Podcasts about Symphonie fantastique

durée : 00:18:08 - Le Disque classique du jour du lundi 07 avril 2025 - Sorcières et fantômes abondent dans ce nouveau disque de l'Orchestre symphonique de San Francisco, dirigé par son directeur musical depuis 2020 : le chef finlandais Esa-Pekka Salonen.

durée : 01:27:09 - En pistes ! du lundi 07 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - D'un côté la danse avec le bal de la Symphonie Fantastique de Berlioz, et de l'autre le recueillement à l'écoute de la Messe en si de Jean-Sébastien Bach. Mais aussi : les Airs et Brunettes pour flûte traversière de Jacques-Martin Hotteterre ou encore l'œuvre pour piano d'Antonín Dvorák...

durée : 00:18:08 - Le Disque classique du jour du lundi 07 avril 2025 - Sorcières et fantômes abondent dans ce nouveau disque de l'Orchestre symphonique de San Francisco, dirigé par son directeur musical depuis 2020 : le chef finlandais Esa-Pekka Salonen.

durée : 01:27:09 - En pistes ! du lundi 07 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - D'un côté la danse avec le bal de la Symphonie Fantastique de Berlioz, et de l'autre le recueillement à l'écoute de la Messe en si de Jean-Sébastien Bach. Mais aussi : les Airs et Brunettes pour flûte traversière de Jacques-Martin Hotteterre ou encore l'œuvre pour piano d'Antonín Dvorák...

Taking a look into The Empire State Youth Orchestra and their upcoming concerts. These concerts not only highlight the incredible dedication of ESYO's young musicians but also demonstrate the power of collaboration in shaping the next generation of artists.They include “Fluid Realities: An Orchestral Exploration featuring Symphonie Fantastique” on 3/30 at 3:00 pm at Troy Savings Bank Music Hall. The next concert is “Symphony Orchestra with RPI Symphony Orchestra” on 4/5 at 2:00 pm at Troy Savings Bank Music Hall.

This Day in Legal History: Jack Ruby ConvictedOn March 14, 1964, Jack Ruby was convicted of murdering Lee Harvey Oswald, the accused assassin of President John F. Kennedy. Ruby, a Dallas nightclub owner, had shot Oswald on live television two days after Kennedy's assassination, as police were transferring Oswald from the city jail. The highly publicized trial concluded with a guilty verdict, and Ruby was sentenced to death. However, in 1966, the Texas Court of Criminal Appeals overturned the conviction, ruling that improper testimony had been admitted and that the trial should not have taken place in Dallas, where impartiality was questionable. A retrial was ordered, but before it could proceed, Ruby died of lung cancer on January 3, 1967. His actions and their legal consequences remain a topic of debate, with some believing he was motivated by grief and others suspecting a broader conspiracy.Ruby testified before the Warren Commission in July 1964, providing a rambling account of his mental state and possible connections to figures of interest. Arlen Specter, a future U.S. Senator from Pennsylvania, was among those questioning him. The case highlighted due process concerns, particularly regarding venue changes in high-profile trials, and underscored the legal system's challenges in handling emotionally charged cases with national significance.Two federal judges, one in Maryland and another in California, have ordered the Trump administration to reinstate thousands of probationary federal workers who were fired as part of a sweeping effort to shrink the government. The rulings represent the most significant legal challenge yet to Trump and adviser Elon Musk's aggressive push to cut federal jobs. The Maryland case, led by 20 Democratic-led states, targeted 18 agencies accused of unlawfully dismissing workers without following required procedures. Judge James Bredar ruled that the firings amounted to mass layoffs requiring prior notice to state governments.In California, Judge William Alsup reached a similar conclusion, ordering reinstatement for workers at six agencies, including the Department of Defense. He criticized the U.S. Office of Personnel Management (OPM) for directing agencies to fire workers en masse without legal authority. The Trump administration argues that probationary employees have few job protections and can be terminated for nearly any reason. However, Democratic-led states claim the firings violated regulations requiring agencies to provide 60 days' notice before mass layoffs.At least 24,000 probationary workers have been fired since Trump returned to office, affecting agencies such as the EPA, Department of Education, and Homeland Security. The Merit Systems Protection Board has also intervened, recently ordering the Agriculture Department to temporarily reinstate nearly 6,000 workers. Meanwhile, unions and advocacy groups continue legal efforts to block further terminations, with the American Federation of Government Employees calling the rulings a victory against an administration aiming to cripple federal agencies. The Trump administration has vowed to fight back against the court orders, arguing they undermine presidential authority.Fired Workers at 18 Agencies Reinstated in Court Blow to TrumpUS judges order Trump administration to reinstate thousands of fired workersColumbia University has issued severe punishments to students involved in a pro-Palestinian protest that occupied a campus building last spring, including expulsions and temporary degree revocations. The announcement follows the Trump administration's decision to cancel $400 million in federal funding to the university, citing an inadequate response to antisemitism. Interim President Katrina Armstrong acknowledged the government's concerns and pledged cooperation. However, the university has not disclosed the number of students disciplined, nor their identities, citing privacy laws.Critics argue the crackdown is politically motivated, particularly since the expelled student union president, Grant Miner, was removed just before contract negotiations with the university. The Trump administration has escalated its efforts against what it labels "pro-Hamas" protests, detaining Columbia student Mahmoud Khalil, a protest leader, for deportation—though a federal judge has temporarily blocked the move. These actions raise serious concerns about the suppression of campus activism and whether the university's response was driven by financial and political pressure rather than an impartial disciplinary process.Columbia's handling of the protests appears to be shaped more by government pressure than by a genuine commitment to campus safety or free speech. The timing of expulsions, particularly targeting a union leader, suggests a broader effort to stifle dissent rather than uphold academic integrity. The federal crackdown on protesters further complicates the situation, blurring the line between addressing antisemitism and suppressing legitimate political expression.Columbia University punishes pro-Palestinian protesters who occupied building | ReutersNewsmax has paid $40 million to settle a defamation lawsuit filed by Smartmatic over false claims that the company helped rig the 2020 U.S. election for Joe Biden. The settlement was reached privately last year, but the amount was disclosed in a recent investor filing. Smartmatic sued Newsmax in 2021, alleging the network knowingly spread misinformation, falsely stating that its machines were hacked and that it was backed by corrupt regimes. Newsmax defended its reporting as protected by the First Amendment but later clarified its coverage and invited Smartmatic to respond on air, an offer Smartmatic declined.Smartmatic had initially sought between $400 million and $600 million in damages. Meanwhile, the company continues its $2.7 billion defamation lawsuit against Fox News, following a historic $787.5 million settlement Fox paid to Dominion Voting Systems. The Newsmax case underscores the financial and legal consequences media outlets face for amplifying election misinformation, particularly when it leads to measurable reputational and financial harm.Newsmax paid $40 million to settle defamation suit over US 2020 election claims | ReutersThis week's closing theme is by Hector BerliozOn this day in 1869, French composer Hector Berlioz passed away, leaving behind a legacy of bold orchestration, vivid storytelling, and groundbreaking compositions that pushed Romantic music to new heights. Born in 1803, Berlioz defied his family's wishes for him to become a doctor, instead immersing himself in the world of music, where his dramatic flair and innovative techniques set him apart. He was a master of programmatic music, crafting works that told intense, almost cinematic stories through sound.His most famous composition, Symphonie Fantastique, is a perfect example of this. Written in 1830, the symphony follows a tormented artist haunted by unrequited love, spiraling into madness and hallucination. The final movement, “Dreams of a Witches' Sabbath,” is a feverish nightmare of swirling strings, eerie bells, and grotesque dance rhythms, as the protagonist imagines his own funeral turned into a macabre celebration. The piece is filled with dark energy, blending horror and exhilaration in a way that was revolutionary for its time.Berlioz's influence stretched far beyond his own era, inspiring composers like Wagner, Mahler, and even film composers of the 20th century. Though he struggled for recognition during his lifetime, often facing resistance from conservative critics, his music eventually gained the admiration it deserved. His orchestral mastery and fearless storytelling continue to captivate listeners today.To close this week, we leave you with the chilling and electrifying "Dream of a Witches' Sabbath" from Symphonie Fantastique, a piece that perfectly embodies Berlioz's genius for the dramatic and the surreal.Without further ado, Hector Berlioz's “Dreams of a Witches Sabbath” from his Symphonie Fantastique. Enjoy!  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Laura Jackson, Reno Phil Music Director and Conductor, talks with Chris Morrison about the Reno Phil's “Symphonie fantastique” concerts, the third concerts of the orchestra's 2024-25 Classix season, on January 25 and 26, 2025. The program includes La valse by Maurice Ravel, the Cello Concerto No. 1 in A minor by Camille Saint-Saens, with cello soloist Sterling Elliott, and the Symphonie fantastique by Hector Berlioz.

I'm so happy to share this live episode of Sticky Notes that I did with the Aalborg Symphony Orchestra in Denmark back in October! This episode covered Berlioz's remarkable Symphonie Fantastique - the ultimate symphonic thrill ride. Join the orchestra and I as we talk our way through this symphony, from it's opium fueled back story, to its innovative structure and style, to the dreams and reveries of the first movement and the sadistic glee of the final two movements, and a whole lot more. Thank you to the Aalborg Symphony for their participation in this project, and I hope all of you listening have had a wonderful holidays and a Happy New Year! See you in the New Year with all new episodes from Beethoven's Opus 135 String Quartet to Smetana's Ma Vlast and much much more!

durée : 00:05:09 - Classic & Co - par : Anna Sigalevitch - La Symphonie Fantastique de Berlioz se jouera les 4 et 5 décembre à la Philharmonie par l'Orchestre de Paris et le 6 décembre à l'Opera Berlioz de Montpellier par l'orchestre national Montpellier Occitanie…

Wenige Jahre nach dem Tod Ludwig van Beethovens hat der Franzose Berlioz die Musikwelt kräftig erschüttert und die Geschichte der Symphonie nachhaltig in Richtung Moderne gelenkt. Auf den Spuren der „Fantastischen“, die der Komponist selbst als Protokoll eines Opiumrauschs bezeichnet hat, fragen wir uns, wie aus einem solchen Experiment eine der meistgespielten Symphonien des klassischen Konzertrepertoires werden konnte.

Radio Filharmonisch Orkest Groot Omroepkoor Pablo Heras-Casado, dirigent Julia Selina Blank, koordirigent Sophie Harmsen, mezzosopraan Patrick Grahl, tenor Kartal Karagedik, bariton - Felix Mendelssohn - Die erste Walpurgisnacht op.60 - Hector Berlioz - Symphonie fantastique

‘Prelude' is de opmaat naar het AVROTROS Vrijdagconcert! Radio Filharmonisch Orkest Groot Omroepkoor Pablo Heras-Casado, dirigent Julia Selina Blank, koordirigent Sophie Harmsen, mezzosopraan Patrick Grahl, tenor Kartal Karagedik, bariton Mendelssohn Die erste Walpurgisnacht Berlioz Symphonie fantastique Meer info & kaarten (https://www.npoklassiek.nl/concerten/0f1a89f5-fe8d-40f6-8d86-42299d557f28/berlioz-symphonie-fantastique) In deze podcast vertelt presentator Leonard Evers je iedere week meer over de bijzondere stukken die gaan klinken in TivoliVredenburg én op NPO Klassiek. Dat doet hij samen met verschillende gasten die in de studio aanschuiven. Aan de hand van muziekfragmenten word je warm gemaakt voor de mooie composities die je te wachten staan. Abonneer je nu! Alles over het AVROTROS Vrijdagconcert (https://www.nporadio4.nl/programmas/avrotros-vrijdagconcert) Prelude-Spotifylijst 'Leonards luistertips' (https://open.spotify.com/playlist/0HnaH8gzitGVB6zboIzgbu)

durée : 00:23:34 - Disques de légende du mardi 05 novembre 2024 - Igor Markevitch est un grand chef. il n'a cependant dirigé les orchestres les plus célèbres qu'en tant qu'invité.

durée : 00:23:34 - Disques de légende du mardi 05 novembre 2024 - Igor Markevitch est un grand chef. il n'a cependant dirigé les orchestres les plus célèbres qu'en tant qu'invité.

本篇選曲為Orchestre National de Wallander所演奏版本 作曲家：白遼士Hector Louis Berlioz

Berlioz's symphonie fantastique is a great symphony for anyone to get into. It's full of drama, crazy witch cackles and lovers dancing on bones/graves. Lisa Fevral: https://www.youtube.com/channel/UCJdvK5wMriowQqbGC7G0lDA https://twitter.com/LisaFevral https://www.instagram.com/lisafevral/

Lots of fun to be had this weekend, whether you're heading out to a show, or hanging out in your neighborhood. The fun starts Thursday night with the "Happy Together" tour at the Florida Theatre, featuring The Turtles and other 60s/70s headliners for a great night of nostalgic chart toppers (I'm particularly looking forward to Badfinger)! The Jacksonville Symphony wraps up their season with the Symphonie Fantastique! Get your exercise on with Veteran United's "Sip & Stretch" yoga and mimosas! And if you're strolling through Avondale, you might run into some WOKV folks sampling the neighborhood's desserts. Check out the full lineup of events in our Weekend Spotlight story!

Leo wants a day off. Frank has other ideas. [The title and description of this episode has been edited since its release - this bonus episode was originally released as S2 E7 for maximum April Foolishness]SFX Warnings: Eating sounds (brief crunching at 2:11 and 2:31, and swallowing at 2:38), intermittent bleeping (between 11:25 and 11:40).Content Warnings: Creepy dolls, some light-hearted physical violence, and completely and utter foolery throughout..Transcript: https://tellnotalespod.com/transcripts/transcript-s2-e7-a-day-where-nothing-weird-happensWritten and produced by Leanne Egan. In this episode you heard the voices of Asher Amor-Train, Leanne Egan, and Phil Thompson.Twin Strangers Productions is partly sponsored by World Anvil, the leading tool for creatives of all varieties. To support TSP and get 51% OFF of a yearly World Anvil subscription, click here (link: https://worldanvil.com/?c=tnt) or use the promo code tnt at checkout.Twin Strangers Productions is partly sponsored by BroadlyEpi, a rapidly growing repository of information and education about public health and epidemiology. To find more information and support Tell No Tales, go to https://www.broadlyepi.com/tsp/Intro and outro music by LumehillThe conveniently public domain music that Leo and Frank chose to listen to today was Grieg's In the Hall of the Mountain King, Tchaikovsky's Waltz of the Flowers, Tchaikovsky's Romeo & Juliet, Rimsky-Korsakov's Flight of the Bumblebee, and Berlioz's Symphonie Fantastique, Op. 14, 3. Scene aux Champs. Performance sourced from Musopen.orgSound effects sourced from Epidemic Sound and Soundsnap.Art by Ana BalaciFind more info on our website tellnotalespod.com or at @tellnotalespod on Tumblr or TwitterDistributed by Twin Strangers Productions Hosted on Acast. See acast.com/privacy for more information.

This Day in Legal History: Happy Birthday RBG!On this day in legal history, March 15 marks the birth of an iconic figure in American jurisprudence, Justice Ruth Bader Ginsburg, born in 1933 in Brooklyn, New York. As the second woman ever appointed to the U.S. Supreme Court, Ginsburg's legal career was marked by a steadfast commitment to justice, equality, and the rule of law. Before her appointment to the Supreme Court in 1993 by President Bill Clinton, Ginsburg had already made significant contributions to the legal field, notably through her work with the Women's Rights Project of the American Civil Liberties Union during the 1970s. Her strategic litigation before the Supreme Court as an attorney broke down numerous legal barriers, leading to greater gender equality. Justice Ginsburg's opinions, both majority and dissenting, on the Supreme Court bench were known for their clarity, depth, and unyielding dedication to civil rights. Notably, her dissent in cases like Ledbetter v. Goodyear Tire & Rubber Co. inspired legislation to ensure fair wages for women, highlighting her influence extending beyond the judiciary to the legislative domain. Ginsburg's legacy is not only embedded in her monumental judicial writings but also in her role as a cultural icon, affectionately dubbed "Notorious RBG," symbolizing her enduring impact on generations of lawyers, activists, and ordinary citizens. Her passing in September 2020 was mourned across the nation, reflecting the profound loss of a legal titan who dedicated her life to advancing equality and justice for all Americans.The IRS, in collaboration with the Department of Justice, has initiated a significant enforcement push against crypto tax fraud, marking a new phase with the first standalone criminal charges in this domain. Frank Richard Ahlgren III from Austin, Texas, faced accusations of underreporting or failing to report over $4 million in Bitcoin sales for the years 2017 and 2019, along with significant capital gains derived from these transactions. This case is notable as the first instance where charges were made solely for failing to accurately report cryptocurrency earnings and gains on tax returns, signaling the IRS's increased focus on tax compliance within the cryptocurrency sector.The IRS has been enhancing its efforts in understanding and regulating the cryptocurrency market, issuing guidelines on crypto staking and proposing rules for broker reporting, which would mandate exchanges to report user transactions and identities. Experts see this as a major advancement for the IRS, reflecting years of building technical resources and expertise to tackle crypto tax fraud independently, without relying on other criminal investigations.Tax compliance for cryptocurrency can be complex due to the difficulty in tracking the purchase and sale history of digital assets, complicating the determination of tax obligations. Despite misconceptions about the anonymity of crypto transactions, the IRS is actively disproving this narrative, hiring industry experts to deepen its understanding of the space and strengthen its enforcement capabilities.The Ahlgren case, if it proceeds to trial, will pose a significant challenge in educating the jury about the intricacies of cryptocurrency, setting a precedent for future prosecutions. Legal and tax professionals are closely monitoring this development, anticipating more actions from the IRS as it continues to target underreporting and tax evasion within the rapidly evolving cryptocurrency market.IRS's First Crypto Tax Charge Signals Beefed-Up Enforcement PushWalt Disney Co. is employing an unconventional strategy in its fight against activist billionaire investor Nelson Peltz, by reviving the character Professor Ludwig Von Drake, Donald Duck's uncle, to influence its shareholders. In an effort to counter Peltz and nominees from the Trian Group and Blackwell, Disney launched a social media campaign urging investors to support only Disney's board nominees for the upcoming annual meeting on April 3. This marks a significant move by Disney to not just appeal to institutional investors but also to the retail ones, highlighting the importance of every vote through the creation of votedisney.com and engaging storytelling involving classic characters.Peltz, known for his aggressive proxy battles, including a notable one with Procter & Gamble, aims to instigate major changes within Disney, criticizing its lagging profit margins compared to other media giants and calling for restructuring across its business lines. Disney's campaign is a testament to the gravity with which it views Peltz's challenge, employing tactics like political-campaign-style videos to directly address and counter Peltz's and his allies' propositions.The company has gone further by attacking Peltz and other nominated board members, labeling some as "disgruntled former employees," thereby illustrating the personal stakes involved in this boardroom battle. Peltz, in response, has launched his own website and published a manifesto highlighting Disney's operational missteps under CEO Bob Iger, advocating for significant structural reforms, especially in its studio operations.The discourse between Disney and Peltz mirrors political campaigning, with both parties securing endorsements and presenting detailed plans for Disney's future. Disney has rallied support from significant figures, including members of the Disney family and influential business leaders, to bolster its position ahead of the shareholder meeting. The contention underscores the broader issues of governance and strategic direction at Disney, especially concerning succession planning and operational efficiency.Key to understanding the drama at Disney is the universal proxy card rule. The universal proxy card rule allows shareholders in a contested election to vote for a combination of management and dissident nominees using a single proxy card. This rule aims to ensure fairness and transparency in proxy voting by enabling shareholders to cast their votes more accurately according to their preferences, regardless of whether they attend the shareholder meeting in person or vote by proxy. By providing a unified method for proxy voting, the universal proxy card rule enhances shareholder democracy and facilitates more meaningful participation in corporate governance decisions. The rule enables institutional investors to consolidate their voting power across multiple shareholders, facilitating their ability to influence corporate governance decisions and effect significant changes within a company.The ongoing proxy fight, accentuated by the universal proxy card rule, represents a crucial juncture for Disney, reflecting the intricate dynamics of shareholder influence, corporate governance, and the power of narrative in determining the future trajectory of one of the world's most iconic entertainment companies. As the April 3 meeting approaches, both Disney and Peltz remain steadfast, each confident in their vision for the company's future.Disney Revives Donald Duck's Uncle for Showdown With BillionaireJustice Sonia Sotomayor's recent public comments about feeling "tired" and the workload on the Supreme Court have sparked quiet concerns among progressives, reminiscent of the anxiety surrounding Justice Ruth Bader Ginsburg's refusal to retire during Barack Obama's presidency. Despite Sotomayor nearing her 70th birthday, there's little pressure from progressives for her to step down before the November election, which could see a shift in control to the Republicans. This situation echoes past regrets over Ginsburg's decision to stay on the court, which ultimately led to a conservative shift following her death.The hesitance to call for Sotomayor's retirement stems from the sensitivity around advocating for the departure of the first woman of color on the Supreme Court. There's an ongoing conversation within progressive circles about the strategic timing of Supreme Court retirements, though public discussions are rare. The Supreme Court's role as a pivotal policy-making entity in the country adds to the complexity of suggesting a justice's retirement, as it feels akin to a personal attack on their legacy and contributions.Not everyone supports the idea of Sotomayor stepping down, considering she is not the oldest nor the longest-tenured justice on the bench. Concerns about her health, given her Type 1 diabetes diagnosis, don't seem to impact her ability to serve, yet there's speculation about whether she'll want to continue for several more years.Historical precedents of justices retiring under like-minded presidents, or due to health issues at politically inconvenient times, provide a mixed picture on the predictability of Supreme Court retirements. The possibility of Sotomayor retiring to ensure a successor aligned with her views is debated, especially considering the potential for political shifts in the Senate that could impact the confirmation process.Calls for Sotomayor's retirement are few, partly due to the fear of repeating accusations of bias that emerged during discussions of Ginsburg's tenure. The current political climate, with an upcoming tight presidential election and competitive Senate races, makes the timing of any retirement particularly consequential. Advocates for Sotomayor's retirement emphasize the strategic benefit of ensuring a like-minded successor, acknowledging the uncertainty of future political landscapes and health concerns. However, expecting a justice to retire in an election year is seen as unusual, highlighting the delicate balance between judicial independence and political strategy.Quiet Fears About Sotomayor Echo Ginsburg Retirement ConcernsA federal judge in Florida, U.S. District Judge Aileen Cannon, denied former President Donald Trump's request to dismiss a criminal case against him related to the possession of classified documents after leaving office. Trump's legal team had argued that the charges were vaguely defined, but Judge Cannon, appointed by Trump himself, found the issue warranted consideration but was not grounds for dismissal at this stage. Trump faces a 40-count indictment, accusing him of illegally retaining sensitive government documents post-presidency, marking one of four criminal cases against him as he campaigns for reelection.Judge Cannon also addressed Trump's claim that the documents were "personal" rather than government property, suggesting this argument could be explored during the trial rather than leading to an outright dismissal of the case. Trump has actively filed legal challenges across his multiple criminal cases, arguing, among other points, that a trial should be postponed until after the election. Notably, if reelected, Trump could potentially halt the federal cases against him, though state law cases would remain unaffected.The timeline for the trial remains uncertain, with Special Prosecutor Jack Smith proposing a July start, while Trump has suggested August, emphasizing his preference for a post-election trial. Trump's legal strategies have seen varied success in other cases, including a pause in a federal case about the 2020 election results pending a Supreme Court decision, and complications in a Georgia state election subversion case due to procedural issues. Additionally, Trump's New York state trial concerning hush money payments has faced potential delays.Judge denies Trump motion to dismiss classified-documents case | ReutersThis week's closing theme is by Hector Berlioz.​​The most famous classical piece associated with the Ides of March is likely the "Ides of March" movement from Hector Berlioz's "Symphonie Fantastique." This movement is part of a larger symphony that tells the story of an artist's obsession with a woman. The ominous and foreboding tone of the "Ides of March" movement captures the sense of impending doom often associated with the Ides of March, famously known as the date of Julius Caesar's assassination.Hector Berlioz, born in 1803, was a pioneering French composer, conductor, and music critic of the Romantic era. Renowned for his innovative orchestration and dramatic flair, Berlioz revolutionized symphonic music with his groundbreaking compositions. His masterpieces, such as the "Symphonie Fantastique" and the opera "Les Troyens," showcase his vivid imagination and emotional intensity, earning him a lasting place in the classical music canon. Berlioz's unique style, characterized by its grandeur and expressiveness, continues to inspire and captivate audiences worldwide, cementing his legacy as one of the most visionary composers of the 19th century.Without further ado, the second movement from Hector Berlioz's  “Symphonie Fantastique,” enjoy. Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

There are lots of bonkers classics on Criterion Channel right now and we wanted to pair pot with them before they show up on that "Leaving Criterion Channel" list in an episode we call "WHAT THE FUCK CRITERION." First up is THE DEVILS (1971), Ken Russell's masterpiece of blasphemy, demonic possession and religious persecution in 17th Century France. Oliver Reed is Urbain Grandier, an impossibly hot Jesuit priest, and Vanessa Redgrave is Sister Jeanne des Anges, a delusional nun who claims that she is possessed by the devil, and that devil works with Grandier. It's a gut-wrenching work that may be Russell's best. Continuing with the theme, our second feature is THE UNKNOWN (1927), a bizarre circus tale from FREAKS director Tod Browning. Lon Chaney, Sr. is Alonso, an armless knife-thrower who longs for Nanon, his fetching assistant played by a very young Joan Crawford. Nanon can't bear to be held in men's arms, so she should be perfect for Alonso, right? Well, all is not what it seems in this carnie world of deception, which motivates Alonso to go to sadistic and even masochistic extremes. What the fuck Criterion??? Man, we could've added a third feature here because PEEPING TOM is on the channel as well. Hopefully we'll get to that one soon. In the opener, Cory asks if it's even possible to create a cult movie these days where streaming has flattened everything out. Greg, Bob, and Philena all hold out hope. Hosts: Philena Franklin, Bob Calhoun, Cory Sklar and Greg Franklin Music: OMFYS Theme Song by Chaki the Funk Wizard "Black as the West" by "The Kiss and Crash Collective, courtesy of Kiss and Crash Collective and Sean Heskett "A Witches Sabbath" from Hector Berlioz's "Symphonie Fantastique" performed by the United States Marine Band, courtesy of Archive.org "Minor Lament for Solo Bass" by John Ptitucci courtesy of YouTube Audio Library BIRDEMIC trailer audio courtesy of archive.org. Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com Coming soon: Matt Zoller Seitz joins us again for Crazy for Kaiju with SON OF GODZILLA. Subscribe so you don't miss it.

Join us as we discuss the innovative masterwork from Hector Berlioz, Symphony Fantastic. Support the show

durée : 00:24:57 - Hector Berlioz, Symphonie fantastique - par : Anne-Charlotte Rémond - La création de la « Symphonie fantastique », le 5 décembre 1830, est sans doute l'évènement le plus important de la vie musicale de Berlioz. Anne-Charlotte Rémond vous invite à suivre le jeune compositeur qui vient, en une soirée, de bouleverser l'environnement sonore de ses contemporains. - réalisé par : Claire Lagarde

Diane and Sean discuss the Julia Roberts thriller, Sleeping with the Enemy. Episode music is, "Symphonie Fantastique 4th Movement" by Berlioz.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show

De Franse componist Hector Berlioz schreef op zijn 12e al muziek voor een meisje waar hij verliefd op was. En ook zijn beroemde Symphonie Fantastique was een ode aan een onbereikbare liefde. Berlioz was een muzikale romanticus dus. Kees en Botte bespreken zijn leven en werk. Een verhaal over 19e-eeuwse romantiek, muzikale vernieuwing en… opium.

Broadcaster Sandy Burnett looks at one of the great works - Berlioz's Symphonie Fantastique.

Reluctant to believe in "past lives", Isaac learned the story of Joe Williams and the blue flowers and had to reconsider his beliefs. An episode exploring reincarnation, dreams and Deja Vu.This is a remake of my first episode that originally aired Monday, March 6th, 2016.Produced by Isaac BluefootTheme Music by Royal JellyAdditional music (cc):Cass County Beauty Queen by Alan SingleyDaydreamer by Podington BearHis First Day Without Her by Lee RosevereTra-la-la by Podington BearRewound by Chris ZabriskieAlkan, 2me Suite, Op 31, 12 Le temps qui n'est plus, Andante by Filipe SarroChase Down by the Satelite EnsembleBerlioz, Symphonie Fantastique 4th Mvt by Bruno WalkerBibliography:20 Cases Suggestive of Reincarnation by Dr. Ian StevensLifecycles by Richard M. Bache Ph.D

Two friends and academics recap classic literature and take it off its pedestal. In our forty-second episode, we get dark and dirty with Matthew Lewis's 1796 'Male Gothic' masterpiece, The Monk. Abby shows off her Bible learnin', Daniel speaks (and slurps) in tongues, and both of them scream forever into the void.Cover art © Catherine Wu.Episode Theme: Hector Berlioz, Symphonie Fantastique, op. 14-5. 'Songe d'une nuit du Sabbat' (Igor Markevitch, Orchestre Lamoureux, 1962) Hosted on Acast. See acast.com/privacy for more information.

Tschaikowskys längste Sinfonie hat zwar keine offizielle Nummer, aber dafür ein Programm: Lord Byrons Epos Manfred. In den sexuellen Verstrickungen des Helden sah Tschaikowsky Parallelen zu seinem Privatleben. Das komplexe Meisterwerk besticht durch seine farbige Orchestrierung. Von Michael Lohse.

Tschaikowskys längste Sinfonie hat zwar keine offizielle Nummer, aber dafür ein Programm: Lord Byrons Epos Manfred. In den sexuellen Verstrickungen des Helden sah Tschaikowsky Parallelen zu seinem Privatleben. Das komplexe Meisterwerk besticht durch seine farbige Orchestrierung. Von Michael Lohse.

浪漫主义时期因为市场的需要，音乐技术一次又一次实现了革新。不仅是管弦乐团的编制、钢琴、小提琴等乐器的改变，还有帕格尼尼、李斯特等一众音乐家引领的音乐演奏技术的变革，一切的一切，都是发生在了浪漫主义音乐时期。包含曲目：0:26- Symphonie Fantastique, Op. 14: IV. Marche au Supplice: Allegretto non troppo6:18- Liszt: Réminiscences de Norma, S. 394 (after V. Bellini) (诺尔玛主题改编曲，作品394)25:43- Sonatina in C Major, Op. 36, No. 1: I. Allegro

The geneticist and broadcaster Adam Rutherford tells Michael Berkeley how his passion for music allows him to escape the rigours of science and enjoy the emotional side of life. Adam Rutherford's career in science has taken him from a PhD on the role of genetics in eye development to becoming a well-known broadcaster who campaigns against pseudoscience and racism. Presenter of Radio 4's Start the Week and The Curious Cases of Rutherford and Fry, he's also the author of six bestselling books; a lecturer at University College London; and the recipient of the Royal Society David Attenborough Award for outstanding public engagement with science. Adam shares some astonishing facts about our genes and our common ancestry: everyone of European descent is definitely directly descended from the eighth-century Emperor Charlemagne – and from the person who cleaned his boots. Adam was a music scholar at school and his passion for the violin started with lessons at the age of four and culminated in playing with his teacher in Berlioz's Symphonie Fantastique. We also hear his favourite piece of violin music, Beethoven's Violin Concerto. Adam is the President of Humanists UK but asks for music from his two musical gods, Bach and Radiohead. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3

Guest conductor Erina Yashima leads the Charlotte Symphony in a program that includes Beethoven's Triple Concerto and Berlioz's Symphonie Fantastique . Yashima recently finished her tenure as Assistant Conductor of the Philadelphia Orchestra. And she recently started in her new position as First Kapellmeister at the Komische Oper Berlin. She talks about the works on the orchestra program, the differences between American and European orchestras, and the importance of music education in her native Germany. Pictured: Erina Yashima by Todd Rosenberg Photography/ Askonas Holt .

今天聊聊法国浪漫主义大师柏辽兹的代表作《幻想交响曲》以及这首曲子背后的追爱故事。包含曲目：0:26- Symphonie Fantastique, Op. 14 - I. Rêveries Passions - Largo, Allegro agitato e appassionato assai (幻想交响曲，作品14 - 第一乐章 梦与热情 - 广板，不安的快板，虔诚地)10:45- Symphonie Fantastique, Op. 14 - II. Un bal - Valse - Allegro non troppo (幻想交响曲，作品14 - 第二乐章 舞会-圆舞曲 - 不太快的快板)

The werewolf skit from the 1957 Stan Freberg radio show.  Also; the Witches' Sabbath movement from the Symphonie Fantastique and a holliday poem by Carl Sandberg.

๏ Épisode 46 ๏ Saviez-vous que la Symphonie fantastique était née d'une passion dévorante ? À travers cinq mouvements pensés comme de véritables scènes de théâtre, Berlioz exprime son amour pour Harriet Smithson, une actrice irlandaise qu'il rencontre à Paris lors d'une représentation de Hamlet. La particularité de cette partition réside dans l'utilisation récurrente d'une « idée fixe » qui dépeint le chemin psychologique du compositeur. Dans ce podcast, Max Dozolme vous propose de suivre l'évolution de cette mélodie et de découvrir le dénouement de cette déclaration d'amour des plus démesurées ! ▂

durée : 00:24:57 - Hector Berlioz, Symphonie fantastique - par : Anne-Charlotte Rémond - La création de la « Symphonie fantastique », le 5 décembre 1830, est sans doute l'évènement le plus important de la vie musicale de Berlioz. Anne-Charlotte Rémond vous invite à suivre le jeune compositeur qui vient, en une soirée, de bouleverser l'environnement sonore de ses contemporains. - réalisé par : Claire Lagarde

Nicola Campogrande"MiTo Settembre Musica"https://www.mitosettembremusica.it/itUn cartellone comune tra Torino e Milano che esplora le relazioni tra la musica e la luce attraverso grandi capolavori e creazioni inedite. 116 concerti per la sedicesima edizione, con ospiti internazionali, eccellenze nazionali e programmi appositamente impaginati per un Festival sempre più inclusivo. Seguendo il filo conduttore del tema “Luci”, tutti i programmi dei concerti sono impaginati appositamente per proporre al pubblico una nuova esperienza d'ascolto, indagando le relazioni tra la musica e la luce: si tratta di sinestesie tra suoni e immagini che a volte emergono esplicitamente dalle indicazioni scritte dal compositore in partitura, come chiaro, scuro o luminoso, e altre volte sono il frutto di riflessioni suggerite dall'ascolto della musica.«L'idea, il gioco della luce è applicato a un cartellone che, volutamente, propone molti capolavori, pagine fondamentali, capisaldi della musica classica – spiega il direttore artistico Nicola Campogrande. Perché, soprattutto in un periodo complicato e drammatico come quello che stiamo attraversando, ci sembra bello e importante fare una sorta di appello ai brani che hanno segnato la storia, invitandoli metaforicamente ad essere con noi, a manifestarsi in sala da concerto come punti fermi, appigli culturali».Questa edizione intende, quindi, “illuminare” le grandi pagine della storia della musica attraverso accostamenti inediti, interpretazioni originali e nuove chiavi di lettura, anche con brani in prima esecuzione.Alcuni dei pilastri su cui si fonda l'edizione 2022 – ovvero internazionalità, capisaldi della musica classica e novità – sono già evidenti nella serata d'apertura del Festival intitolata “Luci immaginarie”, in programma lunedì 5 settembre all'Auditorium “Giovanni Agnelli” del Lingotto di Torino e martedì 6 settembre al Teatro alla Scala di Milano. Protagonista una grande compagine rinomata nel mondo come la londinese Philharmonia Orchestra diretta per l'occasione da John Axelrod, che propone capolavori come Peer Gynt di Grieg e Shéhérazade di Rimskij-Korsakov, abbinate alla prima esecuzione italiana di The imagined forest della giovanissima e pluri-premiata compositrice inglese Grace-Evangeline Mason. O ancora nel concerto conclusivo tutto mozartiano dal titolo “Cristalli”, sabato 24 settembre al Conservatorio di Torino e domenica 25 settembre al Conservatorio di Milano, dove la Mahler Chamber Orchestra, formazione europea nata nel 1997 sotto l'egida di Claudio Abbado, presenta senza direttore un programma inusuale con Leif Ove Andsnes in veste di solista.Tra gli ulteriori appuntamenti sinfonici da non perdere si segnalano il graditissimo ritorno al Festival, nella doppia veste di direttrice d'orchestra e soprano, della canadese Barbara Hannigan, che sul podio dell'Orchestra dell'Accademia Nazionale di Santa Cecilia propone la Sinfonia Il miracolo di Haydn e la Quarta Sinfonia di Mahler cantando nel Lied finale Das himmlische Leben (La vita celeste), il 16 al Teatro Dal Verme di Milano e il 17 all'Auditorium del Lingotto di Torino. Immancabile l'Orchestra Sinfonica Nazionale della Rai, guidata dal suo Direttore ospite principale, lo statunitense di origini messicane Robert Trevino, che affianca la Symphonie Fantastique di Berlioz alla prima italiana di The wonder of life di Régis Campo, il 9 all'Auditorium Rai di Torino e il 10 al Conservatorio di Milano. Concerto festoso, poi, per celebrare i duecento anni di indipendenza del Brasile con i giovani dell'effervescente Neojiba Orchestra - Orchestra Giovanile dello Stato di Bahia, diretta da Ricardo Castro, insieme a un'istituzione del pianoforte come la portoghese Maria João Pires che suona il Terzo Concerto op. 37 di Beethoven. Ritmi, colori e strumenti sudamericani sono parte della serata grazie alle pagine di Antônio Carlos Gomez, Heitor Villa Lobos e Jamberê Cerqueira, il 13 al Conservatorio di Milano e il 14 all'Auditorium del Lingotto di Torino.Altri attesi ritorni al Festival sono la leggenda del pianoforte Ivo Pogorelich, impegnato nel recital “Luci erranti” con fantasie di Mozart, Chopin e Schumann e con il Prélude di Ravel, il raffinato tenore inglese Ian Bostridge, che canta Les illuminations op. 18 di Britten, e ancora il violista Nils Mönkemeyer, che suona con il Bach Consort Wien in un concerto che esplora il barocco e il Novecento tra Sudamerica ed Europa.Scorrendo il programma di MITO gli amanti della musica barocca, e in particolare di Johann Sebastian Bach, trovano una ricca offerta declinata in concerti con musicisti di prestigio e proposte nelle quali i brani sono accostati in modo inusuale o vengono ripensate alcune pietre miliari del repertorio. Quattro pagine tra le più celebri del grande compositore tedesco sono interpretate dall'Amsterdam Baroque Orchestra diretta da Ton Koopman, mentre è curioso il concerto intitolato “La doppia arte della fuga”, nel quale il compositore Reinhard Febel, col suo Diciotto studi sull'Arte della fuga di Bach, rilegge il capolavoro, di cui si ascoltano tutte le note, in una sorta di remix – che suona molto attuale nell'epoca del digitale – affidato al Duo Tal & Groethuysen. Ed è ancora l'ascolto di un Bach insolito quello delle Variazioni Goldberg eseguite dal fisarmonicista Samuele Telari, così come è un concerto davvero singolare quello con due clavicembali accordati in due modi diversi e suonati da Luca Guglielmi.Tanta è l'attenzione che quest'anno MITO SettembreMusica dedica al pubblico dei più piccoli, ampliando e arricchendo la proposta artistica con novità assolute e grandi interpreti. E lo dimostrano anche i tre melologhi per adulti e bambini che contengono ben due commissioni del Festival 2022 in prima esecuzione assoluta: quella a Carlo Boccadoro, che ha creato Animalia – su testi di Martino Gozzi – per “Luci bestiali” (il 10 a Torino e l'11 a Milano), e quella a Federico Gon, che ha composto Il piccolo Franz e il pifferaio magico per “Monelli” (il 24 a Torino e il 25 a Milano). Sul palco del primo concerto Laura Curino come voce recitante e l'Ensemble Cameristico dell'Orchestra Filarmonica di Torino diretto dallo stesso Boccadoro, e del secondo Elio come voce recitante (al suo ritorno dopo l'edizione dello scorso anno) e l'Orchestra degli allievi dei Conservatori di Torino e Milano diretti da Andreas Gies. Infine, i giovani de LaFil guidati da Marco Seco, con la voce recitante di Licia Maglietta, sono protagonisti dell'appuntamento dal titolo “Elefanti”, che propone un doppio Babar: quello celebre dell' Histoire de Babar le petit éléphant di Poulenc e quello del compositore François Narboni intitolato Le voyage de Babar, creato sfruttando un testo originale di Brunhoff non utilizzato da Poulenc (17 a Torino e 18 a Milano).È in prima esecuzione assoluta, inoltre, la nuova versione da camera del melologo Enoch Arden op. 38 di Richard Strauss realizzata da Ruggero Laganà, impegnato anche al pianoforte, che vede protagonista l'attrice Lella Costa come voce recitante (il 19 a Torino, il 20 Milano). Luce accesa, poi, sulle prime esecuzioni italiane, tra cui spiccano One di James MacMillan e I still dance di John Adams interpretate rispettivamente dall'Orchestra I Pomeriggi Musicali diretta da James Feddeck (l'8 a Torino e il 9 a Milano) e da quella del Teatro Regio di Torino guidata da Stanislav Kochanovsky (il 23 a Torino e il 24 a Milano), impegnate in due programmi tra Inghilterra e Scozia e tra Stati Uniti e Francia.L'edizione 2022 di MITO SettembreMusica introduce altre due importanti novità. La prima è la presenza di un festival nel festival con quattordici pianisti italiani che offrono in luoghi decentrati delle due città altrettanti concerti monografici dedicati a grandi compositori, per approfondirne la cifra stilistica, la poetica e la tecnica pianistica. Dal Beethoven di Andrea Lucchesini al Rachmaninov di Alessandro Taverna, dallo Schubert di Filippo Gorini allo Skrjabin di Mariangela Vacatello, passando per lo Chopin di Gloria Campaner, il Liszt di Maurizio Baglini e il Čajkovskij di Benedetto Lupo, solo per citarne alcuni. L'altra vede – per la prima volta – la nascita di una residenza artistica al Festival. Si tratta del finlandese Meta4 Quartet, già applaudito nella scorsa edizione, che tiene tre concerti in entrambi i capoluoghi: suona in Absolute Jest di John Adams insieme all'Orchestra Sinfonica di Milano (sul podio Patrick Fournillier), pagina che rimanda a Beethoven e alla sua Nona, in programma grazie alla partecipazione del Coro del Teatro Regio di Torino, dopo aver ripercorso l'intera storia del quartetto d'archi, da Boccherini ad Adams, in due diversi appuntamenti. Uno degli aspetti distintivi del Festival è offrire appuntamenti in orari diversi nell'arco dell'intera giornata, da quelli serali in sedi prestigiose, come l'Auditorium "Giovanni Agnelli" del Lingotto, il Teatro alla Scala, l'Auditorium Rai "Arturo Toscanini", il Teatro dal Verme e i rispettivi conservatori delle due città, a quelli diurni, per arrivare a estendersi nei luoghi decentrati. Sono confermate le introduzioni all'ascolto dei concerti, quest'anno curate da Alberto Brunero e Stefano Catucci a Torino e da Gaia Varon, Oreste Bossini e Nicola Pedone a Milano.I prezzi sono ancora una volta molto contenuti: quelli per i concerti serali vanno dai 10 ai 25 euro (ma chi è nato dal 2008 in poi paga solo 5 euro); quelli serali in luoghi decentrati con i 14 pianisti italiani, gli appuntamenti pomeridiani e per i bambini sono invece proposti a 5 euro; non mancano, poi, i concerti gratuiti.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

I talk about the ideas behind the nineteenth-century Romantic movement, as well as particular examples in music, architecture, and literature (.e.g., Hector Berlioz's Symphonie Fantastique, the Gothic revival, and Mary Shelley's Frankenstein, for starters), and then draw a sad conclusion about what it all means for libertarians who argue the way I often do.

We preview the Racine Symphony's concert this Saturday night - the conclusion of their 90th anniversary season - with conductor Pasqual Laurino and concert pianist David Fung. On the program: the Symphonie Fantastique by Berlioz and Piano Concerto #1 by Tchaikovksy.

On this episode of the Post Podcast, Fort Hays State University choirs director Terry Crull shares information about upcoming university concerts.   Transcript: EDITORS NOTE: Transcripts are provided by an automated service and are not verified for accuracy.   James Bell  For the State University choirs are preparing for their last show of the academic year. Director Terry cruel stops by to share with us a little bit about what they're going to be performing and when, on this episode of the post podcast   Terry Crull  and of the year concerts Yep, we're preparing last night the orchestra and I worked on our last piece. The Hayes Symphony Orchestra is the company my choirs on Frances pool onx Gloria, beautiful setting. And then hey, Symphony Orchestra will play. Very famous piece. Hector Berlioz, Symphonie Fantastique are very cool. Yeah, great piece, very picturesque, kind of the start of programmatic music where you tell a story with it, too. So they've been working hard on it. It's a it's a, it's a big bite for them to choose, hey, symphony orchestra, but they're working their tails off. So it should be a fun concert Sunday night 730 and beach Schmidt, free to the public.   James Bell  I love that all of the concerts down there Fort Hays and you see me down there for almost every one I hit drag my kids down there probably two or three. It's such a great assets of the community to have those free concerts. And, you know, while it's not quite could not quite professional level, those students sure get darn close.   Terry Crull  We think we think our kids are on the road to that if that's their career choice. And we hope people will come and hear it and say, Wow, those kids got some stuff going on because they do they work hard. And a lot of talent fun to work with them every day. So   James Bell  yeah, it seems like this year you've had you had a really great group. I mean, every year is good. But this year, I don't know. It seems like there was just really a few field   Terry Crull  trip like two why kind of bonds a group together. So he developed a spirit of esprit de corps that it's really fun to see they're working hard. No complaints in that group hardly ever. I mean. That's that goes to the concert choir and our bands and our jazz groups to Brad just gave his last performance. He's given up the jazz bands, turning them over to our new percussion and band instructor Ryan Pearson. So   James Bell  young guy I don't know, guys   Terry Crull  just out of graduate school. He's been here a year on part time, and now we hired him full time. And his wife was out. They did their joint recital. He's a percussionist, of course, she's a clarinetist. She played amazingly well, too. And I think they bought a house and hey, so hey, they're coming here.   James Bell  They're here. They're stuck. Yeah, very cool.   Terry Crull  Pass the bond issue they'll have a nice new school for when their kids get there. Yeah, well, we'll see how that goes.   James Bell  But But yeah, so suddenly, so is all this piece is going to be set with the orchestra is just   Terry Crull  the orchestra is grand finale concert, and every other year we join them for a combined orchestral work. And the concert is called voyage to France because Hector Berlioz for the orchestra and Francis Poulenc for the choirs, and we did his Gloria wants 10 or 12 years ago, was a guest conductor. Dr. availa Allen or soprano is doing the soul. The soprano solo work three of the six movements. So we'll start off with that plonk, Glory acquires behind the orchestra. And I bail out front and meet conducting. And then after intermission the symphony fantastic. It's 5055 minute work as long five movements but it's great story. If you know that piece. It's about a artist in France who goes into a drug induced trance and has this horrendous dream. When they first played Symphony fantastic. It caused a riot. I mean, they had to bring the police in because they really aren't used to that kind of grotesque in your face music you know, some of the harmonies some of the blasts of sound. The famous DS era that you hear do you do at the beginning of shining Jack Nicholson movie is a is from that work? The big brass sound. So it's a big orchestra, powerful orchestra. And the Poulenc is just sublime. I mean, it's beautiful melodies, great harmonies by the choir, they've had fun working on it. So we're excited. 730 Sunday night, voyage to France, free to the public. Love it. Love it. To the public. Do we say free to the public? Be free to them? Well, I don't know. Yeah. Military. I'm not used to this hour later time I spent the hour calling my 3200 listeners tell them I'm on at 845 instead of 740.   James Bell  Yeah, there's a little bit different but but, you know, I also I wonder I count how much work has to go into put in one of these shows. And, and everybody knows, I think that you know, I was a music student. So I was on the band side. But for choir, you know, of course, the band side there's that little bit of rivalry sometimes Right, like, they have that   Terry Crull  advantage of, you know, being able to pick stuff up more quickly. Although they have the disadvantage of not having all the parts in front of them, I'm singing a choir music, you've got the soprano part there as well as your tenor part or whatever. And when you're a bassoon as long as you have as your part in front of you, so you've got to listen hard and work beforehand to get familiar with the work so that you know how your, your part fits with the other parts. So there is that but yeah, the orchestra has been working, I think six rehearsals for this concert, which isn't very many four pieces complexes of the symphony. Fantastic. We even the choirs have been working while since our spring concert, which was March 10, I believe. So 340 minutes, 45 minute rehearsals a week and and to learn that it's in Latin. So the language presents a challenge, although it's pretty common Latin. So a lot of the kids have some of   James Bell  like any Latin is common lap, rock breaking in Latin   Terry Crull  text. I mean, Gloria in Excelsis day, I mean, every Christmas time. So they haven't had too much trouble with that. Poulenc is a little bit post romantic, a little bit modern, 20th century and that his style is classic in form. But his harmonies are more colorful, and lots of use of the woodwinds and the horns. And that's a great orchestra. They work so well. Brian buxted is our orchestra director, he's done. marvelous job at getting that orchestra, you know, up to snuff, so to speak, and, and playing consistently. Well always enjoyed their concerts. So   James Bell  yeah, and he was I think, correct me if I'm wrong, but he came in right before that pandemic, right. And then   Terry Crull  a lot of big concerts with them. Since he came in right at the end of that, yeah, so this year has been his debut year, I guess you could call it and they've done some great stuff. Of course, they have their children's concert in Halloween. We got that again next year. On Sunday, whatever, October 3 Year 29th, or whatever is close to Halloween. It's always a fun event. There'll be with us under cathedral concert next year, which was December 11. The strings Anyway, do some combined work with the choirs and then they always do their grand finale concert with some large works like this. And then every other year we joined them. So next year, I'll do my own masterworks choral concert with the choirs, and he'll do something with his orchestra. I don't know yet if he's got programming ideas, but for this year, it's voyage to France. Very cool. Again, it's Sunday at 730. Don't miss free,   James Bell  free and free no excuse not to go.   Terry Crull  No excuse not. Yep. NBA Playoffs aren't anywhere close to the end yet. So who's watching those? I didn't even know that was going on. Honestly, other in the early stages, you know, 28 teams that make the playoffs out of 29 teams. Oh, yeah. So yeah. Everybody makes up like not to select. But anyway, I watched when it gets down to the semis. There you go.   James Bell  So well, already. Certainly anything else you think folks need to   Terry Crull  know? Well, the last week of classes, the percussion ensemble will have their concert, and the bands will have their concert? Oh, let me see. What's the date? I think it's Thursday, which would be the 12th nor the fifth. So we exam week. Yeah, that's the last exam. So the fifth will be the band's concert. And I think the night before and Wednesday, the percussion will be in beach Smith. And those are all free as well. So wrapping up the year yeah, kids are excited the ball teams are trying to make the playoffs softball and baseball got a few those kids in my class. I gotta get to here in a few minutes. So it's always exciting at the end of the year when the weather turns nice guy. I wish we had some rain to soak us down a little bit good, but at least it's windy. Yeah, exactly. Yeah, in Kansas with my big motorcycle on the road with those windy. Oh, yeah. So always good to be with you, James. Thanks for having me on. I appreciate it. So he's kind of like, Hey, we got a contract this week. Can I get on tomorrow or the next day and you always accommodate me. So thanks a lot. I love your music program. I know you're a student there percussionist were Yeah, I was. Yeah. So you enjoy. Did you happen to come down when Ryan gave his faculty recital   James Bell  didn't I was I was wanting to I was so   Terry Crull  remember, he's fun to watch to kind of dances up there. My wife turned to me and said, you know, you could lose some weight. If you were a percussionist. He's going to workout Oh, yeah. So having been an athlete, I know that sometimes. I work just as hard in certain aspects. You know, we'll have conditioning that it didn't was a basketball player. But you work hard when you sing. We could play an instrument because

今天來講白遼士的幻想交響曲 是白遼士把自己的心情投射到這個交響曲的主人翁～ 想聽更多的話趕快點進去喔～ *註解：固定樂思 (idée fixe) 記得追蹤我的社群帳號喔～ Instagram: Kimi_Clamusic Facebook: Kimi彈古典談音樂

Pianist Jamie Cullum and trombonist Mark Frost join Cerys Matthews and Jeffrey Boakye in the penultimate episode of the current series as they add the next five tracks to the growing playlist. What links one of the most famous brass pieces in all opera to an all-star jazz musical ensemble in New York? And how does that get us to Sesame Street? The serendipitous musical journey continues. Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald This week's five tracks added to the playlist: Sanft Schloss Schlaf dein Aug'! by Richard Wagner Trombone Joe by Herlin Riley Sing by The Carpenters/Sesame Street The Coffee Cola Song by Francis Bebey Mask Off by Future Other music in this episode: Concerto Grosso in C, HWV 318 by Handel Lose My Breath by Destiny's Child Ride of the Valkyries by Wagner A Cenar Teco from Don Giovanni by Mozart Dies Irae from the Symphonie Fantastique by Berlioz Everything Now by Arcade Fire Watermelon Man by Herbie Hancock Flute Loop by Beastie Boys Prison Song by Tommy Butler

The thirteenth century Dies irae (“Day of Wrath”) is one of the best-known hymns of the middle ages. Containing terrifying descriptions of the “tearful day” (Lacrimosa) in which the wicked are confounded (Confutatis maledictis) and consigned to “acrid flames,” this poem became a standard part of the medieval funeral liturgy. As such, it has been set to music numerous times by composers such as Mozart (Requiem K. 626, 1791) and Verdi (Messa de Requiem, 1874). Further, the chant melody first associated with this text, with its seesawing half-step motion, is often used as a musical trope indicating death, mourning, or the supernatural. You can hear it in places as varied as Berlioz's Symphonie Fantastique (1830), Holst's The Planets (1919), and the scores for movies like Star Wars: A New Hope (1977) and The Lion King (1994) among others. While Dies Irae has had enormous cultural influence, the source material might surprise you: the poem was inspired by the prophecy of Zephaniah, specifically verses 15-16 of chapter one (“a day of wrath is that day, a day of distress and anguish…”). As we walk through this passage today, a passage that has fascinated and terrified for generations, I pray that our hearts will be lifted by the surprisingly hopeful note at the end: “perhaps you may be hidden on the day of the anger of the Lord.” —Henry C. Haffner Key Words: Wicked, Day of the Lord, Punish, Wrath, Anger, Seek, Humble, Hidden Keystone Verses: Seek the Lord, all you humble of the land, who do His just commands; seek righteousness; seek humility; perhaps you may be hidden on the day of the anger of the Lord. (Zephaniah 2:3) Bulletin Zephaniah 1:1-2:3 1 The word of the Lord that came to Zephaniah the son of Cushi, son of Gedaliah, son of Amariah, son of Hezekiah, in the days of Josiah the son of Amon, king of Judah. 2 “I will utterly sweep away everything from the face of the earth,” declares the Lord. 3 “I will sweep away man and beast; I will sweep away the birds of the heavens and the fish of the sea, and the rubble with the wicked. I will cut off mankind from the face of the earth,” declares the Lord. 4 “I will stretch out My hand against Judah and against all the inhabitants of Jerusalem; and I will cut off from this place the remnant of Baal and the name of the idolatrous priests along with the priests, 5 those who bow down on the roofs to the host of the heavens, those who bow down and swear to the Lord and yet swear by Milcom, 6 those who have turned back from following the Lord, who do not seek the Lord or inquire of Him.” 7 Be silent before the Lord God! For the day of the Lord is near; the Lord has prepared a sacrifice and consecrated His guests. 8 And on the day of the Lord's sacrifice—“I will punish the officials and the king's sons and all who array themselves in foreign attire. 9 On that day I will punish everyone who leaps over the threshold, and those who fill their master's house with violence and fraud. 10 “On that day,” declares the Lord, “a cry will be heard from the Fish Gate, a wail from the Second Quarter, a loud crash from the hills. 11 Wail, O inhabitants of the Mortar! For all the traders are no more; all who weigh out silver are cut off. 12 At that time I will search Jerusalem with lamps, and I will punish the men who are complacent, those who say in their hearts, ‘The Lord will not do good, nor will He do ill.' 13 Their goods shall be plundered, and their houses laid waste. Though they build houses, they shall not inhabit them; though they plant vineyards, they shall not drink wine from them.” 14 The great day of the Lord is near, near and hastening fast; the sound of the day of the Lord is bitter; the mighty man cries aloud there. 15 A day of wrath is that day, a day of distress and anguish, a day of ruin and devastation, a day of darkness and gloom, a day of clouds and thick darkness, 16 a day of trumpet blast and battle cry against the fortified cities and against the lofty battlements. 17 I will bring distress on mankind, so that they shall walk like the blind, because they have sinned against the Lord; their blood shall be poured out like dust, and their flesh like dung. 18 Neither their silver nor their gold shall be able to deliver them on the day of the wrath of the Lord. In the fire of His jealousy, all the earth shall be consumed; for a full and sudden end He will make of all the inhabitants of the earth. 2:1 Gather together, yes, gather, O shameless nation, 2 before the decree takes effect—before the day passes away like chaff—before there comes upon you the burning anger of the Lord, before there comes upon you the day of the anger of the Lord. 3 Seek the Lord, all you humble of the land, who do His just commands; seek righteousness; seek humility; perhaps you may be hidden on the day of the anger of the Lord.

-William Henry Fry, born a Philadelphian in 1813... or 1815... well it seems no one really knows for sure. But, either is close enough for us. Though it might seem a foreign concept to us, being able to hear great music in the 19th century was completely dependent on an orchestra or opera company actually putting on the performance, geographically nearby, on an evening when you could go, assuming you could afford a ticket. No internet, YouTube, obviously. Philadelphia was great for Fry in this regard. In the 1830s, a French opera troupe toured to Philly and performed French opera sung in French, in addition to some other standards of the repertoire, like Rossini's _La Gazza Ladra_. Multiple Italian opera companies came through with similar programming. These and many other experiences available to him in Philadelphia led to Fry not only taking composition lessons, but also having some early overtures and even operas performed. - Professionally, however, Fry took up the family business of journalism. His father founded the Philadelphia _National Gazette_, and later working as a foreign correspondent for the _Public Ledger_ and _New York Tribune_, Fry was able to spend 3 years in Paris (6 years total in Europe). Well, being the industrious man that he was, he took advantage of that time, soaking in as much music and culture as he could.- It also seems he soaked in a little arrogance as well! He constantly compared Paris to Philly and America generally. Particularly, in this quote… again this is a quote(!), Fry is very cutting: “Philadelphia is a Quaker abortion as regards plan; New York a Dutch monstrosity; Boston a Puritancial fright… When the groveling, penny-scraping, health destroying folly that blotted out the only dash of Beauty born of the narrow spirit which planned Philadelphia—the Centre Park—which changed that pretty little circle of verdure and trees into four square what-nots… which are a disgrace to Philadelphia and human nature, when that beggarly abortion which should be gibbeted as a criminal against good taste… shall be changed, a new birth shall be given to Democracy and the strength and splendor which royalty has conferred on Paris, social justice shall spread over our community. Perhaps if the Tuileries Gardens were in Philadelphia some money grub would vote for cutting it up to admit vehicles through, or worse even, for city lots.” As you can tell, the man had a lot to say…- At any rate, Fry did return to the US and lived out his life as news editor, critic, and composer. He relentlessly criticized audiences for wanting European-centric only programming, while championing American music. He even found time to do a series of music history lectures.- As for Fry's compositions, many were lost upon his death. What remains is more than enough to fill out a musical sketch of the man at any rate.- Notably, Fry wrote an opera titled _Leonora_, and upon it's production in 1845 it became the first grand opera written by an American composer. He additionally wrote 2 other operas, _Aurelia the Vestal_ and _Notre-Dame of Paris_. - An interesting quote by Fry on opera: “Rightly to hear and enjoy an old opera, we should place ourselves, so far as possible, in the circle of thought, artistic and general, of the period at which it was produced. With such mobility we may, to a degree, see with the eyes and hear with the ears of generations gone by.”- This thinking actually endears me to this man, as my personal, preferred production of a Mozart opera includes wigs and corsets. It's not for everyone, and the modern thinking is to “update” all visual elements. But the dated scenery and costumes helps me enter the moment and the time period and disassociate from the present.- Fry wrote as many as 7 symphonies, or that's what he calls them. They are really tone-poems, each one heavily programmatic, much shorter than expected, and usually not structured much like any symphony I know of. More on that later...- The 2 most famous ones, _Niagara_, also written in 1854, which we will discuss shortly, and the Santa Claus: Christmas Symphony, of 1853. The Christmas Symphony is quite unique. Fry calls for a saxophone, which is possibly the first use of the instrument in an orchestral setting. Like, the saxophone had only been invented like 10 years earlier, and no one had yet thought about putting it in a symphony. The piece is full of instrumental solos, even one for double bass! Not at all as memorable as Mahler's bass solo in the 3rd movement of his 1st symphony, but still unusual. The piece is very engaging, and dramatically ends with Adeste Fideles, or Oh Come All Ye Faithful as it is better known.####Culture- As I mentioned, Fry wrote Niagara for a “Grand Musical Congress” at New York's Crystal Palace. Now, the Crystal Palace has an interesting, though short, history. It was erected in 1853, aaaaaand burned down in 1858, so not much could come of the 5 years it existed. Patterned after London's own building of the same name, this one was also built with iron and glass, in the shape of a Greek cross with a 100 ft dome atop the center. - This performance was in fact the 2nd opening of the Crystal Palace after the initial opening ceremony was apparently a dud, which included hours of musical performances and political speeches—including an appearance by President Franklin Pearce—in addition to the art and sculpture exhibition. In Fry's review of the original he doesn't hold back either: “The various speeches delivered on the occasion were attentively listened to by a select body of hearers, but the immense space of the Crystal Palace with its two floors and the multitudinous partial partitions, prevented the great mass present from hearing. The bad and vulgar American habit of talking and walking on such occasions, added also to the difficulty of catching what the speakers said... The effect produced upon the audience by the music foreshadows the success of keeping up that source of enjoyment for the Million as long as the Exhibition may be kept open.” In other words, Fry is saying why would they care how the music sounds as long as the politicians get to speak!- So, this Grand Musical Congress for the 2nd opening was to be an overwhelming event. One review at the time described it as quote “unit[ing] in one grand ensemble the elite of the instrumental celebrities of Europe and America, together with the great choral societies, solo singers, etc., of Boston, New York, Philadelphia, Baltimore, Cincinnati, etc., etc.—to the number of some fifteen hundred performers”. And of course this kind of grandiose event could only come from the mind of one P.T. Barnum, the newly appointed President of the Crystal Palace.- As a featured composer of this 2nd event and a music critic with the New York Tribune, Fry got completely on board. He even elevated the event and the building to the level of the Greek Gods(!), asserting that the Crystal Palace quote “may be considered the Olympian festival of the Nineteenth Century.” Well, that's one way to promote the event anyway!- Fry was to have 2 pieces performed on this concert: the Adagio from “The Breaking Heart” and our subject du jour, the Niagara Symphony, which does in fact bear the dedication “Composed for the Musical Congress at the Crystal Palace of New York.” However, since there is only one known review of the performance, and that review only mentions the Adagio, we are NOT even certain that the Niagara Symphony was performed at all! Well... I guess that's technically true, but there is no other reason to doubt that it wasn't performed either. And despite that, as we will see, the piece itself is thematically 100% in line with the event and all of its pomp and frills.###Analysis of piece####Overall scope- The _Niagara_ Symphony is certainly large in effect, meaning to evoke the visual and aural scene of the Falls themselves. But, it is by no means one of Fry's largest works, like his opera Leonora and the more well known _Santa Claus_ Symphony. What the piece does is showcase Fry's penchant for experimentation and visually evocative writing. The first rarity is the orchestration, calling for 5 timpanists playing 11 drums! ... Then, just as oddly, he calls for 2 “bass brass instruments”, specifying “tubas, ophicleides, bombardones... using very high register.” I had to look up the bombardone... it's essentially the bottom range trombone, with the same range of a tuba! I have no idea how feasible this was at the time, but certainly today we would just use 2 tubas, similar to replacing the 2 serpentines Berlioz' calls for in his _Symphonie Fantastique_. ####Excerpts- Now, lets hear excerpts of the piece itself.- A dull murmur of timpani rolls begins the piece, and as if turning a small bend in the water to take full view of the falls, the music builds quickly to a grand climactic fanfare- Then just as quickly, this climax erupts into confusion, running chromatic scales, even in the trumpets!, possibly representative of the rocky ride over the waves toward the falls 『play chromatics』- After yet another climactic crash (of waves, maybe?), the sound finally calms, opening up to a surprisingly stately, contrasting theme. Though, the timpani rolls persist beneath throughout, foreshadowing what is to come- In a moment of compositional brilliance, Fry creates a way of ending this stately theme and moving back to the drama of the falls, all while keeping the listener visually “in the boat” so to speak. Before fully ending the section, there are four rousing interjections, followed by stillness, only the ever rolling timpani heard. Only then, after rising tremello and brass chords does he finally arrive at a recap of the beginning fanfare- Now we get another moment of real creativity and real brilliance Fry. After repeating much of the opening material again, at a moment of tight dissonance and tension, Fry creates a distant sounding echo of this moment, and quietly ends the piece in oblivion. In the score, Fry specifically says of the ending measures “Retard these eight bars very much at the second time of playing them to produce a continued monotony of effect.”###Closing- This is truly a unique piece, even now. Even if you've never been to Niagara Falls, Fry's work is engaging and vivid.- Like I said earlier, no matter what he calls it, this really isn't a Symphony, or at least as designed by Haydn and perfected by Beethoven. And Fry spent enough time studying Art Music that he knew very well what a Symphony was. Maybe it was more of a marketing idea? Or possibly he had intended the pieces to be longer, originally?- At any rate, the entire piece is worth enjoying, in totality, as it is, no matter the title.Music:Niagara SymphonyBy: William Henry FryPerformed by: Tony Rowe; Royal Scottish National OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hector Berlioz's unhealthy infatuation with Irish actress Harriet Smithson and failed engagement with Marie Moke sent the composer into a state of mind that nearly killed him several times... and his life wasn't the only one on the line. Become a member of The Composer Chronicles and stephenjtrygar.com on Patreon: https://patreon.com/thecomposerchronicles Music for this episode: Mystery Palace by Spectacles Wallet and Watch: https://open.spotify.com/track/1O3vr6S0UXLHVrxd1sBEX2?si=3fabm1fWRwCCd3r8AWj1nA My Angel by Spectacles Wallet and Watch: https://open.spotify.com/track/0AouJkMQu6SwIN5qPcofN1?si=rbSetT27Ql-_jnt-vDvBWA Blessing by Spectacles Wallet and Watch: https://open.spotify.com/track/3esUlddNUh6oKh5tjCbnXc?si=HhmMoEmkT8-_vl7N4kpl-g Drifting Emotions by Howard Harper-Barnes: https://open.spotify.com/track/2DuSU7hVCiInXkUp7k3i7K?si=9H4KWY1HTqaLnSRoHFSgVA Changing Outlook by Trevor Kowalski: https://open.spotify.com/track/5ue8ogOGWBVn8ea8AwuMVf?si=jb9H7MleQmSsX-AgdBfFOQ Falling Clouds by Trevor Kowalski: https://open.spotify.com/track/6Me8CmUKit9b7qr4GvFmNB?si=Usjzm-lvT1ioVwWqoRMGig Stratus by Trevor Kowalski: https://open.spotify.com/track/34xukMK3D7jdLAeO3ZahRF?si=dYM3xhwkTuydpV4vDTlubw Heartstrings by Madison York: https://open.spotify.com/track/72PYX6Fj5TmhqSspLG851D?si=GZNTxHCvR1mmi63EDRbp9w Firefly Trail by Trevor Kowalski: https://open.spotify.com/track/4SUPWzR8WY6i83Gtv8pUZG?si=7i5VPTiaSAOFLrsWkPtENg Sources for this episode: The Story of Hector Berlioz by Nathan H. Dole: https://www.amazon.com/gp/product/B009TW8PKM/ref=ppx_yo_dt_b_d_asin_title_o07?ie=UTF8&psc=1 The Cambridge Companion to Berlioz (Cambridge Companions to Music) by Peter Bloom (editor): https://www.amazon.com/gp/product/B00FF76UMA/ref=ppx_yo_dt_b_d_asin_title_o08?ie=UTF8&psc=1 Fair Ophelia: The Life of Harriet Smithson Berlioz by Peter Raby: https://www.amazon.com/Fair-Ophelia-Harriet-Smithson-Berlioz/dp/0521244218/ref=sr_1_1?dchild=1&keywords=Fair+Ophelia+The+Life+of+Harriet+Smithson+Berlioz&qid=1591732783&s=digital-text&sr=8-1 --- Send in a voice message: https://anchor.fm/thecomposerchronicles/message

{{ page.summary }} Sources: "A Midsummer Night's Dream (Shakespeare, Act 4, Scene 1)" by Sir Edwin Henry Landseer One Step Beyond: "The Dream" (Season 1, Episode 7) "Sword fight, are we still in a dream?" by Monplaisir "I Must Have Been Dreamin'" by Silas Leachman "HEART BEAT OF A DREAM" by metrostock99 Dream Psychology (Chapter 4) by Sigmund Freud, read by Gesine Symphonie Fantastique, Op. 14 No. 5: "Dreams of a Witches' Sabbath" by Hector Berlioz "Could I Be A Dream?" by Sean T Wright "DREAM" by SprayEagleSP "I Have a Dream" by Martin Luther King Jr. "Dreams at Dawn" by Josh Castle MindWebs: "A Dream at Noonday" by Gardner Dozois Scenes from Childhood, Op. 15, No. 7: "Dreaming" by Robert Schumann

The collaboration between Jason Platt, a local freelance illustrator, and Marc Zyla, Director of Education and Community Outreach for the Quad City Symphony Orchestra (QCSO) resulted in the production of an illustrated video telling the story behind Hector Berlioz's Symphonie Fantastique. The video was released in a five-part series, corresponding to the five symphonic movements, just prior to the “Postcards from Paris” performance in October of 2017 by the QCSO.

On this day in 1879, the British premiere of Hector Berlioz's Symphonie Fantastique took place - almost 50 years after its premiere in Paris in 1830. On today's "A Classical Day in the Life", we consider the reasons for the delayed premiere in England and explore Berlioz's affinity for Shakespeare.