often set in a dreamworld that can feel akin to being lost in a dance or state of unconsciousness, with fiery blazes and dark intense shadows, Pade's paintings exist in places beyond the realm of our world. They are full of ambiguity: as a viewer, you are unaware of whether they are in day or night, heaven or hell, if the figures are male or female, or set in an ancient world or contemporary life. Stylistically, Pade seems to borrow from a lineage of Northern European figurative artists, from Edvard Munch to Otto Dix, creating work akin surrealism or expressionism: artistic movements born out of a time of political tumult, yet exude freedom and liberation in their subject and handling of paint. This creates an interesting conversation about the state of the world vs then, and now. But she also goes further, imbuing her work with ancient stories and figures – such as Eve or maybe Ophelia – and stories, such as Stravinsky's The Rite of Spring, a ballet she was inspired by after seeing a performance choreographed by Pina Bausch, the influential German dancer. And like Bausch, Pade was drawn to rework the story from a female lens, which served as the foundation for her first ever museum show at Arken Denmark, opening just a year after she graduated from The Danish Royal Academy of Fine Arts in Copenhagen… Today, we meet Pade in her Paris studio on a very hot day ahead of a new exhibition of paintings that opens at Thaddeaus Ropac in London in October, and I can't wait to find out more… Exhibition: https://ropac.net/exhibitions/764-eva-helene-pade-sgelys/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Send us a textDescriptionBreaking the Spell: Reaction Against Romanticism in Early 20th-Century Music” in 60 Seconds. Take a minute to get the scoop!Fun FactWhen Stravinsky's Pulcinella premiered in 1920, audiences were puzzled—was it parody, homage, or rebellion? Stravinsky called it “a look backward with a smile,” summing up the entire neoclassical spirit: modern sensibility dressed in old-fashioned clothes.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

Which is stronger: the temptations of a shadowy wish-granter, or the love of a virtuous woman?  In The Rake's Progress, Tom's true love Anne seeks to save him from himself, seeking to unwind the schemes of the literal devil.  Yet when the dust settles, it is hard to say who has triumphed… Tom is saved, but it is a messy and piteous sort of salvation. In the only full opera composed by Igor Stravinsky, powerful supernatural elements are key to the drama, but the characters–archetypal in many respects–become believable individuals given full life by Stravinsky's shimmering, evocative, and powerful music. Hosted by Pat and Kathleen For more cultural and arts commentary by Kathleen Van De Wille, visit Constructive Criticism on Substack.

Two-time GRAMMY Award-winning Albany Symphony will begin their 2025-2026 season next Saturday, featuring Stravinsky'smagnificent Firebird Suite, Dvořák's masterful Cello Concerto, the world premiere of Look Up by Alex Berko and Sibelius's stirring Finlandia.The concert will take place at the historic Palace Theatre in downtown Albany on Saturday, October 11, beginning at 7:30pm. A pre-concert talk by Music Director David Alan Miller will begin at 6:30pm.

durée : 01:28:56 - Joseph Szigeti, une musicalité naturelle et une vaste érudition - par : Aurélie Moreau - Au XXe siècle, Joseph Szigeti, violoniste aux dons remarquables, s'est forgé un répertoire considérable, axé d'abord principalement sur Bach, Beethoven et Brahms, et enrichi par des œuvres de son temps (Ysaÿe, Bloch, Bartók, Stravinsky, Prokofiev…) Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Back in 1967, Igor Stravinsky, the legendary classical composer, ignored his doctors' advice and conducted the Toronto Symphony Orchestra in what would turn out to be his final public performance ever. Now, the TSO is honouring that concert and Stravinsky's legacy with a new recording of his 1920 ballet, “Pulcinella.” Gustavo Gimeno, the orchestra's music director, joins Tom Power to tell us about the record and why it was such a big deal for Stravinsky to do this performance.

Affronter la scène à 81 ans pour incarner la fougueuse Joséphine Baker : c'est le pari audacieux relevé par la chorégraphe franco-sénégalaise Germaine Acogny. Dans un solo saisissant, la star de la danse afro-contemporaine s'empare des planches du Théâtre des Champs-Élysées à Paris, exactement un siècle après que Joséphine Baker y a fait sensation avec sa Revue Nègre. Elle fait ensuite le lien avec Le Sacre du printemps de Stravinsky dans la version de Pina Bausch revisité par des danseurs de quatorze pays africains, tous formés à son École des Sables au Sénégal. Loin des clichés du music-hall, des grimaces et des ceintures de bananes, Germaine Acogny incarne une Joséphine Baker d'une dignité rare, poétique, mais tout aussi puissante. « Aux obsèques de Joséphine Baker, quelqu'un a dit : "Elle est morte, mais elle est immortelle". Donc, j'ai voulu donner vie justement à cette combattante, cette femme qui a lutté contre le racisme, qui a adopté des enfants du monde entier, les a élevés et d'une grande générosité. Même actuellement, des gens très riches ne vont jamais adopter douze enfants ! » Seule en scène, Germaine Acogny retrace en moins de 30 minutes la vie de cette star, mère, espionne et militante afro-américaine. Par touches subtiles, elle évoque un déhanché de charleston, mime le geste de tirer à l'arc et enfile un costume d'Amazone. « Je suis née au Bénin, j'ai grandi au Sénégal. Donc, les Amazones de mon pays, ce sont des guerrières. C'est à travers cette danse des Amazones que je montre la résistante, la combattante, celle qui a libéré les Noirs, les Mexicains, les Indiens et qui a libéré la France aussi ». Animée par l'esprit de Joséphine Baker, qu'elle a rencontrée à l'âge de 29 ans, Germaine Acogny poursuit aujourd'hui son combat pour les droits civiques : « Jusqu'à présent, ce racisme existe. Et dans les matchs de foot, il y a beaucoup d'Africains dans les équipes internationales qui jouent bien et on leur jette des peaux de bananes. Comme à des singes ! Eh ben, la banane, je l'ai jetée aussi. » Pour Germaine Acogny, icône de la danse africaine des temps modernes, amener le « Sacre du Printemps », ce rite païen aux rythmes saccadés, en Afrique était une évidence. À travers son école des Sables, cette chorégraphie sublime et tribale prend racine dans la terre.« Rien que ce nom, ça appelle beaucoup les ancêtres. Je me sens vraiment à la source, être en contact avec la terre, avec la communauté », réagit Aziz Zondi, danseur burkinabé. « C'est à la fois contemporain, à la fois doux – avec la douceur de la femme, l'énergie, la force des hommes », ajoute Manuela Hermine, danseuse ivoirienne. « Nous, on le redécouvre à chaque fois qu'on vient pour ce travail-là », renchérit Aziz Zondi. Déjà salué dans 17 pays, ce Sacre du Printemps plus universel que jamais n'a que rarement été applaudi devant un public aussi divers qu'à Paris. À lire aussiPour Germaine Acogny, «le corps des danseurs sera notre archive» des danses traditionnelles

We go inside George Balanchine's Rubies with Balanchine Trust Repetiteur, Nilas Martins. Nilas shared what keeps him intrigued with Balanchine's work is its unpredictability. The speed and precision to Stravinsky, makes it a must see!

Send us a textDescriptionBack to the Future: Neoclassicism in Music in 60 Seconds. Take a minute to get the scoop!Fun FactStravinsky admitted that Pulcinella wasn't just homage—it was liberation. “It was a backward look, of course,” he said, “but it was a look in the mirror too.” By reworking 18th-century melodies with his own twists, he essentially invented neoclassicism—proving that recycling old material can still create something revolutionary.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

We should give free nukes as reparations to any place we nuked in the past like Christmas Island and Bikini Bottom. Also eTickets is generating dogshit AI images of every artist currently on tour. Fortune Kit on Patreon: https://www.patreon.com/fortunekit Ending song: https://www.youtube.com/watch?v=PE58hz8U0Ms

Jan Swafford is a distinguished American author and composer, known for his insightful biographies of great composers like Charles Ives, Ludwig van Beethoven, and Wolfgang Amadeus Mozart. With degrees from Harvard and Yale, he's made significant contributions to classical music literature. His works, including the Vintage Guide to Classical Music and "Language of the Spirit," reveal the rich narratives behind the music we love. His unique insights and deep understanding of these composers illuminate their artistic journeys in a way that resonates with both music lovers and scholars alike.In our conversation, we explore the fascinating lives of Haydn and Mozart, delving into their prolific output and the support systems that fueled their creativity. Jan highlights how Haydn composed to commission, leading to his astonishing catalog of works, while debunking myths about Mozart's talent and lifestyle. “He worked himself to death because his body couldn't handle it anymore,” Jan reflects on Mozart's relentless pursuit of excellence.[Subscriber Content] In the subscriber section, Jan shares his thoughts on Tchaikovsky and Brahms, revealing personal preferences and insights about their contrasting styles. He also reflects on the evolution of music through the lens of history, discussing how composers like Schoenberg and Stravinsky marked a shift in musical innovation. Jan emphasizes the importance of authenticity in composition, stating, "It has to come from your core; otherwise, it's no good." Prepare for a warm exploration of music's profound connections to the human experience, as Jan shares his unique perspective on these influential figures.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

durée : 00:25:02 - Les Nuits de France Culture - par : Albane Penaranda - Une promenade autour de la fontaine Stravinsky à Paris en 1983, en compagnie du sculpteur suisse Jean Tinguely et du journaliste Pierre Descargues pour " Les après-midi de France Culture". - réalisation : Virginie Mourthé - invités : Jean Tinguely Artiste sculpteur suisse

David Robertson is a rare conductor who unites avant-garde complexity with accessibility. After serving as music director of the Ensemble Intercontemporain, Pierre Boulez's storied contemporary-music ensemble, he went on to rejuvenate the St. Louis Symphony. Robertson combines a fearless approach to challenging scores with a deep empathy for audiences. Tyler and David explore Pierre Boulez's centenary and the emotional depths beneath his reputation for severity, whether Boulez is better understood as a surrealist or a serialist composer, the influence of non-Western music like gamelan on Boulez's compositions, the challenge of memorizing contemporary scores, whether Boulez's music still sounds contemporary after decades, where skeptics should start with Boulez, how conductors connect with players during a performance, the management lessons of conducting, which orchestra sections posed Robertson the greatest challenges, how he and other conductors achieve clarity of sound, what conductors should read beyond music books, what Robertson enjoys in popular music, how national audiences differ from others, how Robertson first discovered classical music, why he insists on conducting the 1911 version of Stravinsky's Petrushka rather than the 1947 revision, and more. Read a full transcript enhanced with helpful links, or watch the full video on the new dedicated Conversations with Tyler channel. Recorded March 12th, 2025. Help keep the show ad free by donating today! Other ways to connect Follow us on X and Instagram Follow Tyler on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here. Photo Credit: Chris Lee

What's the first thing that comes to mind when you think of classical music? Maybe you imagine a conductor on a podium in a fancy outfit. Maybe you remember a heart wrenching moment in your favorite movie. Or maybe it's that McDonald's commercial that's been stuck in your head since the 1980s. Whatever your access point is to classical music, there's much to explore and enjoy. On this episode, we're talking with WUOL Program Director Daniel Gilliam about his own love of the genre, and what makes classical music so relevant and vital.

Today may be my final episode for Pride Month 2025, but it is most certainly not my final episode celebrating and affirming Pride and all our glorious forebears who preceded us! Today's episode is a belated birthday tribute to British tenor Peter Pears (22 June 1910 – 03 April 1986), most celebrated for his long-standing romantic and musical partnership with Benjamin Britten. However, as with my recent episode celebrating the artistry of Pierre Bernac apart from his performances of the music of Francis Poulenc, in today's episode, there is not a note of Britten's music to be heard. There is no question that Britten was a formative figure in Pears' artistic development, but throughout their lives together, he performed a wide range of music, from Pérotin to Lutosławski as an independent and enormously versatile artist. In this episode, I offer selections by Webern, Handel, Copland, Couperin, Stravinsky, Dowland, Tippett, Mozart, Holst, Bach, Copland, Berkeley, Schubert, Walton, Schütz, Debussy, Handel, Nordheim, Schumann, and David Bedford, among others, to offer a surprising portrait of this fascinating singer. Even if you have not (yet) acquired a taste for this (sometimes) controversial singer, I urge you to give it a listen, for not only does it present Pears in all his varieties, it also highlights his musical partnerships with Joan Sutherland, Sviatoslav Richter, Murray Perahia, Dennis Brain, Viola Tunnard, George Malcolm, Martha Mödl, Gré Brouwenstijn, Imogen Holst, and Noel Mewton-Wood (as well as a few clips with with his life-partner Britten at the piano). Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Composer Steve Reich is one of the most influential musicians of modern times. In the 1960s he helped rewrite the rules of composition, using analogue tape machines to experiment with rhythm, repetition and syncopation. As the godfather of musical minimalism, his influence on Philip Glass, David Bowie, Jonny Greenwood of Radiohead, and many other composers, has been enormous. Countless dance music producers also owe a debt to pieces including It's Gonna Rain, Drumming, Different Trains and Music for 18 Musicians. His music has been performed in concert halls all around the world, and his many awards include three Grammys, a Pulitzer Prize, the Polar Prize for Music and the Premium Imperiale. Steve Reich tells John Wilson how, at the age of 14, three very different recordings awoke his interest in music: Stravinsky's The Rite of Spring, Bach's 5th Brandenburg Concerto, and a piece of bebop jazz featuring saxophonist Charlie Parker, trumpeter Miles Davis and drummer Kenny Clarke. Inspired to start a jazz quintet of his own, Reich began to study percussion before enrolling in a music history course at Cornell University. It was here he discovered the music of Pérotin, the 12th century French composer associated with the Notre Dame school of polyphony in Paris. His beautiful sustained harmonies had a profound influence on Reich's own compositions, including Four Organs (1970) and Music for 18 Musicians (1976).Steve Reich also explains the significance of two books on his music; Studies in African Music by A.M.Jones and Music in Bali by Colin McPhee, both of which led to a greater understanding of music from parts of the world where music is passed down aurally rather than through notation.Producer: Edwina Pitman Additional recording: Laura Pellicer

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:27:07 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, de l'opéra, avec "Faust" de Gounod dirigé par Louis Langrée et mis en scène par Denis Podalydès à l'Opéra Comique, et "Histoire du soldat" de Stravinsky, sur un texte de Ramuz, dirigé par Alizé Lehon et mis en scène par Karelle Prugnaud au Théâtre du Châtelet. - réalisation : Laurence Malonda - invités : Emmanuelle Giuliani Journaliste à La Croix; Zoé Sfez Productrice de La Série musicale sur France Culture

durée : 00:11:21 - Les Midis de Culture - par : Marie Labory - Les critiques discutent de l'"Histoire du soldat", un opéra d'Igor Stravinsky composé en pleine Première Guerre mondiale sur un texte de Charles-Ferdinand Ramuz, dirigé par Alizé Lehon dans une mise en scène très circassienne de Karelle Prugnaud au Théâtre du Châtelet. - réalisation : Laurence Malonda - invités : Emmanuelle Giuliani Journaliste à La Croix; Zoé Sfez Productrice de La Série musicale sur France Culture

Music Director Andrew Litton invites us to See the Music in this enlightening introduction to the score for George Balanchine's 1972 ballet, Divertimento from ‘Le Baiser de la Fée.' With superlative accompaniment from Solo Pianist Elaine Chelton, Litton demonstrates the many ways in which Igor Stravinsky's "homage to Tschaikovsky" took inspiration from 16 different piano pieces by the legendary composer to weave an undeniably Stravsinkyian—and danceable, in Balanchine's word—orchestral suite. (11:42):  Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Le Baiser de la Fée (1928) by Igor Stravinsky Le Baiser de la Fée performed by Elaine Chelton

Our third Parisian revolution is another explosive night in the theatre, this time in the world of dance. David talks to Dominic Dromgoole about Stravinsky's The Rite of Spring, which provoked absolute outrage when it premiered in 1913. Is that what its impresario Diaghilev wanted? How did Nijinsky cope? Did the response foreshadow the trauma to come in 1914? And how did the set designer Roerich end up playing a part in American presidential history? Dominic Dromgoole's Astonish Me! First Nights that Changed the World is available wherever you get your books https://profilebooks.com/work/astonish-me/ Out this weekend: a new bonus episode on PPF+ exploring the far-reaching impact of Marinetti's Futurist Manifesto (1909), from pre-WWI Europe to Silicon Valley. Sign up now to get this and all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next time: PPF Live: Churchill – The Politician With Nine Lives Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's Parisian revolution is a theatrical performance that produced a riot. David talks to theatre director Dominic Dromgoole about Alfred Jarry's Ubu Roi (1896), which only ran for a couple of nights but left an indelible mark on the culture of the age and has resonated ever since. Why did a play effectively written by children provoke such a storm among the adults? What made it it blow the mind of W. B. Yeats who was in the audience? How can something so bad be so liberating? Next time: Stravinsky's The Rite of Spring Learn more about your ad choices. Visit megaphone.fm/adchoices

SynopsisCarlos Salzedo, the most influential harpist of the 20th century, was born in Arcachon, France, on today's date in 1885. Salzedo transformed the harp into a virtuoso instrument, developing new techniques showcased in his own compositions and that others like Stravinsky, Schoenberg, and Britten adopted in theirs.In 1921, Salzedo and Edgard Varese co-founded the International Composers Guild, promoting works by progressive composers like Bartok and Honegger. Salzedo's compositions for harp include both transcriptions as well as original works like Scintillation, probably his most famous piece, and Four Preludes to the Afternoon of a Telephone, based on the phone numbers of four of his students. He taught at the Curtis Institute and the Juilliard School, and offered summer courses in Camden, Maine. Hundreds of Salzedo pupils filled harp positions with major orchestras around the world. Salzedo himself entered the Paris Conservatory at 9 and won the premiere prize in harp and piano when he was 16. He came to America in 1909 at the invitation of Arturo Toscanini, who wanted him as harpist at the Metropolitan Opera, and — curious to note — Salzedo died in the summer of 1961, at 76, while adjudicating Metropolitan Opera regional auditions in Maine.Music Played in Today's ProgramCarlos Salzedo (1885-1961): Scintillation; Carlos Sazledo, harp; Mercury LP MG-80003