Podcasts about suite no

Ottorino Respighi (1879 - 1936)Antiche arie e danze per liuto Suite No. 1 I. Balletto, "Il Conte Orlando" (0:00) II. Gagliarda (2:25) III. Villanella (5:52)IV. Passo mezzo e mascherada (11:10)  ***15:16Antiche arie e danze per liuto Suite No. 2  I. Laura soave (0:00) II. Danza rustica (3:51) III. Campanae parisienses & Aria (7:32) IV. Bergamasca (12:41)  ***33:05Antiche arie e danze per liuto Suite No. 3 I. Italiana (0:00) II. Arie di corte (1:55) III. Siciliana (8:39) IV. Passacaglia (12:18) Los Angeles Chamber OrchestraSir Neville Marriner, conductor

In this interview with Tom Morris, a veteran of orchestra management whose career included leadership roles with the Boston Symphony and the Cleveland Orchestra, conductor Devin Patrick Hughes provides a comprehensive look at the inner workings of orchestral institutions, the evolution of their management, and the crucial role of music in their success. Morris's journey from a percussionist to a top-level administrator offers a unique perspective, and his reflections provide valuable lessons for anyone interested in the performing arts. One of the most compelling aspects of the interview is Morris's discussion of how his musical background shaped his management philosophy. He emphasizes his deep understanding of musicians' lives, having experienced firsthand the challenges and demands of performing in an orchestra. This empathy enabled him to build trust with musicians and approach labor negotiations with a unique perspective. Morris's belief that "ultimately these institutions are about the music" underscores the importance of passion and artistic integrity in organizational leadership. The episode also explores the historical evolution of orchestra management, particularly the Boston Symphony Orchestra. Morris recounts how, before the 1970s, the orchestra relied on simple postcards for subscription renewals. He explains that over the seventies and eighties, the percentage of the budget earned from ticket sales gradually fell. This shift necessitated the development of marketing and fundraising departments, leading to a significant increase in administrative staff.  Morris shares fascinating insights about the Boston Pops, emphasizing that it was founded in 1885, before Arthur Fiedler became its 17th conductor in 1929. The Boston Symphony created the Pops to provide more employment for musicians and to perform lighter music for a broader audience. He discusses how the Boston Symphony transformed Symphony Hall into a "beer hall" to accommodate a more informal setting for the Pops concerts. He explains that in the early days the Pops sold blocks of tickets to community groups and did not have to focus on individual ticket sales. He also recounts how the popularity of Arthur Fiedler was enhanced even further by the "Evening at Pops" television series. Morris details the process of selecting John Williams as Fiedler's successor, explaining that Williams was chosen for his musical integrity and knowledge of the symphony orchestra. Furthermore, the interview addresses the crucial dynamic between management, the music director, and the board of directors, which Morris refers to as the "Bermuda Triangle.” Morris suggests that this structure can function perfectly if the right people are in those roles and are bound by a common vision. He also emphasizes that having a collaborative culture is essential, but that collaborative decision-making should be avoided. Morris stresses the importance of clear lines of authority and not settling for "good enough" when hiring. He also shares that when hiring he uses Jim Collins' three C's: competence, character, and chemistry. These points underscore the need for strong leadership and a shared vision in any successful organization. Morris also touches on the importance of thoughtful programming. He humorously mentions his collection of "dumb programs" and emphasizes the importance of carefully considering the combination of pieces in a concert. He contrasts examples of bad programming with one of his favorites, a concert he organized with Christoph von Dohnányi, which combined pieces by Ligeti, Wagner, and Bruckner. This conversation highlights that thoughtful artistic direction is an essential element in the success of an orchestra. Thank you for joining us on One Symphony. Special thanks to Thomas Morris for sharing his life and leadership. You can pick up a copy of Always the Music: How a Lifelong Passion Framed a Future for Orchestras wherever you get your books. For a list of recordings played on today's episode, please check out our show notes. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music. https://www.alwaysthemusic.com Featured Music All music selections for this episode feature the Boston Pops.  Tchaikovsky's Serenade for Strings in C Major, Op. 48: Waltz. Conducted by Arthur Fiedler, from the album Fiedler: Greatest Hits.  L'Arlésienne Suite No. 2: Farandole. Composed by Georges Bizet. Conducted by Arthur Fielder, from the album Fiedler: Greatest Hits. “Manhattan Skyline.” From the album Disco Inferno / Manhattan Skyline. Conducted by Arthur Fiedler.  “I Got Rhythm, Embraceable You.” From the album Boston Pops Salutes Astaire, Kelly, Garland. Composed by George and Ira Gershwin. Conducted by John Williams.  “Flying Theme” from E. T. Composed by John Williams. Performed live by John Williams conducting the Boston Pops in 2002.  “America Medley: America.” From the album Salute to America. Composed by Leonard Bernstein. Lyrics by Stephen Sondheim. Conducted by John Williams.  “None But The Lonely Heart.” From the album Pops a la Russe. Composed by Pyotr Ilyich Tchaikovsky. Conducted by John Williams.  The Snow Maiden - Suite - Danse des Bouffons. Composed by Nikolai Rimsky-Korsakov. From the album Pops a la Russe. Conducted by John Williams.  Holst: The Planets, op.32: 3. Mercury, The Winged Messenger. From the album Boston Pops Orchestra: John Williams. Conducted by John Williams. Overture from The Merry Wives of Windsor. From the album Fiedler: Greatest Hits. Conducted by Arthur Fiedler.  “Pizzicato Polka.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  “Funeral March of a Marionette.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.  

We often think of composers as solitary geniuses, scribbling away at their masterpieces, working alone. But this isn't always the case. Gustav Holst, most famous for composing The Planets, struggled all his life with neuritis, a condition that made his arms feel like “jelly overcharged with electricity.” It was frequently impossible for him to play or even write, so, to bring his vision of our solar system to life, he needed help. This week, Donald Macleod charts Holst's interplanetary expedition and discovers the unsung heroes who placed him amongst the stars.Music Featured: The Planets, Op 32 Toccata, H 153 Symphony in F Major, Op 8, H 47 “The Cotswolds” (2nd mvt, Elegy, Molto adagio & 3rd mvt, Scherzo, Presto - Allegretto) Sita, Op 23, H 89 (Interlude) The Mystic Trumpeter, Op 18 Choral Hymns from the Rig Veda, Op 26 (3rd Group, H99) The Hymn of Jesus, Op37 / H 140 (Hymn II, Hymn III, Hymn IV) 5 Partsongs, Op 12, H 61 St Paul's Suite, Op 29, No 2 Ballet music from 'The Perfect Fool' H150 (Op 39) Sāvitri, Op 25 (I - VI) Ode to Death, Op 38, H 144 Suite No 2 for Military Band in F major, Op 28 No 2, H106 Choral Symphony, Op 41 (2nd mvt, Song and Bacchanal) Scherzo for Orchestra, H192 Hammersmith - Prelude and Scherzo, H178, Op 52 Egdon Heath Op 47 (1st mvt, Adagio - Poco Allegro - Andante maestoso) Brook Green Suite The Planets, Op 32 (Jupiter, the Bringer of Jollity) arr. for two pianosPresented by Donald Macleod Produced by Alice McKee for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Gustav Holst (1874-1934) https://www.bbc.co.uk/programmes/m0022sj0 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Since Russia first invaded Ukraine in 2014, Ukrainian musicologist and former director of Kyiv Symphony Orchestra Anna Stavychenko has made it her mission to promote Ukrainian classical music to the world. She's currently working on a novel about her experiences since Russia's full-scale invasion, which she started during a Harriman Institute residency for displaced Ukrainian artists at Columbia Global Centers Paris and the Institute for Ideas and Imagination. Listen to her story. Check out the Winter 2024 issue of Harriman Magazine to read an excerpt from Anna's novel in progress and other essays and articles about Ukraine. Click here to view a concert from Stavychenko's 1991 Project, hosted in collaboration with Columbia Global Centers | Reid Hall, which includes Maksym Berezovsky's Sonata for violin and harpsichord featured in the episode (23:19). Performed by Antonina Krysa and Olga Vardanyan. And click here to view the 1991 Project's concert featuring Zoltan Almashi's, Suite No. 1 for Cello Solo, performed by Olga Driga (14:14), and Victoria Poleva's Gulf stream for Two Cellos performed by Driga and Nataliia Ivanovska (45:53). Watch the he National Philharmonic of Ukraine's performance for the Paris Philharmonic in Kyiv.      

If you think you know what Peer Gynt is about, maybe think again! We'll give you the whole run down of the play, with the music from Suite No. 1 sprinkled in for context. Be sure to like and share with a friend!  Music: https://musopen.org/music/777-peer-gynt-suite-no-1-op-46/#recordings https://imslp.org/wiki/Peer_Gynt_Suite_No.1,_Op.46_(Grieg,_Edvard) https://creativecommons.org/licenses/by/3.0/legalcode

Aram Khachaturian (1903-1978) – Spartacus, Ballet Suite No. 1 1.       Introduction and Dance of Nymphs 2.       Introduction, Adagio of Aegina and Harmodius                            05:053.       Variations of Aegina and Bacchanalia                                            12:104.       Scene and Dance with Crotalums                                                  15:495.       Dance of the Gaditanian Maidens and Victory of Spartacus       19:43Scottish National OrchestraNeeme Järvi, conductor

Maurice Ravel - Daphnis and Chloe Suite No. 2Slovak Radio Symphony OrchestraKenneth Jean, conductorMore info about today's track: Naxos 8.553276Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Ottorino Respighi (1879 - 1936) Antiche arie e danze per liuto Suite n. 1 I. Balletto, "Il Conte Orlando"  II. Gagliarda  III. Villanella IV. Passo mezzo e mascherada   ***15:16Antiche arie e danze per liuto Suite n. 2  I. Laura soave II. Danza rustica III. Campanae parisienses & AriaIV. Bergamasca ***33:05Antiche arie e danze per liuto Suite n. 3 I. Italiana II. Arie di corte III. Siciliana IV. Passacaglia Orchestra da camera di Los Angeles Sir Neville Marriner, direttoreMore info: https://www.flaminioonline.it/Guide/Respighi/Respighi-Danzeliutoprima.htmlhttps://it.wikipedia.org/wiki/Antiche_arie_e_danze_per_liuto_(seconda_suite)https://www.flaminioonline.it/Guide/Respighi/Respighi-Danzeliutoterza.html

Fredrich Kuhlau (1786–1832) was a Danish composer of the late Classical and early Romantic periods who wrote prodigiously for the flute.  The final movement of his Fantasie for Solo Flute in D major, "Arietta and Variations" is charming,  virtuosic, and fun! The aria "Bati, Bati"  from Mozart's opera Don Giovanni is the theme. The operatic spirit shines in this 4 minute long gem.Georg Philip Telemann, Fantaisie No. 12, performed by Karen Kevra, flute Georg Friedrich Händel, Suite No. 5 in E Major, HWV 430:  IV. Air con Variazioni "The Harmonious Blacksmith" performed by Murray Perahia, piano Franz Schubert's Theme, from the Introduction, Theme, and Variations on "Trockne Blumen", D. 802 performed by Karen Kevra, flute and Jeffrey Chappell, pianoWolfgang Amadeus Mozart, Overture from Don Giovanni, K. 527, Hans Vonk, Staatskapelle DresdenWolfgang Amadeus Mozart, Aria: "Batti, batti, o bel Masetto", Cecelia Bartoli, soprano, Wiener Kammerorchester  Friedrich Kuhlau, Fantasie for Solo Flute in D major (Op. 38, No. 1),  movement 3, "Arietta and Variations", performed by Karen Kevra, fluteSupport the show

Percussionist, Educator, and Composer/Arranger Pablo Rieppi stops by to talk about his roles with the New York City Ballet Orchestra and the New York Philharmonic, Percussion on the Sound (P.O.T.S.), The Nutcracker, and playing the same repertoire over and over (03:00), the teaching portion of his career and pivoting to take younger percussion students (29:00), and composing/arranging for percussion, including recycling popular method books for new purposes (38:00).Finishing with a Rave on the 1976 autobiography Coal Miner's Daughter (55:30).Pablo Rieppi Links:Pablo Rieppi's homepageNew York City Ballet OrchestraPablo's Method BooksRhythmic Roots - Pablo RieppiPrevious Podcast Guest mentioned:Joshua Vonderheide in 2023Other Links:New York PhilharmonicThe Percussion ConservatoryGeorge BalanchineThe Firebird ballet - Igor StravinskyAppalachian Spring ballet - Aaron CoplandSymphony No. 3 - Piotr TchaikovskyMusic from Suite No. 3 - Piotr TchaikovskyChristopher LambJoe Pereira14 Modern Contest Solos - John S. PrattStick Control - George StoneSyncopation - Ted ReedInstruction Course for Xylophone - George H. GreenThe New Breed - Gary ChesterSamuel Z. SolomonRaves:Coal Miner's Daughter - Loretta Lynn and George Vecsey

Leadership Lessons From The Great Books #91 - Essays on Practical Politics by Theodore Roosevelt---00:00 Welcome and Introduction - Essays on Practical Politics02:00 Leaders Have a Vision of the Future05:41 Essays on Practical Politics by Theodore Roosevelt.11:46 What Kind of Guardians Do We Want to Rule Over Us?21:05 Effective Parliamentary Action Requires Hard Work, Tact, and Knowledge.26:50 Changing Political Demographics from 1883 to 2024.31:46 "The Character of Our Political Leaders."39:02 The Commodore Versus the Labor Leader Representative.43:19 Politicians Prioritize Power over Getting Things Done.52:30 Voters Unaware of Tax Burdens, Indifferent to Corruption.56:30 Breaking The Political Machine in 2024--and Beyond!01:00:35 The Power of Small Donors in American Politics.01:08:39 Why Learn About Politics and Policies? Listen!01:11:20 Staying on the Leadership Path with Essays on Practical Politics.Music: Sergei Rachmaninoff; Suite No. 2 for two pianos, Op. 17, recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston.The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see https://www.gardnermuseum.org.Opening theme composed by Brian Sanyshyn of Brian Sanyshyn Music.---Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON!Check out the Leadership Lessons From the Great Books podcast reading list!---Check out HSCT Publishing at: https://www.hsctpublishing.com/.Check out LeadingKeys at: https://www.leadingkeys.com/Check out Leadership ToolBox at: https://leadershiptoolbox.us/Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members.---Leadership ToolBox website: https://leadershiptoolbox.us/.Leadership ToolBox LinkedIn: https://www.linkedin.com/company/ldrshptlbx/.Leadership ToolBox YouTube: https://www.youtube.com/@leadershiptoolbox/videosLeadership ToolBox Twitter: https://twitter.com/ldrshptlbx.Leadership ToolBox IG: https://www.instagram.com/leadershiptoolboxus/.Leadership ToolBox FB: https://www.facebook.com/LdrshpTlbx.

A timely distraction provides the Agents an ample opportunity to place eyes on their quarry.Support The Work at: https://ko-fi.com/sorryhoneyVisit Us At: https://sorryhoney.captivate.fm/Join our Discord to tell us all the things we did wrong: https://discord.gg/XpUbfhCXVVFollow us on Twitter for additional content: https://twitter.com/SorryHoneyCastLikewise, Instagram: https://www.instagram.com/sorryhoneypodcast/Published by arrangement with the Delta Green Partnership. The intellectual property known as Delta Green is a trademark and copyright owned by the Delta Green Partnership, who has licensed its use here. Illustrations by Dennis Detwiller are reproduced by permission. The contents of this podcast are © GiggleDome Productions, LLC, excepting those elements that are components of Delta Green intellectual property.

Le Quatrième épisode d'une série de podcasts sur la thématique du son et de l'interprétation.Avec pour invité, la gambiste Lucile Boulanger. On écoute, on discute on joue...Bref, on passe un bon moment !Playlist : - Pièces de viole, Livre II, Suite No. 3 en ré majeur: Les voix humaines - Thomas Dunford- Pièces de viole, Livre II, Suite No. 3 en ré majeur: Les voix humaines - Jordi SavallOn joue le final de la sonate BWV 1029 en sol mineur de Jean-Sébastien BachSon : Renaud Duguet et Maxime MaryHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

TVC 629.5: Ed welcomes back singer/actor Robert Davi (License to Kill, The Goonies, Profiler, Davi Sings Sinatra). Robert will perform his music show, Robert Davi: My Kind of Town, an evening of music that pays tribute to both the Great American Songbook and his idol and mentor, Frank Sinatra, at the Black Box Center for the Arts, 8221 Glades Road, Suite No. 10, in Boca Raton, Florida on Sunday, Dec. 3. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Seven Pillars of Wisdom by T. E. Lawrence--- Welcome and Introduction Everything Once Old is Now New Again  The Literary Life of T.E. Lawrence Nobody Gets a “Vacation from History.” The Arab Revolt of WWI and the Overton Window The ‘Sick Man' of Europe Belief Unbound from Meaning  Picking Leaders from What You've Got Available  Dance with the Ones Who Brung You Who is Going to Do the Work of Leadership?  The Unbridled Cynicism of Realpolitik Staying on the Leadership Path Music: Sergei Rachmaninoff; Suite No. 2 for two pianos, Op. 17, recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston.The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see https://www.gardnermuseum.org.Opening theme composed by Brian Sanyshyn of Brian Sanyshyn Music.--- Pick up your copy of 12 Rules for Leaders: The Foundation of Intentional Leadership NOW on AMAZON! Check out the 2022 Leadership Lessons From the Great Books podcast reading list! --- Check out HSCT Publishing at: https://www.hsctpublishing.com/. Check out LeadingKeys at: https://www.leadingkeys.com/ Check out Leadership ToolBox at: https://leadershiptoolbox.us/ Subscribe to the Leadership Lessons From The Great Books Podcast: https://bit.ly/LLFTGBSubscribe Contact HSCT for more information at 1-833-216-8296 to schedule a full DEMO of LeadingKeys with one of our team members. --- Leadership ToolBox website: https://leadershiptoolbox.us/. Leadership ToolBox LinkedIn: https://www.linkedin.com/company/ldrshptlbx/. Leadership ToolBox YouTube: https://www.youtube.com/channel/UCJvVbIU_bSEflwYpd9lWXuA/. Leadership ToolBox Twitter: https://twitter.com/ldrshptlbx. Leadership ToolBox IG: https://www.instagram.com/leadershiptoolboxus/. Leadership ToolBox FB: https://www.facebook.com/LdrshpTlb

Another banger podcast episode, as we get into the slipstream of another race week. We talk to some interesting topics in the sport of Formula 1. Massa wants his money missed by not winning the F1 FIA 2008 World Drive Championship. I bring several articles of evidence to why Massa will not and should not have an overturned decision. DRS is becoming a hot topic. And, many wonder will the use of DRS be reformatted. Then I hear from live callers as to how they feel about Helmut Markos comments in regards to Max Verstappen taking teams like HAAS and AlphaTauri to pole positions.

Synopsis The name “George Templeton Strong” crops up frequently in both the Ken Burns documentary on the Civil War and Ric Burns' history of New York City. That George Templeton Strong was a lawyer and music lover who lived from 1820-1875, whose diary entries offer a detailed picture of daily life in New York City. But there's another member of the family we'd like to tell you about – the son of the famous diarist, George Templeton Strong, Junior, born in New York in 1856, and died in Geneva, Switzerland on today's date in 1948. The younger Strong became a fine oboist who played in various New York orchestras of his day. His father was not very happy about that. He wanted his son to study law. Moreover, Junior rebelled against his father's ultra-conservative tastes in music: Strong Senior detested the music of Liszt and Wagner, whereas Junior, who became a composer, modeled his works on those very composers. The sad father-son relationship is documented painfully in the final entries of the elder Strong's diaries. After a bitter argument, Junior left home and moved to Europe, eventually settling in Switzerland, where he pursued a dual artistic career as composer and watercolorist. Music Played in Today's Program George Templeton Strong (1856 - 1948) Evening Dance, fr Suite No. 2 Moscow Symphony; Adriano, conductor. Naxos 8.559078

Bach wrote this suite, one of a set of six, in the early 1720s, possibly as a wedding present for his second wife, Anna Magdalena. The collection later became known as the “French Suites”, but the name is misleading, given that each work contains movements inspired by dances from various national traditions. No. 5, for example, includes a German Allemande, a French Courante, a Spanish Sarabande, and an Irish/Scottish Gigue.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 Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Suite No. 1 in C major, BWV 1066 Ouverture Courante  Gavotte I/II Forlane  Menuet I/II Bourrée I/II Passepied I/II Instrumentation: Oboe I/II, bassoon, violin I/II, viola, basso continuoHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Opening Song: All I Have is Christ (https://open.spotify.com/track/4aleqpSFx0LQba6s52abGj?si=ff9cec29ef6b4cca) by Jordan Kauflin Lyrics: I once was lost in darkest night Yet thought I knew the way The sin that promised joy and life Had led me to the grave I had no hope that You would own A rebel to Your will And if You had not loved me first I would refuse You still But as I ran my hell-bound race Indifferent to the cost You looked upon my helpless state And led me to the cross And I beheld God's love displayed You suffered in my place You bore the wrath reserved for me Now all I know is grace Hallelujah all I have is Christ Hallelujah Jesus is my life Now Lord I would be Yours alone And live so all might see The strength to follow Your commands Could never come from me O Father use my ransomed life In any way You choose And let my song forever be My only boast is You Passage: I appeal to you, brothers,[a] by the name of our Lord Jesus Christ, that all of you agree, and that there be no divisions among you, but that you be united in the same mind and the same judgment. 11 For it has been reported to me by Chloe's people that there is quarreling among you, my brothers. 12 What I mean is that each one of you says, “I follow Paul,” or “I follow Apollos,” or “I follow Cephas,” or “I follow Christ.” 13 Is Christ divided? Was Paul crucified for you? Or were you baptized in the name of Paul? 14 I thank God that I baptized none of you except Crispus and Gaius, 15 so that no one may say that you were baptized in my name. 16 (I did baptize also the household of Stephanas. Beyond that, I do not know whether I baptized anyone else.) 17 For Christ did not send me to baptize but to preach the gospel, and not with words of eloquent wisdom, lest the cross of Christ be emptied of its power. Musical Reflection: Air from Suite No. 3 by J.S. Bach Reflection Notes: The slow, descending bass line creates musical “steps” in an elegant fashion while a suspended melody several octaves above creates a satisfying combination of sound registers. Prayer: Into your hands, O Lord, we commit ourselves this day. Grant to each one of us so to pass the waves of this troublous world, that finally we lose not the world eternal; through Jesus Christ our Lord. Amen.

Jess Gillam is joined by the Mumbai-born pianist Shivank Menon, to talk about the records that they love. Their playlist includes Rostropovich playing Bach, Sviatoslav Richter playing Chopin, songs by Ravel, Fanny Mendelssohn and Donny Hathaway, and a recording of Bill Evans duetting with himself. Playlist: MORELENBAUM2 & RYUICHI SAKAMOTO: Sabia J S BACH ARR. KODALY: Vater unser im Himmelrich, BWV 762 (Mstislav Rostropovich, cello; Herbert Tachezi (organ) CHOPIN: Polonaise No 7 in A flat, Op 61 (Sviatoslav Richter, piano) ROBERT DE VISÉE: Sarabande from Suite No 7 in D minor (Thomas Dunford, archlute; Jean Rondeau, harpsichord) FANNY MENDELSSOHN: Schwanenlied, Op 1 No 1 (Dorothea Craxton, soprano & Babette Dorn, piano + Benjamin Appl, baritone & James Baillieu, piano) RAVEL: Soupir from 3 Poèmes de Stéphane Mallarmé (Anne Sofie von Otter, mezzo-soprano) DONNY HATHAWAY: A Song for You BILL EVANS: Emily

Con Bill Evans y algunos registros de su época en Verve comenzamos un programa que sigue con estrellas incuestionables. Coltrane y Hartman, McCoy Tyner, Hancock, KashKashian interpretando a Bach o Haden con Baker y Pieranunzi y Billy Higgins. Make someone happy Bill Evans  Grandfather's Waltz Stan Getz y Bill Evans  I m Glad there is you Stan Getz y Oscar Peterson Trío My One and Only Love John Coltrane y Johnny Hartman  Search for Peace Herbie Hancock  Dolphin Dance Suite No. 2 In D Minor, BWV 1008 - Transcr. Bach para Viola - 1. Prélude Kim Kaskashian  Silence Charlie Haden con Chet Baker, Enrico Pieranunzi y Billy Higgins  B Minor Waltz (For Ellaine) Bill Evans  Escuchar audio

SYMPHONIC SUITE NO. 3THE FOREST AND THE MOUNTAINSMark John McEncroe composerZagreb Festival Orchestra | Ivan Josip Skender conductorAustralian composer Mark John McEncroe and Navona Records present SYMPHONIC SUITE NO. 3: THE FOREST AND THE MOUNTAINS featuring three orchestral movements that draw inspiration from the natural world—”Meandering in the Forest I,” “Running Mountain Streams II,” and “Wandering in the Mountain Wilderness III.” Brought to life by Zagreb Festival Orchestra, McEncroe's unique voice and filmic quality flow throughout, with musical illustrations painted by striking crescendos and gentle string and woodwind melodies.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Nolan has a spa day, Diggory meets an old friend, and Mr. Raven hatches a scheme. The theme of tonight's episode is Decadences.(To avoid spoilers, content warnings are listed at the end of this episode description).The bonus story that goes with this episode is ‘The Oldies', and is available for Hallowoods patrons on the show's Patreon, along with behind-the-scenes, exclusive merchandise, and more! Because the show runs without ads or sponsors, we rely on support from fans to guarantee the survival of this LGBTQ+ horror podcast.Hello From The Hallowoods is written and produced by William A. Wellman, a queer horror author and writing coach. You can visit their website for more information! The transcript for this episode is available on the Hello From The Hallowoods Website. Click here to read!You can also find Hello From The Hallowoods on social media! The show is on Facebook, Instagram, and Twitter at @thehallowoods. If you'd like to connect with other fans of the show, there's even a fan-run Discord Server!Music for this episode was used under license from Artlist.com. The soundtracks featured were: ‘Forest Overture', by Yehezkel Raz, ‘Cascade', by Kyle Preston,‘Flowing', by Borrtex, ‘Slowly Understanding', by Yehezkel Raz, ‘The Tree Who Grew On Water', by Yoav Ilan, ‘Zircon', by Ottom, ‘Northern Shores', by Ben Winwood, ‘Love You', by Yehezkel Raz, ‘Dead Leaves', by Yehezkel Raz, ‘Dance and Whisper', by ANBR, ‘Suite No. 1', by Ardie Son, ‘Grounded', by Jameson Nathan Jones, ‘Ganymede', by Yehezkel Raz, ‘Gravity', by Piotr Hummel, ‘Free Radicals', by Stanley Gurvich, ‘Exhale', by Salt of the Sound, And ‘Farewell', by Maya Belsitzman and Matan Ephrat Content warnings for this episode include: Nolan never wears clothes, Abuse, Violence, Kidnapping and abduction, Death + Injury, Body Horror, Static (including sfx), Emotional Manipulation, Drowning, Alcohol Mention, Racism towards froglins? 

SKIP TO 00:13:43 TO GET TO THIS WEEK'S EPISODE This episode is sponsored! Buy Manscaped products: https://www.manscaped.com & use code “LETSGETHAUNTED” for 20% off + free shipping. Welcome to Episode 127: The Tale of Spring-Heeled Jack! Victorian England was an exciting time of progress and growth, but you can't have growth without a few growing pains. By 1825, London was declared the largest city in the world, and its infrastructure struggled to keep up with the boom in industry and immigration. As London scrambled to find solutions to pressing issues such as housing, plumbing, and transportation, the newly formed London Metropolitan Police Force grappled with the issue of rising crime. We all know the story of Jack The Ripper, the notorious serial killer who preyed on Victorian sex workers, but before he could rear his ugly head in 1888, a different Jack was busy terrorizing the streets of London. Beginning his reign of terror in 1837 and, according to some, lurking on Britain's darkened streets and rooftops still today, this Jack would come to be known as: Spring-Heeled Jack. Come with us on a journey as we explore the story that would eventually be dubbed “The Victorian Era's First Urban Legend”. TIME STAMPS 00:00:40 - Donor Shoutouts 00:01:10 - Personal Hauntings 00:08:25 - Manscaped ad read 00:13:43 - Part I: Victorian London 00:40:48 - Part II: The Tale of Spring-Heeled Jack 01:35:53 - Part III: Unconfirmed Sightings 01:39:00 - Part IV: The Theories 02:07:00 - Sources —— Other Important Stuff: Buy Our Merch: https://www.letsgethaunted.com Donate to our stupid show: https://ko-fi.com/dogmomusa Check out the photo dump for this week's episode: https://www.instagram.com/letsgethaunted Send us fan mail: PO BOX 1658 Camarillo, CA 93011 Send us your listener stories: LetsGetHauntedPod@gmail.com —— BACKGROUND MUSIC Song: Triumph (No Copyright Music) Music and Production by Pepe Pérez TRIUMPH. Music Orchestral Instrumental EPIC Motivational. No copyright https://www.youtube.com/watch?v=2JsdH... Song: “Thanksgiving Background Music NO COPYRIGHT - Thanksgiving Dinner Music” By: Sound Center - Free Copyright Music Title: Home For The Holidays by TrackTribe Genre and Mood: Jazz & Blues/ Romantic Link: https://www.youtube.com/watch?v=Ihi_WzJXmQ4 Song: Victoria and Merrie England, Suite No. 1 from the ballet (1897) by Arthur Sullivan (public domain) Song: “Aftermath” by Kevin MacLeod found here: https://www.youtube.com/watch?v=zJApqlWZTHo Song: “Abyss” by Myuu, link: https://www.youtube.com/watch?v=_XmKYYm1Elw SOUND EFFECTS Effect Name: Track 6 of Spooky laugh sound effect no copyright | halloween laughter 2021 | scary laugh sound | HQ By: Nagaty Studio - Sound Effects Link: https://www.youtube.com/watch?v=2dMe5oVi0DU Effect Name: Evil Laugh Sound Effect HD | No Copyright (128 kbps) By: CoolSoundFX Link: https://www.youtube.com/watch?v=XjMiVRVpFs0 Effect Name: Horse and Carriage Transportation Sound Effects (No Copyright Sounds) By: Audio Library Link: https://www.youtube.com/watch?v=3-U9jumokRs Effect Name: Assassin's Creed - Victorian London Street - ASMR Ambience Effect Name: Steam Train Departing Sound effect By: Josh Link: https://www.youtube.com/watch?v=nkMgPf1AY6M

Mr. Raven plans a vacation, Buck writes some meeting minutes, and Percy grapples with the future. The theme of tonight's episode is Horizons.(To avoid spoilers, content warnings are listed at the end of this episode description).The bonus story that goes with this episode is ‘Reunion', and is available for Hallowoods patrons on the show's Patreon, along with behind-the-scenes, exclusive merchandise, and more! Because the show runs without ads or sponsors, we rely on support from fans to guarantee the survival of this LGBTQ+ horror podcast.The voice of Melanie Flores is Daisy Guevara. Based in NYC, Daisy can be found in podcasts like Meteor City, Mirage Diner, Greater Boston, Dreambound, Life with Leo(h), and The Perla Garcia Mysteries. You can find Daisy on Twitter at @DaisyG_VA, or their website at www.daisyguevara.com. Hello From The Hallowoods is written and produced by William A. Wellman, a queer horror author and writing coach. You can visit their website for more information! The transcript for this episode is available on the Hello From The Hallowoods Website. Click here to read!You can also find Hello From The Hallowoods on social media! The show is on Facebook, Instagram, and Twitter at @thehallowoods. If you'd like to connect with other fans of the show, there's even a fan-run Discord Server!Music for this episode was used under license from Artlist.com. The soundtracks featured were: ‘Forest Overture', by Yehezkel Raz, ‘Arise', by Onyx Music, ‘Flow State', by Theater of Delays, ‘Dance and Whisper', by ANBR, ‘We', by Fjodor, ‘Suite No. 1', by Ardie Son,‘Cascade', by Kyle Preston, ‘Living', by Borrtex, ‘The Wanderer', by Yehezkel Raz, ‘Moonlight Sonata - MVT 1. (Beethoven)', by Brooklyn Classical, ‘Early Morning Haze', by Yehezkel Raz, ‘Ganymede', by Yehezkel Raz, ‘Break of Day', by Charlie Ryan, ‘Just Jump', by Ian Post,‘Four on Five', by Yehezkel Raz, ‘Fathom', by Kyle Preston, ‘Dreaming Lucifer,' by Dan Alayon, ‘The Fire Gate', by Alex Grohl, ‘Exhale', by Salt of the Sound, And ‘Farewell', by Maya Belsitzman and Matan Ephrat Content warnings for this episode include: Heartbeats (including sfx), Abuse, Ableism, Animal death (Heidi as usual), Kidnapping and abduction, Death + Injury, Birds, Gun Mention, Violence, Gunshots (including sfx), Static (including sfx), Emotional Manipulation, Body horror

Among great pianists, Mikhail Pletnev is regarded as a magician. The latest release on Verbier Festival Gold showcases his powerful artistry in the realms of concerti and encores. This release opens with Haydn's D major Concerto, Hob. XVIII (led by Iván Fischer) and Tsfasman's Suite No. 1 for Piano (led by Kent Nagano). These works are followed by a handful of tantalizing encores from recitals in 2018 and 2021.Purchase the music (without talk) at:http://www.classicalmusicdiscoveries.sMikhail Pletnev - Concerti and Encores (classicalmusicdiscoveries.store)toreYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Opening Song: You Won't Let Me Go (https://open.spotify.com/track/572vlG7oJmRaiFxKujuaAI?si=01769b81c8364aa6) by Christopher D. Williams and Matt Nainby Lyrics: You're my hope and my soul's anchor Through the change You are the same I will wait for Your promise Until the end In the fire through the waters I will not lose hope You have called us sons and daughters You won't let me go I will run with endurance Fix my eyes on Jesus That I may not grow weary Or lose heart My trust is in You Lord I know that You hear me I know that You care My faith is in You God Through trials and heartache I won't let the world shake (my trust) Passage: 1 Therefore, since we are surrounded by so great a cloud of witnesses, let us also lay aside every weight, and sin which clings so closely, and let us run with endurance the race that is set before us, 2 looking to Jesus, the founder and perfecter of our faith, who for the joy that was set before him endured the cross, despising the shame, and is seated at the right hand of the throne of God. 3 Consider him who endured from sinners such hostility against himself, so that you may not grow weary or fainthearted. 4 In your struggle against sin you have not yet resisted to the point of shedding your blood. 5 And have you forgotten the exhortation that addresses you as sons? “My son, do not regard lightly the discipline of the Lord, nor be weary when reproved by him. 6 For the Lord disciplines the one he loves, and chastises every son whom he receives.” 7 It is for discipline that you have to endure. God is treating you as sons. For what son is there whom his father does not discipline? 8 If you are left without discipline, in which all have participated, then you are illegitimate children and not sons. 9 Besides this, we have had earthly fathers who disciplined us and we respected them. Shall we not much more be subject to the Father of spirits and live? 10 For they disciplined us for a short time as it seemed best to them, but he disciplines us for our good, that we may share his holiness. 11 For the moment all discipline seems painful rather than pleasant, but later it yields the peaceful fruit of righteousness to those who have been trained by it. 12 Therefore lift your drooping hands and strengthen your weak knees, 13 and make straight paths for your feet, so that what is lame may not be put out of joint but rather be healed. 14 Strive for peace with everyone, and for the holiness without which no one will see the Lord. (Hebrews 12:1–14 ESV) Musical Reflection: Air from Suite No. 3 by J.S. Bach Reflection Notes: The slow, descending bass line creates musical “steps” in an elegant fashion while a suspended melody several octaves above creates a satisfying combination of sound registers. Prayer: Keep your Church, O Lord, by your perpetual mercy; and because without you the frailty of our nature causes us to fall, keep us from all things hurtful, and lead us to all things profitable for our salvation; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.

"The psychological effect of all this key-shifting, some jerky, some smooth, is very difficult to describe...perhaps it is the magic of Bach that he can write pieces with this kind of structure which have such a natural grace to them that we are not aware of exactly what is happening." In this episode we use these words by author Douglas Hofstadter to explore Bach's harmony as a deep stack of entangled and recursive structures. A moment from listener Santiago is the smallest of these stacked units, and we use it to zoom out.    French Suite no. 4 as played by harpsichordist Pierre Hantaï for the Netherlands Bach Society (the Allemande is first): https://www.youtube.com/watch?v=J2rQtGtxpOw

Episode Notes We've got a special episode for you today! Jorie and Jesse play BROKEN, a two-player game of tragic romance. Listen to the episode to learn about our fussy, fancy Regency couple, torn apart by garden mishaps, scandal, and a drunken duel--and learn how you can support the full edition of BROKEN! Transcript: https://bit.ly/3zDX1Fw Instagram: https://www.instagram.com/therealmscast/ Twitter: https://twitter.com/therealmscast Website: https://therealmscast.com/ Patreon: https://www.patreon.com/ManyRealms BROKEN crowdfunding: https://apongames.itch.io/broken Music Many Realms Theme by Nik October (http://softonline.me) Waltz for the Emotional by Arylide Fields By the Bay by Leimoti My Darling by David Celeste String Quartet No. 12 in F Major, Op. 96, B 179, 'American' IV. Vivace Ma Non Troppo - Traditional Waftures by Bonn Fields An Austere Man by Fabien Tell Minuet from Suite No. 2 in B Minor (BWV 1067) - Traditonal Eventual Bloom by Rand Aldo Itinere by Helmut Schenker L'arrivee by Martin Klem

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee   Connect for FREE! The Friday Newsletter | Daily Gardener Community   Historical Events 1794 Birth of William Whewell ("Hyoo- uhl"), English polymath, scientist, and Anglican priest. He was Master of Trinity College, Cambridge. William was a unique blend of right and left brain aptitudes. As a university student, he was recognized for his work in both poetry and mathematics. In Elizabeth Gilbert's The Signature of All Things, she wrote of William's signature accomplishment - devising the word "scientist." She wrote, ...the word scientist had been coined, by the polymath William Whewell. Many scholars had objected to this blunt new term, as it sounded so sinisterly similar to that awful word atheist;  Why not simply continue to call themselves natural philosophers?  Was that designation not more godly, more pure?  But divisions were being drawn now between the realm of nature and the realm of philosophy.  Ministers who doubled as botanists or geologists were becoming increasingly rare, as far too many challenges to biblical truths were stirred up through investigation of the natural world.  It used to be that God was revealed in the wonders of nature;  now God was being challenged by those same wonders.  Scholars were now required to choose one side or the other.   1819 Birth of Queen Victoria, Queen of the United Kingdom of Great Britain and Ireland from June 20, 1837, until she died in 1901. Her reign of 63 years and seven months was longer than any previous British monarch and is known as the Victorian era. In 2019, Kensington Palace celebrated the bicentenary, the 200th anniversary, of Victoria's birth with a large floral display in the sunken garden. The display included blossoms from the Victorian era, such as heliotropes, cannas, pelargonium, and begonias. The humble violet was Queen Victoria's favorite flower. Today many plants are named for Queen Victoria, including the Victoria agave and the giant waterlily, Victoria amazonica.   1861 It was on this day that 45-year-old Anne Frobel, who lived outside of Alexandria, Virginia, not far from Mount Vernon started her Civil War diary with these words, I never saw 'Wilton' my dear old home looking more lovely and inviting.  The trees and plants had put on their loveliest spring attire, and the garden was resplendent with the bloom of rare and brilliant flowers, and the fields were all smiling with a bright prospect of an abundant harvest.    The following day, Anne's farmhouse, like many homes in Alexandria and all along the Potomac, was ceased by Union soldiers looking for quarters. Anne shared her home with her sister Lizzie. The two women never married.  Anne's journal gives a glimpse of what it was like for Southern women of the Civil War era to endure four years of occupation as troops and scavengers used their land for firewood, food, and water. One day, Anne recounted how a Union officer shared a story over dinner at her table about how he had destroyed the last turnips. Anne wrote, My very blood boiled!   1905 On this day, the banker H. Howard Pepper of Providence, Rhode Island, wrote a letter to the magazine Country Life in America, I have had the gardening fever for three summers. ...All the work in the garden is done by myself, and it takes about two hours a day.  We started with these objects in view: To have cut flowers for the house at all times. To have a mass of roses in the backyard. To have [flowers] in the garden all season. Our lot is the average city size, fifty by one hundred feet. The house is twenty feet from the street line, where there are two large elm trees that shade the lawn and beds in front. While these trees are beautiful and we would not part with them, yet they are great deal of trouble, They require spraying each spring, and their roots fill ... the drainpipes, causing much annoyance and expense. I should never plant elm trees near flowerbeds or drain pipes.  The backyard is surrounded by a five-foot board fence on the north and east and picket fence on the south. Climbing nasturtiums cover the picket fence, and [we want] to have climbers hide the board fence, which is covered with wire netting hung on hooks In case the fence is to be painted, the vines and netting can easily be laid down. A woodbine trumpet-vine and Clematis paniculeta are already established,  The single tuberous begonias are the best bedding plants I know; they bloom all summer.  Last year's hollyhocks were affected with blight; we have overcome that disease by spraying with ... One ounce of carbonate of copper made into a paste with one• half pint of water; slowly add one-half pint of strong ammonia water (twenty-six degrees}; water, nine gallons. Our spraying outfit consists of a wooden pail and whisk broom. The broom is far ahead of the ordinary syringe, as it is not so wasteful. The sweet-pea bed, or No. 5, is twelve feet long and three and one-half feet wide. Last year, by planting the peas four inches deep in the middle of October and giving them heavy covering during the winter, we had flowers on May 24th. Early in the fall the sweet peas and nasturtiums were removed to make way for the homemade cold- frame, with a second-hand sash that cost us one dollar. In this frame six by three feet are two hundred small plants of oriental poppies, foxgloves, cardinal flowers, and pansies, also three hundred cuttings of phlox, wisteria, hibiscus, snow-ball, althea, and roses. We have seventy-five rose bushes, mostly vigorous hybrid perpetuals. Last winter we carried over a number of hybrid tea roses by covering them with nail kegs filled with leaves, the kegs having one stave removed for ventilation. When the ground freezes, the rose beds receive a three-inch coating of fresh cow manure, part of which is forked in in the spring. Our greatest difficulty in gardening has been to keep the roses free from aphids. We have tried almost everything advertised but fall back on spraying with the hose. The roses receive weekly applications of liquid manure, two quarts to a plant, from the time the buds appear until they show color. It is usually applied after a rain or when the ground is wet, to prevent burning the roots. We have two piazza boxes. Last fall one was filled with snowdrops, scillas, chionodoxas and crocuses; the other with hyacinths and tulips; they were buried in a vacant lot near by, As soon as the ground thawed in the spring they were placed in position. The bulbs were succeeded by tuberous begonias.  We have raised hundreds of hardy plants like cardinal flowers, foxgloves, Boston ivies, and Oriental poppies in small candy and cigar bases placed on the walk in the rear of the house. Tin marshmallow boxes are excellent for this purpose, as they hold moisture longer than wooden boxes. Our chief error in growing seedlings has been in giving them too much sun. WHY WE HAVE A GOOD LAWN We take great delight in the back lawn because we have overcome SO much in getting it into its present condition.  The weeds are removed from the lawn at least twice a year. The grass is cut once in ten days and the clippings are not raked up.    Grow That Garden Library™ Book Recommendation Cultivated by Christin Geall This book came out in 2020, and the subtitle is The Elements of Floral Style.  This book is so highly rated on Amazon. There are almost 400 reviews, and this is a five-star book. I like to think of this book as a masterclass In floral design. The arrangement on the cover of this book is stunning. An excellent floral design book is so essential. It's a good thing to brush up on those skills - especially this time of year as we're wrapping up spring. We've got beautiful blossoms, like lilacs and peonies, and the roses are just starting to bud. And then, as we get into early summer, there is just an entire buffet of beautiful blossoms that you may want to cut and bring indoors. Just because you're a good gardener doesn't mean that you're a good floral designer or arranger. Like gardening, floral art is a skill that you can learn and get better at. Now I thought I would just give you a quick overview of how Christin has this book laid out. Because very quickly - you'll be able to deduce that Christin is truly a pro. She is a conscious-competent and when it comes to working with flowers. And that's precisely the kind of expert that you want. So Christin begins by talking about finding the flowers and the plants you want to work with. Now you can source many of these things right from your backyard or your patio as a gardener, or you can even supplement some of those with items that you forage or purchase when you're out and about. Then next, Christin has a section that she calls Gearing Up. Here, what she walks you through is everything from, Where are you going to work? (Do you have a potting bench or a room or part of your kitchen that you'll use when you're creating with cut flowers.) What are the vessels or the containers that you're planning on using? What are the tools you plan to use? (What Christin calls the mechanics). And then she has an entire section Where she talks about color. When I think about color, I think about both the art and the science of color. So if you're not good with picking colors, if you struggle with what color to paint a room or what colors to accessorize with, that struggle can translate into your work with flowers. Conversely, if you have a knack for choosing color or working with color, this section will be a slam dunk. But there is a science to it for those of us who struggle with color. And just like with gardening, you can get better and more confident in your work with color. Now two things I want to call out here that Christin talks about in her book that I think are especially helpful is she spends some time talking about two colors, in particular, which can be a true challenge for your work putting together floral designs. One is the color red. Red is such a bold color. And then the other color is green. While you might be thinking about green: how can green be a problem or a challenge? It's because there are different tones and shades of green, and believe it or not; there are times when the green you might be working with can conflict, get dragged down, or just be a little bit off with the rest of your floral work. So you do have to pay attention to the greens you're using. Now the following four sections that are covered in Christin's book, to me, are really where her expertise is. This is Christin in her wheelhouse. She talks about shape and shaping your work. There are so many ways to mold and take control of the form of your floral design. So I loved this section. And then she has one that's called learning from the past. And here is where she looks at garden history, and she looks at some of the best garden artists that have ever lived and how they composed with flowers. So she takes a look at, in particular at the Baroque style, what the Dutch masters were doing with their flowers and their flower paintings, the Rococo style, and SO on. Next, she features a little section on design, creativity and style, restraint, and constraint. And then, finally, she brings it all together by talking about how you can deepen your work: How you can know your why when it comes to creating with flowers. She spends a little bit of time talking about how to photograph flowers - a topic near and dear to my heart. Now I wanted to take one second here. And just share a little bit from what Christin writes in the introduction to this book. Christin is a gardener. She is a writer. She's a garden writer. And at one point, she found herself serving as a florist in residence on an estate in Scotland. And she had absolutely no experience as a florist. So, here's what she wrote. If you'd asked me at the time what I was doing in that shed in Scotland, the professor in me would have had an answer, but I myself might not have believed it: I was serving as a florist in residence on the estate. What does such a person do? I didn't know entirely, even after I pitched the idea to the owners and head gardener. They just let me get on with it, assuming I knew what "it" was.  So I roamed around with a borrowed bucket and wheelbarrow looking for flowers to pick in the dark days of October. I begged vessels and an old folding card table from the house manager. I tried to put together color palettes. I sought out places to photograph my arrangements. And I silently questioned my every move. One thing in my favor: I knew plants. I'd spent thirty years learning about them, growing them, selling them, and loving them.  So I made a deal with myself to do at least one arrangement a day, no matter what, and photograph it as best I could. I had no tripod, SO most of my pictures were blurry, and because of the latitude and time of year, there was very little light. I had no idea where my designs might take me from one day to the next, but no matter what, I got started. And that starting, that instinct to begin without a doubt, is what matters most. That's predominantly what this book is about-discovering how to see flowers. My magpie tendencies have thankfully suited me well; in this book you'll find color theory and discussions of fashion, form, and style but also ruminations on gardening and seasonality that I feel are fundamental to an appreciation of the art.    This book is rated a best-of-DIY book on Amazon. It is 224 pages of a fresh and thoughtful guide to flower arranging for gardeners. You can get a copy of Cultivated by Christin Geall and support the show using the Amazon link in today's show notes for around $14.   Botanic Spark 1884 On this day, the Russian composer Pyotr Ilyich Tchaikovsky ("chai-kaaf-skee") threw out his work on Suite No. 3 in G major, Op. 55 - and began all over again. Weeks earlier, he had written in his journal that he had gone out to his garden and found inspiration for the melody. He wrote, In the forest and indoors I have been trying to lay the foundation of a new symphony but - am not at all satisfied.... Walked in the garden and found the germ, not of a symphony, but of a future Suite. Prone to self-doubt and angst, Tchaikovsky was tender-hearted and easily wounded by critics of his work. Tchaikovsky's most popular music was often written for ballets like Swan Lake (1877), The Sleeping Beauty (1889), and The Nutcracker(1892), featuring a favorite melody on many gardener's playlists, The Waltz of the Flowers.  Tchaikovsky was a nature lover and a gardener. He loved flowers and spent much of his free time cultivating his flowers. He wrote in a letter on June 1 (13th), 1888. Just now I am busy with flowers and flower-growing. I should like to have as many flowers as possible in my garden, but I have very little knowledge or experience. am not lacking in zeal, and have indeed taken cold from pottering about in the damp. Now, thank goodness, it is warmer weather; I am glad of it, for you, for myself, and for my dear flowers, for I have sown a quantity, and the cold nights made me anxious for them....'   Later that same summer, on July 25 (August 6), 1888, Tchaikovsky wrote his patron once more, The real summer weather has not lasted long, but how I enjoyed it! My flowers, which I feared would die, have nearly all recovered, and some have blossomed luxuriantly. I cannot tell you what a pleasure it has been to watch them grow and to see daily- even hourly-new blossoms coming out. Now I have as many as - want.  When I am quite old, and past composing, I shall devote myself to growing flowers.   Today, the Tchaikovsky House and Museum still stands at his final country home in Klin ("Kuh-lin"), 85 kilometers northwest of Moscow. Tchaikovsky loved his place in Kiln. He once wrote, It is impossible to suggest a better a more suitable way of living than in the countryside. After each new trip to Moscow I come to realize more and more how city life ruins me. Each time I return here I'm completely ill, but I immediately recover in my quiet corner. and Never before have I reveled so much in the beauty of spring, the awakening vegetation, birds returning home – in short, everything which is brought by the Russian spring, actually the most beautiful and jovial spring on earth.   Tchaikovsky's garden was essentially an idealized forest garden - a little wild and wooly - with a winding path and a gazebo. Tchaikovsky loved wildflowers and woodland flowers. One of his favorite flowers was the lily of the valley. He even wrote a poem about it, telling his brother Modest that, like his musical compositions, he was  "terribly proud of this poem." There he is!  I pluck the wondrous gift of the enchantress Spring. O lily of the valley, why do you so please the eye? Where lies the secret of your charms?  ...Your balmy fragrance, Like flowing wine, warms and intoxicates me, Like music, it takes my breath away, ...I am happy while you bloom.   Fittingly, after Tchaikovsky's death at 53, his brother Modest planted lilies of the valley all around the garden at Kiln. Modest also grew other favorites enjoyed by his brother, like violets, forget-me-nots, and bluebells. Today, the garden also boasts roses, begonias, gillyflowers, phloxes, sweet tobacco, and a large statue of Tchaikovsky sitting on the end of a garden bench. You can get your picture taken beside him among the flowers.   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.    

The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for keyboard between 1722-25. Although suites 1–4 are typically dated to 1722, it is possible that the first was written somewhat earlier. They were later given the name French. Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who mentioned they were written in the French style. This, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably lead to the tradition of calling them "French" Suites.

Johann Sebastian Bach was incredibly generous with the flute.  He wrote several full scale sonatas, gave the flute has starring roles in two of the Brandenburg concerti, and beautiful obbligato parts in countless arias, but there is just one solo partita. The slow movement from his A minor flute Partita-a Sarabande -is a dance form with both Arab and Spanish origins and has a silky, sensual quality. Imagine a kind of "dance of the seven veils. " Way back in 1583, King Philip II of Spain had  the Sarabande banned because it was said to ‘excite bad emotions'.Georg Philip Telemann, Fantaisie No. 12J.S. Bach Brandenburg Concerto #5 in D major, BWV 1050 mmt. 1 AllegroKaren Kevra-flute,  Lucy Chapman-violin Elizabeth Metcalfe-harpsichord  J.S. Bach "Schafe können sicher weiden" (Sheep may safely graze) from his Cantata BWV 208. Hyunah Yu-soprano, Karen Kevra & Kenichi Ueda-flutes  J.S. Bach, Prelude from Suite No. 1 in G Major, BWV1007, Edward Arron-celloAll flute pieces performed by  Karen Kevra Manuscript of J.S.Bach's Partita in A minor.www.capitalcityconcerts.orgSupport the show

Live from the Grand Teton Music Festival is a series of one-hour podcasts hosted by Music Director Sir Donald Runnicles and GTMF General Manager Jeff Counts. Season Five's episodes celebrate the Festival's 2021 return to live performances at Walk Festival Hall in Jackson Hole.Grand Teton Music Festival OrchestraMaurice RavelMa mère l'Oye (Mother Goose): SuiteStéphane Denève, conductorDaphnis et Chloé, Suite No. 2Louis Langrée, conductorBoléroLouis Langrée, conductor

这一期的播客请徐徐来聊我俩2年前开始学习的乐器：1. 从善如流开始学习古典吉他的真正原因2. 摸鱼去上课 -- 介绍下我们的老师和每个月去上课的情况3. 每天练多长时间的琴，最近有练到什么很难的曲子吗4. dream piece是哪一首，距离它还有多远5. 和乐器再婚至今感受如何，有没有想过再换一个乐器结婚的想法（比如amy有想先一个结婚的是电贝斯），想要喝一个乐器长久成为朋友又什么秘诀和经验op - Suite No. 3, BWV 1009, In C:Courante, Janos Starkered - Suite (Partita) in A minor, BWV 997 (originally in C minor):I. Preludio - Fuga

MÚSICA Johann Sebastian Bach - Menuet I and II from Suite No 1 in G Major BWV 1007 (CD) Romualdo Barone: JS Bach Suite No 1 G Major BWV 1007 © Magnatune – www.magnatune.com -- AUTOR DOS TEXTOS Olímpia Ferreira -- LEITORES André Rodrigues (pontos) Teresa Almeida (textos bíblicos)

上周，后浪剧场主播小树和运营Ace带着一支使用了22年的钢笔去参加大小电台发起的时间胶囊展览，并且和大小电台的朋友一起聊了聊表达的事儿，大家虽是第一次见面，却相谈甚欢，自由地表达、交流，我们聊到的内容有：我们为什么要表达？表达可以让我们更了解自己吗？文字、图片、声音、身体、空间、穿搭、社交媒体、创造品牌，不同的表达工具各有哪些特点？你最熟悉的表达方式是什么？关于表达，最重要的事是什么？ 【staff】 主播丨Vivi（大小电台）、马主理（大小电台）、小树（后浪剧场）剪辑丨大卫封面丨咩咩运营丨Ace（微博@逍遥醉梦仙THEATRE）文案丨小树（豆瓣@树儿）本期歌单Suite No. 3, BWV 1009, In C:Gigue往期相关 Vol.266回望2020丨2个人，2封信，记录生长与重塑https://www.ximalaya.com/renwenjp/12154265/369964998Vol.197立春特辑丨《不畏风雨》，我想成为这样的人（国内版）https://www.ximalaya.com/renwenjp/12154265/249805960Vol.198抗疫特辑丨《不畏风雨》，我想成为这样的人（国际版）https://www.ximalaya.com/renwenjp/12154265/254161357【听友群】欢迎大家加入我们的听友群，一起聊与艺术有关的一切~~入群方式：1、 保存下图，用微信扫码即可加入群聊。2、在【后浪剧场】公众号右侧菜单栏“联系我们”点击“交流社群”，即可获得群二维码，扫码即可加入群聊。3、在【后浪剧场】公众号后台回复“群”“社群”“交流群”“后浪剧场听友群”，即可获得群二维码，扫码即可加入群聊。4、添加【后浪剧场】小浪浪vx（langpostwave），备注来源的播客平台，会邀请您入群。【收听方式】推荐您使用小宇宙App、喜马拉雅FM订阅收听【后浪剧场】，也可通过网易云音乐、酷狗音乐、蜻蜓FM、QQ音乐、汽水儿App等平台收听。【互动方式】公众号：后浪剧场微博：@后浪剧场