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6 episodes with two pianos
4 episodes with two pianos
3 episodes with two pianos
2 episodes with two pianos
2 episodes with two pianos
2 episodes with two pianos
2 episodes with two pianos
2 episodes with two pianos
3 episodes with two pianos
Jim and Sean discuss the results of the 2025 Venice Film Festival & San Sebastián Film Festivals, as well as Adelaide. Films discussed include: Father Mother Sister Brother, The Voice of Hind Rajab, La Grazia, A House of Dynamite, Silent Friend, Below the Clouds, The Smashing Machine, Two Pianos, The Fence, Couture, The Currents, The Ballad of a Small Player, Nuremberg, Phantoms of July, Perla, Reedland. Let us know your favourite films of the 21st century ahead of our next podcast. Email us: incompetitionfilm@gmail.com
Director Richard Linklater has paid tribute to the groundbreaking moment in French cinema when jump cuts, cigarette smoke and rebellious youth were rendered in beautiful black and white celluloid. Manon Kerjean tells us why "Nouvelle Vague", his affectionate tribute to French film history, is a treat for cinephiles. We also discuss the social drama "Météors", which takes viewers deep into rural France for a bromance that deals with coming-of-age struggles with humour. Meanwhile, Arnaud Desplechin returns with a cerebral, emotionally dense story of music and mystery, as François Civil and Charlotte Rampling star in "Two Pianos". Plus we check out a charming animated rendition of the life of French literary giant Marcel Pagnol, whose southern stories have delighted generations of schoolchildren.
Ep. 349: Toronto 2025: Edo Choi on The Christophers, Wavelengths, The Currents, Two Pianos, Nouvelle Vague, plus Tuner Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 50th edition of the Toronto International Film Festival had far too many movies for a single episode, and so I'm happy to talk through more titles with Edo Choi, film programmer at Metrograph. Among the films discussed are The Christophers (directed by Steven Soderbergh), Two Pianos (Arnaud Desplechin), The Currents (Milagros Mumenthaler), Nouvelle Vague (Richard Linklater), Tuner (Daniel Roher), and a few highlights from the Wavelengths section: Morgenkreis (Basma al-Sharif), CONFERENCE (Björn Kämmerer), Rojo Zalia Blau (Viktoria Schmid), and FELT (Blake Williams). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass
“I'm hoping to use my life as an experiment and model what it means to take a risk.” From high school teacher to actor, musician, and risk-taking coach, Adam LaSalle shares how courage, belief, and creativity can change your life. This episode is sponsored by my new book BRANDJITSU, helping you find, shape, and share your story with the world. In This Episode In this episode, Michael talks with New York-based actor, musician, and coach Adam LaSalle about the art of taking risks, believing in yourself, and helping others find their creative spark. After a decade as a high school teacher, Adam left the classroom to pursue acting and music full time—while also building a practice that helps others make bold moves in their own lives. Adam shares his early love for the arts, the anxious tendencies that made risk-taking feel impossible, and the moment he realized creativity was essential to his wellbeing. From his most challenging stage role in Two Pianos, Four Hands to his pilot group program connecting “rebels in waiting,” Adam's story is about alignment, persistence, and using personal experience as a model for others. The conversation wanders through New York moments, from bagels in pajamas to advice from strangers, and touches on everything from instruments as self-care tools to the song he and his fiancée sing daily to their cat, Iris. Adam's advice to would-be rebels? Acknowledge what you feel, believe change is possible, and have the courage to try—before you think you're ready. Quotable Quotes “I'm hoping to use my life as an experiment and model what it means to take a risk.” “You stop being creative when you're an adult… that's when I went out of alignment.” “People are kinder than we think they're going to be.” “The process is the product.” “You have more access to your potential than you realize.” Episode Highlights From Teacher to Actor | Leaving the classroom to pursue music, theatre, and coaching. Creative Childhood | Band, drama club, and finding community in the arts. Out of Alignment | Losing creativity in adulthood and its impact on wellbeing. Two Pianos, Four Hands | Preparing for a nine-minute double concerto on stage. Human Conversations | Why “fine” isn't enough when someone asks how you are. The Process Is the Product | Lessons from music that apply to life and growth. Instruments as Self-Care | Keeping guitars, piano, and bass within arm's reach. Most New York Moments | From bagels in pajamas to sushi in gym shorts. Rebel Advice | Acknowledge, believe, and have the courage to try—before you're ready. LINKS FROM EPISODE Adam's Website (http://www.adamlasalle.co/coaching) Adam on Instagram (https://www.instagram.com/jennlynnmaclean/) Adam on YouTube (https://www.youtube.com/@AdamLaSalleOfficial) Adam on LinkedIn (https://www.linkedin.com/in/adam-lasalle/) Get Your Copy of Michael's Book: "BrandJitsu™: Move Your Brand From 'Meh' To Memorable" Indigo | Barnes & Noble | MichaelDargie.com
In this 1719th episode of Toronto Mike'd, Mike chats with keyboardist Mike Boguski, an emergency replacement for AWOL guitarist Colin Cripps. We improvised like salty old vets and learned about Two Pianos, No Rodeo with Bob Wiseman. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Ridley Funeral Home, Toronto Maple Leafs Baseball, Yes We Are Open, Nick Ainis and RecycleMyElectronics.ca. If you would like to support the show, we do have partner opportunities available. Please email Toronto Mike at mike@torontomike.com
Hosts Claire and Aarón are back at the Rosin Box, joined this week by Principal Dancers Tiler Peck and Roman Mejia to talk about the relationship between choreographer and dancer in the creation of new works—especially in the case of Tiler's Concerto for Two Pianos from 2024, which featured Roman. As they share, the process is like a conversation between artists on both sides of the studio and relies heavily on trust. Tiler highlights the necessary balance between celebrating individual dancers' strengths with making a timeless work, while Roman describes feeling deeply invested in the success of her ballet's premiere. (34:11) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records
Donald Macleod colours in Bruch's life story and reveals the breadth of his output“Only true melody outlasts all changes and shifts of time” – so said this week's composer, Max Bruch, the creator of what may be the world's best-loved violin concerto. But Bruch would hate us to think of him as a one hit wonder. He even came to resent the very sound of his first Violin concerto, the only piece by which he's often remembered. This week, Donald Macleod colours in Bruch's life story and reveals the breadth of his output, including some of his lesser-heard music.Music Featured: Frühlingslied, Op 7 No 5 (arr. for violin and piano) Septet, Op Posth (3rd mvt, Scherzo) Klavierstücke, Op 12 (excerpt) Piano Trio, Op 5 Die Loreley Overture String Quartet No 2 in E major, Op 10 (1st mvt, Allegro maestoso) Swedish Dances (No 10, Frisch, nicht zu schnell) Musicaklang, Op 71 No 5 Symphony No 1 (5th mvt, Finale) Schön Ellen, Op 24 Violin Concerto No 1 in G minor 12 Scottish Folksongs (No 2, Johnie und Jenny) Songs, Op 49 No 4 – Serenade Piano Quintet in G minor (3rd & 4th mvts) Gruss an die Heilige Nacht (Greeting to the Holy Night) Kol Nidrei Scottish Fantasy for violin and orchestra (4th mvt, Allegro guerriero) 8 Pieces for Clarinet, viola and piano, Op 83 No 2 In der Nacht, Op 72 4 Pieces, Op 70 (No 1, Aria) Concerto for Two Pianos (4th mvt) Double Concerto for clarinet and viola Sommerlust im Walde, Op 71 No 1 String Quartet No 1 (3rd mvt) Das Lied von der Glocke (final movements) Odysseus Prelude In Memoriam, Op 65Presented by Donald Macleod Produced by Amelia Parker 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 Max Bruch (1839-1920) https://www.bbc.co.uk/programmes/m002br0dAnd 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
Bandleader and jazz saxophonist Emma Rawicz and the writer and composer Neil Brand join Jeffrey Boakye and Anna Phoebe as they add the next five tracks to the playlist. The journey takes them from Frank Gehry's Walt Disney Concert Hall in Los Angeles, across the English Channel in a rickety aeroplane, then right up to the moon with Les Paul and Mary Ford.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:The Bucket's Got a Hole in it by Kid Ory Those Magnificent Men in their Flying Machines by Ron Goodwin Conversation by Joni Mitchell How High the Moon by Les Paul and Mary Ford Sweet Child O'Mine by Guns N' RosesOther music in this episode:Tamacún by Rodrigo y Gabriela Double Concerto for Two Pianos and Orchestra: Mvt 1 by Philip Glass, performed by Katia & Marielle Labèque My Bucket's Got a Hole In It by Hank Williams Bucket's Got a Hole In It by Louis Armstrong My Bucket's Got a Hole In It by Van Morrison 633 Squadron: Main Title Theme by Ron Goodwin Amassakoul by Tinariwen Some Unholy War by Amy Winehouse Didn't It Rain by Sister Rosetta Tharpe
Irish violinist Aoife Ní Bhriain and jazz pianist and composer Julian Joseph are the first guests in the new series with Jeffrey Boakye and Anna Phoebe. Together they add the first five tracks, taking us from the Mercury Prize-winning jazz group Ezra Collective to a celebrated pair of sisters at the piano, via a 1975 pop classic heavily influenced by Frédéric Chopin.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:God Gave Me Feet For Dancing by Ezra Collective Nocturne No. 20 in C-Sharp Minor by Frédéric Chopin Could it be Magic by Barry Manilow Kabir by John McLaughlin, Shankar Mahadevan & Zakir Hussain Double Concerto for Two Pianos and Orchestra: Mvt 1 by Philip Glass, performed by Katia & Marielle LabèqueOther music in this episode:Everywhere by Fleetwood Mac Dollar Wine by Colin Lucas Feeling Good by Nina Simone Prelude in C Minor, Op 28, No 20 by Frédéric Chopin Could it be Magic by Donna Summer Could it be Magic by Take That
Murray State University (KY) Percussion Professor and Indiana University Doctoral student Conner Viets stops by to talk about his simultaneous careers as well as living in Kentucky (04:25), growing up in Nebraska and Kansas City, being in strong musical environments, working in high school, and taking part in Youth & Government (24:35), attending Truman State University (MO) for undergrad and studying with Michael Bump (44:00), and his master's degree years at the University of Nebraska-Lincoln, studying with Dave Hall, and playing at PASIC 2019 (01:00:00).Finishing with a Rave on the 2023 documentary Albert Brooks: Defending My Life (01:20:05).Conner Viets Links:Conner's Murray State pageConner's Bandcamp pagePrevious Podcast Guests mentioned:Kevin Bobo from 2017Dave Hall from 2020John W. Parks IV from 2018Kurt Gartner from 2024Louis Raymond-Kolker from 2024Other Links:Joseph GramleyJohn TafoyaNeil PeartRay DeMarchiSteve AdamsGreg HaynesMichael BumpScott QuadeLiam TeagueLeigh Howard StevensMichael BurrittTwo Mexican Dances - Gordon StoutNational Conference on Percussion PedagogyBlue Lake Fine Arts CampPeter MiyamotoSonata for Two Pianos and Percussion - Bela Bartok“Ultimatum 1” - Nebojsa Jovan Zivkovic“Khan Variations” - Alejandro Viñao“Book of Grooves” - Alejandro Viñao“Liminality” - Dave Hall“Exit Music” - Brad MehldauRaves:Albert Brooks: Defending My Life trailer
Pianists Michael Stephen Brown and Adam Golka join Maestro Tito Muñoz and the Phoenix Symphony for performances of the Piano Concerto #10 (for two...
C'est l'éclectisme du mercredi avec l'aléatoire ! TRACKLIST Divine - Shoot Your Shot Logic1000 - Saint Rex Lazy Flow - Electro vs Vogue This Is Lorelei - Dancing in the Club Paul Williams - Faust Flo Milli - Tell Me What You Want Heavee - Starseeker helen island - It's So Easy helen island - Alice Dj Salem - Better Off Alone (Alec Empire Remix) Alice Deejay - Better Off Alone Anderson do Paraiso - Paty Trem Barbie Anderson do Paraiso - Todas Elas Ao Mesmo Tempo (ft. MC PR & MR Bim) Emma Dj - Endormi Au Pef Zoltan Kocsis, Janos Ferencsik & Dezso Ranki - Concerto for Two Pianos and Orchestra in E fat major K.365, I. Allegro Lully - Slow D's Paolo Vasile - Il giorno del cobra Tom Tom Club - Genius of Love Bohannon - Bohannon's Beat (Part 1) Jean Grae - 38 Special (ft. Tanya Morgan) Radamiz &Thelonious Martin - Pope Power Solange - Stay Flo Fab 5 Freddy - Change The Beat
Rachmaninoff's suites for two pianos are quite unique in the classical repertoire - a musical language from the height of the romantic period but breaking new ground by utilizing two separate keyboards and pianists for some extraordinary textures! Pianist Henrik Kilhamn guides you through the composition with its four movements, with presentations interlaced with musical excerpts, the score and some analytical insights. The recording used in the video is from a performance with Henrik Kilhamn and Svetla Tsvetkova. Video: https://youtu.be/sLG17eEjkgU
Felix Mendelssohn - Concerto for Two Pianos: 1st movementGenova and Dimitrov Piano DuoMunich Radio OrchestraUlf Schirmer, conductorMore info about today's track: CPO 777463-2Courtesy 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
Judy Collins has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, & a firm commitment to social activism. In the 1960s, she evoked both the idealism & steely determination of a generation united against social and environmental injustices. Six decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 55-album body of work, & heed inspiration from her spiritual discipline to thrive in the music industry for half a century. The award-winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards & her own poetically poignant original compositions. Her stunning rendition of Joni Mitchell's “Both Sides Now” from her landmark 1967 album, Wildflowers, has been entered into the Grammy Hall of Fame. Judy's dreamy and sweetly intimate version of “Send in the Clowns,” a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music, won "Song of the Year” at the 1975 Grammy Awards. She's garnered several top-ten hits gold- and platinum-selling albums. Recently, contemporary & classic artists such as Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen honored her legacy with the album Born to the Breed: A Tribute to Judy Collins. Judy began her impressive music career at 13 as a piano prodigy dazzling audiences performing Mozart's “Concerto for Two Pianos,” but the hard luck tales & rugged sensitivity of folk revival music by artists such as Woody Guthrie and Pete Seeger seduced her away from a life as a concert pianist. Her path pointed to a lifelong love affair with the guitar & pursuit of emotional truth in lyrics. The focus and regimented practice of classical music, however, would be a source of strength to her inner core as she navigated the highs and lows of the music business.
SynopsisIt might seem odd to think of Max Bruch as a 20th-century composer. After all, his three greatest hits — his Violin Concerto No. 1, his Scottish Fantasy for violin and orchestra, and his setting of the Hebraic liturgical chant Kol Nidrei for cello and orchestra — were all written in the 19th century.But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920.One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today's date in 1916. The new work was well-received and its composer praised.But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch's score for their 1916 performance, unbeknown to the composer. It wouldn't be until 1971 that the concerto was performed as he had actually written it.Music Played in Today's ProgramMax Bruch (1838-1920) Concerto for Two Pianos; Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Neville Marriner, cond. Chandos 9711
9 月末，精神山西人 VC 和小红书以及山西文旅厅、山西文物局一起，沿着经典的「晋北访古路线」，特种兵式地走了 5 天，并且很幸运地遇到了几位身份不同、性格迥异的山西守庙人。本期节目，我们就一起听听守庙人和他们守护的那些古老寺庙的故事。 我们非常好奇一个问题「关于为什么是山西？为什么山西能留下这么多古建筑？」这次探访之旅，可能会为我们提供新的观察和思考。 此外，我们更希望每个人都能来山西真实地走一走、看一看，踩一踩山西的土，吹一吹山西的风，进一进山西的寺庙，吃一吃山西的面和醋，然后分享一下属于你的答案。在「小宇宙」平台本期节目评论区分享你的访古故事，或者你和山西的故事，我们会抽出 5 位听友，送出一份由小红书在今年十月特别推出的限量版《山西古建奇谭》打卡集章本！(今年十一假期山西一本难求的「特产」) 我们这次探访的山西古建筑和守庙人： 1. 浑源县荆庄的大云寺（守庙人：王大爷） 2. 繁峙县公主寺（守庙人：居林秀） 3. 定襄县洪福寺（守庙人：赵所长） 4. 王崇恩教授，多年来致力于在山西从事建筑遗产保护方向研究工作 > 荆庄大云寺就藏在这座民居大门里> 大云寺守庙人王大爷> 大云寺里的壁画「不动尊明王」> 公主寺守庙人居林秀> 定襄洪福寺> 和赵所长坐在洪福寺院子里聊天（感谢图片提供：导演罗娜娜）*** 「YǐN隐 × 午夜飞行」 听友福利 *** 「午夜飞行」和现代设计金饰与珠宝品牌「YǐN隐」，共同为听友们准备了一张「金色听友券」！线上优惠券：「YǐN隐 × 午夜飞行」 听友专属 ¥100 满减听友券 - 可叠加各种活动使用（满 ¥400 可使用） - 可在淘宝「YǐN隐旗舰店」报「午夜飞行」暗号领取 - 有效期至 10 月 31 日 长期有效优惠券： 「YǐN隐」也为午夜飞行的听友们准备了长期有效券，只要报「午夜飞行」给电商客服或门店顾问，都可获得 ¥50 减免 线上渠道：微信公众号搜索「YǐN隐」、淘宝搜索「YǐN隐」 线下门店：北京市王府井大街王府中环 3 层 301B 【节目主播/制作】 主播/制作：VC 微博：@VividCrystal https://weibo.com/u/1241505120 小红书：@午夜飞行VC https://www.xiaohongshu.com/user/profile/572a84ee50c4b435fe74744e 【节目互动】 微博：@午夜飞行Official https://weibo.com/u/7298580324 公众号：午夜飞行 【欢迎加入听友群】 入群方式 A：微信添加小助手 Amber (ID: hellomarcast)，拉你入群 入群方式 B：关注公众号「午夜飞行」 ，回复「听友群」三个字，即可获取入群通道 【本集音乐】All music credits to: 1. 灵气 - 风潮音乐 2. 资料说明-历史 - 郭权兴 3. 三个朋友 - 无问西东 - 宇文硕/布达佩斯电影交响乐团 4. Montmarte - Asaf Avidan 5. The Marsh - Chad Crouch 6. Concertino for Two Pianos in A minor, op. 94: Adagio - Allegretto - Allegro - Dmitri Shostakovich,Maxim Shostakovich 7. Piano Quintet in A, D.667 - "The Trout": 2. Andante - James Levine/Gerhart Hetzel/Wolfram Christ 8. The Sea Temple - Pravana 【关于节目】 《午夜飞行》是一档关注旅行、城市、文化和生活的播客节目，由 VC 主持/制作，力求用声音将多彩的城市故事带给你。微博：@午夜飞行Official / 公众号：午夜飞行 本播客由 Marcast Media 荣誉出品，也欢迎你订阅收听 Marcast 旗下的其他播客节目。你可以通过以下方式找到我们：- 微博：@Marcast https://weibo.com/u/2743283854 - 公众号：Marcast - 小红书：@Marcast新播客 - 进听友群请添加微信：hellomarcast - 商务合作联系：hello@marcastmedia.com - 欢迎订阅 Beads Newsletter https://beads.beehiiv.com 每周一封精选英文播客内容分享，为你提取、总结那些 90% 的人听不到的、隐藏在声音里的一手信息和知识，和你一起拓展认知和视野，每周一上午发送 © 2023 Marcast Media
Jade Coxon, a Biological Engineering junior at Purdue University (Indiana) discusses 'Strange Intelligence: Thinking about Thinking in the Most Unusual of Organisms'. Her passion about the evolution of intelligence stems from her fascination with the behavior of organisms as varied as squirrels, bees, and slime molds. Then, Dave Robinson discusses 'The Mozart Effect'. Does listening to Mozart make us smarter? ‘Bench Talk: The Week in Science' is a weekly radio program that airs on WFMP Louisville FORward Radio 106.5 FM (forwardradio.org) every Monday at 7:30 pm, Tuesday at 11:30 am, and Wednesday at 7:30 am. Visit our Facebook page for links to the articles discussed in this episode: https://www.facebook.com/pg/BenchTalkRadio/posts/?ref=page_internal Featured is a public-domain recording of the 'Sonata for Two Pianos in D major, K448; 1st Movement' written by Wolfgang Amadeus Mozart in 1781, when he was just 25 years old.
SynopsisOn today's date in 1829, German composer Felix Mendelssohn was in London, participating in a gala concert to raise funds for the victims of a flood in Silesia. “Everyone who has attracted the slightest attention during the season will take part,” wrote Mendelssohn. “Many offers of good performers have had to be declined, as otherwise the concert will last till the next day!”Mendelssohn performed his Double Concerto in E Major for two pianos and orchestra, joined by his friend and fellow-composer/pianist Ignaz Moscheles. Mendessohn and Moscheles jointly prepared a special cadenza, and jokingly bet each other how long the audience would applaud it—Mendessohn predicting 10 minutes, and Mosceheles, more modestly, suggesting 5.In the Baroque age, Double Concertos were very popular, but by Mendelssohn's day they had become less common. In our time, Concertos for Two Pianos are even rarer. One of the most successful American Double Concertos was written between 1952 and 1953 by the American composer Quincy Porter. Also known as the “Concerto Concertante,” commissioned by the Louisville Orchestra. It proved to be one of the most popular of Porter's works, and even won the Pulitzer Prize for Music in 1954.Music Played in Today's ProgramFelix Mendelssohn (1809 - 1847) Double Concerto Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Sir Neville Marriner, conductor. Chandos 9711Quincy Porter (1897 - 1966) Concerto for Two Pianos Joshua Pierce and Dorothy Jonas, duo pianists; Moravian Philharmonic; David Amos, conductor. Helcion 1044
Two of today's most celebrated artists, Jean-Yves Thibaudet and Michael Feinstein join forces for the first time at Tanglewood on Friday night in "Two Pianos: Who Could Ask for Anything More?," an innovative program celebrating the music of George Gershwin and his world performing with the Boston Pops and Keith Lockhart conducting.
《午夜飞行》在这个夏天尝试制作了一个新的特别系列——访古纪。本期是「访古纪」特别系列的一个小小的「楔子」。我们会跟大家聊一聊，为什么要做这样一个系列节目，以及为什么有越来越多的人爱上了访古。同时，我们也真诚地向热爱访古的朋友们发出邀请，欢迎你和我们以各种形式一起分享访古的故事，共同来完成这次「访古纪」的创作！今年，让我们一起去访古，去把自己「种回土地」里。【节目主播/制作】VC微博: @VividCrystal https://weibo.com/u/1241505120 小红书：@午夜飞行VC https://www.xiaohongshu.com/user/profile/572a84ee50c4b435fe74744e【节目互动】微博：@午夜飞行Official https://weibo.com/u/7298580324公众号：午夜飞行【本集音乐】All music credits to:1. Facing You - David O'Dowda 2. Concertino for Two Pianos in A minor, op. 94: Adagio - Allegretto - Allegro - Dmitri 3. Shostakovich, Maxim Shostakovich 4. Temeen Yawudal - Urna 5. 永嘉彗星 - 万能青年旅店【欢迎加入听友群】入群方式 A：微信添加小助手 Amber (ID: hellomarcast)，拉你入群入群方式 B：关注公众号「午夜飞行」 ，回复「听友群」三个字，即可获取入群通道【关于节目】《午夜飞行》是一档关注旅行、城市、文化和生活的播客节目，由 VC 主持/制作，力求用声音将多彩的城市故事带给你。微博：@午夜飞行Official / 公众号：午夜飞行本播客由 Marcast Media 荣誉出品，也欢迎你订阅收听 Marcast 旗下的其他播客节目。你可以通过以下方式找到我们：- 商务合作联系：hello@marcastmedia.com- 微博：@Marcast https://weibo.com/u/2743283854- 公众号：Marcast - 小红书：@Marcast新播客 - 欢迎订阅 Beads Newsletter https://beads.beehiiv.com 每周一封精选英文播客内容分享，为你提取、总结那些 90% 的人听不到的、隐藏在声音里的一手信息和知识，和你一起拓展认知和视野，每周一上午发送。© 2023 Marcast Media
Kate Molleson explores the life of György Ligeti with guest, Danny Driver Known to millions through the film director Stanley Kubrick's use of his music in 2001: A Space Odyssey, Ligeti's music reflects the seismic events taking place in central Europe in the mid-twentieth century - shifting borders, war, totalitarianism and for many, exile. These harrowing experiences all made a deep imprint on him and his music. He was born in 1923 into a Jewish Hungarian family in an area that had become part of Romanian Transylvania. After years of state repression, in 1956 at the onset of the Hungarian revolution, Ligeti made a dramatic escape on foot to the West. Freed from state intervention, he was to remain artistically and personally independent from any particular orthodoxies for the rest of his life. He died in 2006 at the age of 83. Ligeti regarded the whole world as the material for his music. He was fascinated by anything and everything: philosophy, science, the arts, literature - Alice in Wonderland was one of his favourite books. His music can be playful, at times wickedly macabre. He loved patterns, he loved rhythm, he dived into mathematical concepts of immense complexity but was equally curious about history, folklore, the cosmos and the natural world. From the piano, Danny Driver, a huge Ligeti enthusiast, opens up the magical universe Ligeti creates in his piano music, with a special focus on the three sets of piano studies. Music Featured: Musica ricercata (IV. Tempo de Valse (poco vivace - à l'orgue de Barbarie) Lux aeterna Three Wedding Dances for two pianos (Hàrom lakodalmi tánc) Romanian Concerto Piano Concerto (1st, 2nd & 3rd mvts) Musica ricercata (excerpt) Cello Sonata (2nd mvt, Capriccio. Presto con slancio) Apparitions (2n, mvt, Agitato) Musica ricercata (excerpt) Lontano Three Pieces for Two Pianos Études, Book 1 Chamber Concerto for 13 instruments Clocks and Clouds Three Fantasies after Friedrich Hölderlin Capriccio 1; Invention Capriccio 2 Études, Book 2 Trio for Violin, Horn and Piano (1st mvt, Andantino con tenerezza) Sonata for solo viola (1st mvt, Hora lungă) Trio for Violin, Horn and Piano (2nd mvt, Vivacissimo molto rítmico) Piano Concerto (4th mvt, Allegro risoluto - molto rítmico) Études Book 3 Melodien Presented by Kate Molleson Produced by Johannah Smith For 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 György Ligeti (1923-2006) https://www.bbc.co.uk/programmes/m001lzcn 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
A mixed bag of musical allsorts presented weekly by Ray Woodley, produced by Manawatū People's Radio with the support of New Zealand On Air.
This episode features the host talking about arguments against the existence of the Christian god to the sound of Béla Bartók's Violin Rhapsody No. 1 and Louis Andriessen's Rhapsody for Two Pianos and Orchestra.
INTRODUCTION Charley Pride – “Hope You're Feelin' Me” (https://www.youtube.com/watch?v=nlD01k4hYbw) Linda Martell – “San Francisco is a Lonely Town” (https://www.youtube.com/watch?v=1ODGQrM1Elk) Charley Crockett – “Jamestown Ferry” (https://www.youtube.com/watch?v=_vHOZ-yBjjw) MOVEMENT ONE “A Pittsburgh Orchestra Premieres Music Inspired by the Loss of a Parent”: https://www.post-gazette.com/ae/music/2023/02/01/chamber-orchestra-pittsburgh-symphony-concert-ticket-beethoven-alyssa-wang/stories/202301270089 Alyssa Wang – “Volt” (https://www.youtube.com/watch?v=lNGWj49tpYo) “Meet the Cleveland Orchestra's First Director of Diversity and Inclusion”: https://www.ideastream.org/arts-culture/2023-01-30/meet-the-cleveland-orchestras-first-director-of-diversity-and-inclusion Allison Loggins Hull – “Hammers” (https://www.youtube.com/watch?v=ANZrjcAiqPU) MOVEMENT TWO Stephanie Economou – “Dawn of Ragnarök” (https://www.youtube.com/watch?v=2uECGfaWuIg) Amii Stewart – “Knock on Wood” (https://www.youtube.com/watch?v=XKuJUxGntRI) MOVEMENT THREE “Black & White Are Beautiful”: https://www.youtube.com/watch?v=1HdnjTCMzpg Garrett Interviews Karen Chilton and Murray Horwitz Karen Chilton: https://www.karenchilton.com/bio Murray Horwitz: https://en.wikipedia.org/wiki/Murray_Horwitz Performers Pay Homage to Pianist and Activist Hazel Scott: https://www.washingtoninformer.com/a-road-down-memory-lane-in-one-night-at-cafe-society/ MOVEMENT FOUR Key Glock – Ambition for Cash (https://www.youtube.com/watch?v=tdUryRgD674) “It's OK to be Angry About Capitalism”: https://www.theguardian.com/books/2023/feb/24/its-ok-to-be-angry-about-capitalism-by-bernie-sanders-review-straight-talking-from-the-socialist-senator SPONSORS Schubert Club: https://schubert.org Salastina: https://www.salastina.org/ ★ Support this podcast ★
Episode 91 The Silent Episode Playlist Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist's collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn't feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24 John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50 John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04 John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58 Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27 Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41 MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50 Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26 Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53 Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38 Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02 Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35 Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39 Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57 Opening background music: Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.
The Grit and Grind of Autism- Finding Light Along the Journey
Katie Eschleman is a music therapist serving primarily kids who have differing needs. She holds a Masters Degree from Drexel University and has been in the field for 20 years. Katie brings a great source of fun and creativeness to her therapy sessions. She is loved so much by all of her students (and their families). In her spare time Katie enjoys running, kick boxing, spending time with her daughters and playing gigs. Heartstrings UnitedMaking the Pitch for MusicJamie Costello InterviewSing Out - Amazon Music Mozart:Sonata for Two Pianos in D, KV 448
歡迎留言告訴我們你對這一集的想法： https://open.firstory.me/user/cl81kivnk00dn01wffhwxdg2s/comments Music makes you lose control, Missy Elliott once sang on a hit that is almost impossible to hear without bopping along. Now scientists have discovered that rats also find rhythmic beats irresistible, showing how they instinctively move in time to music. 音樂讓你情不自禁，蜜西艾莉特唱紅的一首歌，便是說聽音樂幾乎無法不跟著一起打拍子。現在科學家發現老鼠對有節奏的拍子也無法抗拒，表示老鼠是本能地配合音樂節拍擺動。 This ability was previously thought to be uniquely human and scientists say the discovery provides insights into the animal mind and the origins of music and dance. 這種能力以前被認為是人類所獨有，科學家說這一發現能讓我們對動物的頭腦以及音樂和舞蹈的起源有更深入的了解。 “Rats displayed innate — that is, without any training or prior exposure to music — beat synchronization,” said Dr Hirokazu Takahashi of the University of Tokyo. 東京大學的高橋宏知博士說：「老鼠所展現的節拍同步是天生的——也就是說，未經任何訓練，也未曾接觸過音樂」。 “Music exerts a strong appeal to the brain and has profound effects on emotion and cognition,” he added. 「音樂對大腦有很強的吸引力，對情緒和認知有深遠的影響」，他補充道。 While there have been previous demonstrations of animals dancing along to music — TikTok has a wealth of examples — the study is one of the first scientific investigations of the phenomenon. 雖然之前已經有動物隨音樂起舞的例子——抖音上有很多這樣的影片——但這項研究是對此現象的首批科學研究之一。 In the study, published in the journal Science Advances, 10 rats were fitted with wireless, miniature accelerometers to measure the slightest head movements. They were then played one-minute excerpts from Mozart's Sonata for Two Pianos in D Major, at four different tempos: 75 percent, 100 percent, 200 percent and 400 percent of the original speed. 20 human volunteers also participated. The scientists thought it possible that rats would prefer faster music, as their bodies, including heartbeat, work at a faster pace. By contrast, the time constant of the brain is surprisingly similar across species. 發表在期刊《科學前緣》的這項研究，將十隻老鼠戴上無線微型加速計，以測量最輕微的頭部運動。然後將節選自莫札特D大調雙鋼琴奏鳴曲的一分鐘樂段，以原始速度的75%、100%、 200%和400%等四種不同的速度播放給老鼠聽。二十名人類志願者也參加了此實驗。科學家以為老鼠可能偏好更快的音樂，因為老鼠的身體，包括心跳，是以更快的速度運作。相反地，不同物種生物的大腦時間常數卻是驚人地相似。 However, the results showed that both the rat and human participants had optimal beat synchronicity when the music was in the 120 to 140 beats per minute (bpm) range — close to the Mozart composition's original 132bpm — suggesting we share a “sweet spot” for hitting the beat. The team also found that rats and humans jerked their heads to the beat in a similar rhythm, and that the level of head jerking decreased the more that the music was sped up. 然而，研究結果顯示，當音樂在每分鐘120-140次（bpm）範圍內時——接近莫札特原曲的132bpm，老鼠和人類受試者與節拍都最能同步。這表示我們打拍子有一個共同的「甜蜜點」。研究小組還發現，老鼠和人類會以相似的韻律對節奏搖頭晃腦，且隨著音樂加速，頭部擺動的程度會降低。 “Our results suggest that the optimal tempo for beat synchronization depends on the time constant in the brain,” said Takahashi. 「我們的結果顯示，節拍同步的最佳節奏取決於大腦中的時間常數」，高橋說。 The team now plans to investigate how other musical properties such as melody and harmony relate to the dynamics of the brain. “Also, as an engineer, I am interested in the use of music for a happy life,” said Takahashi. 該團隊現在計劃研究旋律及和聲等其他音樂屬性與大腦動態的關係。「此外，身為工程師，我對用音樂來讓生活變得幸福這件事很感興趣」，高橋表示。Source article: https://www.taipeitimes.com/News/lang/archives/2022/11/15/2003788908 Powered by Firstory Hosting
The Labeque Sisters, Katia and Marielle Labeque, shot to fame in 1980 with their arrangements of Gershwin, including the Rhapsody in Blue, and for more than half a century have made a unique musical life together. Tom Service talks to Katia and Marielle about the broad range of music that they are creating, the boundaries that they are constantly pushing, and their sound-world within two pianos. Before the release of their award-winning Gershwin disc in 1980, Katia and Marielle Labeque predominantly performed contemporary music, and encountered the composer Olivier Messiaen, who overheard them practising his Vision de l'Amen while they were still students at the Paris Conservatoire. They've since worked with Boulez and Berio, and it was on tour in Los Angeles, performing Berio's Concerto for Two Pianos, that they happened across Gershwin for the first time. As students at the Paris Conservatoire, they had to fight to be accepted into the chamber music class, and they tell Tom about perceptions of piano duos and the mission to constantly seek new repertoire. The sisters' continual curiosity and creativity has led them on a journey, as Marielle describes it, where one chance encounter leads to another. They have commissioned new works from musicians of backgrounds from rock to classical, from Bryce Dessner to Nico Muhly, and they have worked alongside Giovanni Antonini who helped them to acquire two reproductions of Bach's Silbermann keyboards, which they keep in their Palazzo in Venice. The sisters speak to Tom at length about all their musical projects, delve into what keeps them going, and discuss how their distinct two-piano sound really works.
The annual celebration of World Music Day on 21st June is upon us and Do You Really Know? is aiming to strike a chord with listeners. We'll be harping on about music all week long, covering related terms, concepts and famous figures. What is the Mozart Effect? What if listening to 10 minutes of Mozart could increase your IQ? That's exactly what Frances Raucher and her Californian research team suggested back in 1993. The theory spread like wildfire around the world, leading to much speculation about the so-called Mozart Effect. The myth comes from the publication of an experiment in American scientific journal Nature. The study required participants to listen to The Sonata for Two Pianos in D Major, K 448 by Mozart. After just 10 minutes, they were better able to solve spatial intelligence tasks which are part of IQ testing. Let's cut to the chase, does it actually work? How does music affect our brain ? In under 3 minutes, we answer your questions ! To listen to the last episodes, you can click here : What is the thyroid? What is asthma? What is ecological debt? A podcast written and realised by Joseph Chance. In partnership with upday UK. Learn more about your ad choices. Visit megaphone.fm/adchoices
This June 7th, 2022 edition of our Tuesday Concert with Sarasota Orchestra is from the 2019 Sarasota Music Festival featuring the acclaimed Montrose Trio playing the Piano Trio No. 2 by Mendelssohn. You'll also hear pianists Jeffrey Kahane and Robert Levin with a Concerto for Two Pianos by Mozart! Hosted by Classical WSMR's Russell Gant. Florida's Classical Music Station, WSMR 89.1 and 103.9.
This week on The Sound Kitchen you'll hear the answer to the question about the recently formed leftist political parties' coalition competing in France's upcoming legislative elections. There's “On This Day”, plenty of good music, and of course, the new quiz question, too. Just click on the “Audio” arrow above and enjoy! Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all! Be sure you check out our wonderful podcasts! In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more. There's Paris Perspective, Africa Calling, Spotlight on France, and of course, The Sound Kitchen. We have a bilingual series - an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too. As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our excellent staff of journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website and click on the three horizontal bars on the top right, choose “Listen to RFI / Podcasts”, and you've got ‘em ! You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: My beloved music teacher from St Edward's University in Austin, Texas, Dr Gerald Muller, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here. Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”). There's a Facebook page for members of the general RFI Listeners Club, too. Just click on the link above and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do! This week's quiz: On 30 April, I asked you a question about French politics; specifically, the legislative elections next month. As you know, the French re-elected Emmanuel Macron as president in April, and his party, Renaissance – which until recently was called The Republic on the Move - holds the majority in parliament. RFI English journalist Amanda Morrow wrote an article right after the election about Jean-Luc Mélenchon, the head of the hard-left party France Unbowed, who came in third in the presidential polls. Mélenchon was hard at work at the time trying to create a coalition of all the left-leaning parties to deprive Macron of his majority in Parliament: Mélenchon would therefore hold the office of prime minister. At the time, it seemed highly unlikely that such a coalition could be created as there were too many differences between the parties in question. You were to refer to Amanda's article “Clock ticking as French left mulls coalition deal to humble Macron” and answer these two questions: the names of the different parties Mélenchon was trying to bring into the coalition, and the differences they have with Mélenchon. The answer is: First and foremost, Mélenchon did succeed in creating a leftist coalition – it's called the New Popular Union. The parties Mélenchon solicited to join the coalition are the Socialists, the Communists, the Greens, and the New Anti-Capitalist Party. There were many disagreements on Mélenchon's platform from the various parties, mainly about European integration (Mélenchon is basically anti-EU, to put it simply) and also about the percentage of representation in the legislature that members of his party, France Unbowed, would take as prizes … the majority, of course, because as Mélenchon said, he came in third place in the presidential polls, not the Socialists, or the Greens, or the Communists or the New Anti-Capitalists. They worked it all out though, and we'll see what happens next month when the French cast their ballots. Meanwhile, Macron on his side has also created a coalition. Macron's Renaissance party has joined forces with the centrist parties MoDem and Horizons; that coalition is called Together. The winners are: Raihan Ali, who's a member of the Nilshagor RFI Fan Club in Nilshagor, Bangladesh, and RFI Listeners Club members Vladimir Gudzenko from Moscow Province, Russia; Zenon Teles, who's the president of the Christian – Marxist – Leninist - Maoist Association of Listening DX-ers in Goa, India, and John Yeami Sanday Turay from Freetown, Sierra Leone. Last but certainly not the least, faithful RFI English listener Bernard Egbe, from Abuja, Nigeria. Congratulations winners! Here's the music you heard on this week's program: Traditional Nepali folk music performed by Kutumba; “Yèkèrmo Sèw” by Mulatu Astatke, performed by Ethiopiques; “Allegro ma non troppo” from the Concerto for Two Pianos by Francis Poulenc, performed by pianists Lucas and Arthur Jussen with the Royal Concertgebouw Orchestra conducted by Stéphane Denève; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov, and “Precious Lord” by Thomas A. Dorsey, sung by Mahalia Jackson. Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... You have to listen to the show to participate. After you've listened to the show, refer to Ollia Horton's article “Postcard from Cannes # 3: Give peace a chance” to help you find the answer. You have until 11 July to enter this week's quiz; the winners will be announced on the 16 July podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France or By text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then 33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number. To find out how you can win a special Sound Kitchen prize, click here. To find out how you can become a member of the RFI Listeners Club, or to form your own official RFI Club, click here.
I am delighted to welcome Dr. Susan Kindall to the podcast today. You will see that Dr. Kindall has deep and abiding faith and that that faith permeates every aspect of her life. SUSAN KINDALL is known internationally as a performing member of three professional classical piano duos, numerous chamber groups, and as solo recitalist. In addition to a successful classical performance career, she has toured churches throughout the United States as sacred composer, arranger, solo pianist and soprano soloist. She holds the Doctor of Musical Arts in Piano Performance and Pedagogy (4.0 average) from The University of Oklahoma. Her students are successful international piano competition laureates, doctoral graduates of leading conservatories, performing/recording artists, and publishedcomposers and teachers who chair university music departments and direct ministries around the globe.An expert in the musics of Richard Cumming, Andrzej Dutkiewicz, and Ronaldo Miranda, Dr. Kindall is a passionate advocate of the piano music of living composers. Her most recent world premiere, Ronaldo Miranda's Festpielmüsik for Two Pianos & Percussion with members of the Greenville Symphony, is considered by the composer to be the definitive performance of that work to date. Dr. Kindall is an official observer by invitation of the Hilton Head International Piano Competition, as well as the XVI International Fryderyk Chopin Piano Competition in Warsaw, Poland celebrating the 200th anniversary of Chopin's birth. She has accepted repeated invitations as National Group Discussion Leader at the National Conference on Keyboard Pedagogy Pre-Conference Seminar for Collegiate Piano Pedagogy Teachers in Chicago and has performed nationally at the Music Educators National Convention and Music Teachers National Association Conference. Dr. Kindall is currently a performing member of the Kindall-Nitsch Piano Duo with award-winning American pianist, Paul Nitsch.Having nurtured musicians for over 35 years, Dr. Kindall has served on the staff of Interlochen Arts Camp, as a graduate teaching assistant at The University of Oklahoma, and taught on the artist faculties of Csehy Summer School of Music, Ouachita Baptist University, Ambassador Baptist College, and Bob Jones University—the latter where she installed of the Master of Music in Piano Pedagogy degree. As an MTNA Nationally Certified Teacher of Music, she founded and directed Majesty Music Academy bringing classical artistry to church musicians worldwide. Her numerous awards include Winner of the Oklahoma Music Teachers Association Graduate Piano Competition, the Gail Boyd deStwolinski Award foroutstanding service to The University of Oklahoma School of Music, and the President's Club Partner Award for exceptional professional outreach at BJU.Living true to one's personal values is a basic element of success. Dr. Kindall loves people and remains dedicated to the success of her students. She is currently teaching exclusively online as Owner and CEO of Kindall Piano Studio, LLC. Having toured in over 500 churches nationwide, she now serves as Director of Music and Worship at Greenwood Associate Reformed Presbyterian Church in Greenwood, SC.Susan Kindall is passionate about changing our world for the better, as evidenced in her ever-growing international roster of successful students. She believes that every person should have music as a part of his/her world of possibility.
Mozart was 25 years old when he composed his Sonata for Two Pianos in D major. Hundreds of years later, his enchanting melody is offering hope to those living with epilepsy, a brain disease often characterized by debilitating seizures. A new study is looking at the impact of this Mozart Sonata on reducing seizure frequency in people with epilepsy.Heather speaks with Dr. Marjan Rafiee and Dr. Taufik Valiante to discuss the latest research around Mozart and the therapeutic role music appears to play in neurological disorders. Plus, we hear from a patient from the Mozart study.Featuring:Dr. Marjan Rafiee, postdoctoral fellow in the Neuron To Brain Lab at Krembil Brain Institute and Leader of the Music in Epilepsy Research Project, and Dr. Taufik Valiante, neurosurgeon, scientist and Director of the Surgical Epilepsy Program at Krembil Brain Institute and Co-Director of the Center for Advancing Neurotechnological Innovation to Application (CRANIA).Special thanks to Scott Dainty for sharing his story.To hear more from Scott, listen to his full story here: https://www.uhn.ca/Krembil/Complex-Brain-Podcast/Additional Resources: Neuron to Brain Lab websiteKrembil Brain Institute Epilepsy ClinicKrembil Brain Institute Epilepsy ProgramEpilepsy OntarioEpilepsy TorontoEpilepsy Canada UHN News story - Mozart can reduce seizure frequency in people with epilepsyUHN News story – I didn't want to stop being me (Purple Day feature)Videos:Dr. Taufik Valiante on why he studies epilepsyDr. Taufik Valiante's talk on the future of implantable technology at UHN's ‘Science in the 6ix' eventKrembil Minute – Mozart & EpilepsyHow to identify and help during different types of seizures
A very homey conversation with my dear friend, pianist and roommate Kamilė Zaveckaitė. At the moment we both live and study music in Vienna. We talk about our very private feelings as jealousy, comparison and how do we feel in the classical music industry. Kamilė has listened to all of my episodes and we discuss ideas from the previous episodes. Join us! With an exception of my and Kamile's performance of Lutoslawski's Variations on a Theme by Paganini for Two Pianos, you will hear music performed by Ukrainian musicians. This is a homage to all Ukrainian people, who have been suffering since Russia's invasion. Make Art not War.Intro: Dmytro Gnativ - Ukrainian composer's Vitaly Hubarenko concerto for flute Mariia Kurhuzova - Ligeti Etude No. 4 "Fanfares" Outro: Dmytro Choni - J. Brahms Rhapsody, op.79Support openARTed - patreon.com/monikamasanauskaite all my Patreon donations last month went to help the Ukrainian people.Check more info about the host Monika Mašanauskaitėwww.monikapianiste.com/https://www.instagram.com/masanauskaitemonika/https://www.facebook.com/MonikaPianiste/Listen on YoutubeIf you have any comments or enquiries, drop me a line at openartedpodcast@gmail.com or monikapianiste@gmail.com
Dr. Eugene Rogers is a two-time Michigan Emmy Award winner, a 2017 Sphinx Medal of Excellence recipient, and a 2015 GRAMMY® Award nominee who is recognized as a leading conductor and pedagogue throughout the United States and abroad. He joins Garrett in the third movement to talk about how Black culture drives many people's love of music, his new role as conductor of the Washington National Chorus, and the upcoming premiere of the "Justice Symphony" that he will lead in June. Scott offers ideas on how to engage the classical sub-genre of "new music", Garrett unpacks a church's decision to "give up whiteness" for Lent, and the guys use jazz and Indian classical to demonstrate the importance of "free listening". In the weekly TRILLOQUY, the guys shed light on the continued injustice of police brutality and approach the conversation of proverbial "tap dancers" in politics and arts institutions. Playlist: Marvin Sapp - "Never Would Have Made It" George Lewis - "Interactive Trio" for Trombone, Two Pianos, and Interactive Music System (https://www.youtube.com/watch?v=ec88U5R7cJ0) Traditional - "Raga Suhakanara" Stanley Jordan - "Autumn Leaves" perf. Aretha Franklin - "Precious Lord" (https://www.youtube.com/watch?v=PpFq9gxBxhk) perf. Exigence Ensemble - "Hold On (Change is Comin')" (https://www.youtube.com/watch?v=L4KPTLvalk0) Florence Price - Symphony No. 3, mov. 3 More: Dr. Eugene Rogers: https://www.eugenerogers.com/bio National Philharmonic Presents "Justice and Peace": https://www.kennedy-center.org/whats-on/explore-by-genre/jazz/2021-2022/wash-chorus-justice-and-peace/ Downbeat (Justice Kentanji Brown Jackson's Acceptance Speech): https://www.youtube.com/watch?v=6eOWKuYzb98 A Critical Response to the Supreme Court: https://www.instagram.com/p/CcEMZ19Lnap/ Illinois Church's ‘Fast From Whiteness': https://globalnews.ca/news/8743151/fast-from-whiteness-first-united-church-of-oak-park/?fbclid=IwAR37-sqISB5xdtQmM4YAj9EjPjYrSs9Hx5fTlYvCIMfjy-VuEEkhfA-lAy0 Outspoken Composer to Lead International Contemporary Ensemble: https://www.nytimes.com/2022/04/08/arts/music/george-lewis-international-contemporary-ensemble.html The Grammys and The Challenge of Equitable Diversity: https://www.representclassical.com/news-1/the-grammys-and-the-challenge-of-equitable-diversity No Charges Against Police in Amir Locke Shooting: https://www.nytimes.com/2022/04/06/us/amir-locke-shooting-no-charges.html Tim Scott Defends Votes Against Jackson's Supreme Court Nomination: https://www.wistv.com/2022/04/07/scott-graham-defend-votes-against-jacksons-supreme-court-nomination/
Pianistid Cyprien Katsaris ja Etsuko Hirose mängivad balletimuusikat - seadeid neljale käele ja kahele klaverile kuulsatest vene ballettidest.
Judy Collins has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, and a firm commitment to social activism. In the 1960s, she evoked both the idealism and steely determination of a generation united against social and environmental injustices. Five decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 55-album body of work, and heed inspiration from her spiritual discipline to thrive in the music industry for half a century.The award-winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards and her own poetically poignant original compositions. Her stunning rendition of Joni Mitchell's “Both Sides Now” from her landmark 1967 album, Wildflowers, has been entered into the Grammy Hall of Fame. Judy's dreamy and sweetly intimate version of “Send in the Clowns,” a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music, won "Song of the Year” at the 1975 Grammy Awards. She's garnered several top-ten hits gold- and platinum-selling albums. Recently, contemporary and classic artists such as Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen honored her legacy with the album Born to the Breed: A Tribute to Judy Collins.Judy began her impressive music career at 13 as a piano prodigy dazzling audiences performing Mozart's “Concerto for Two Pianos,” but the hard luck tales and rugged sensitivity of folk revival music by artists such as Woody Guthrie and Pete Seeger seduced her away from a life as a concert pianist. Her path pointed to a lifelong love affair with the guitar and pursuit of emotional truth in lyrics. The focus and regimented practice of classical music, however, would be a source of strength to her inner core as she navigated the highs and lows of the music business.In 1961, she released her masterful debut, A Maid of Constant Sorrow, which featured interpretative works of social poets of the time such as Bob Dylan, Phil Ochs, and Tom Paxton. This began a wonderfully fertile thirty-five-year creative relationship with Jac Holzman and Elektra Records. Around this time Judy became a tastemaker within the thriving Greenwich Village folk community and brought other singer-songwriters to a wider audience, including poet/musician Leonard Cohen – and musicians Joni Mitchell and Randy Newman. Throughout the 60s, 70s, 80s, 90s, and up to the present, she has remained a vital artist, enriching her catalog with critically acclaimed albums while balancing a robust touring schedule.Prolific as ever, Judy recorded a DVD special Judy Collins: A Love Letter To Stephen Sondheim, in her hometown of Denver, CO. Along with the Greely Philharmonic Orchestra, Judy dazzled the audience with Sondheim's beautiful songs and her lovely, radiant voice. DVD and CD companion will be released in early 2017. Judy also released a collaborative album in June 2016, Silver Skies Blue, with writing partner, Ari Hest. Silver Skies Blue has been GRAMMY nominated for BEST FOLK ALBUM in 2017, this is the first GRAMMY nomination for Collins in over 40 years. In 2012, she released the CD/DVD Judy Collins Live At The Metropolitan Museum Of Art which aired on PBS. This special television program was nominated for a New York Emmy and won a Bronze Medal at the 2013 New York Festival International Television & Film Awards. Based on its success, in 2014 she filmed another spectacular show in Ireland at Dromoland Castle. Live In Ireland was released in 2014. This program also won a Bronze Medal at the 2014 New York Festival International Television & Film Awards and the program will broadcast on PBS in 2014 and 2015.
Martha Argerich ja Gabriele Baldocci esitavad Milhaud´, Mozarti, Rahmaninovi ja Raveli teoseid kahele klaverile.
Robotics researcher Ruth Aylett explains why some people fear robots. Plus: how a sonata can reduce epilepsy seizures. More from Ruth Aylett, professor of computer science at Heriot-Watt University in Edinburgh: Pick up "Living with Robots: What Every Anxious Human Needs to Know": https://mitpress.mit.edu/books/living-robots Follow @ruthaylett on Twitter: https://twitter.com/ruthaylett University website: http://www.macs.hw.ac.uk/~ruth/ Edinburgh Centre for Robotics: https://www.edinburgh-robotics.org/academics/ruth-aylett Mozart's Sonata for Two Pianos in D Major may be able to treat refractory focal epilepsy by reducing seizures... somehow by Grant Currin Berezow, A. (2021, October 4). How Mozart's music treats epilepsy. Big Think; Big Think. https://bigthink.com/health/mozart-k448-effect-music-treats-epilepsy/ Quon, R. J., Casey, M. A., Camp, E. J., Meisenhelter, S., Steimel, S. A., Song, Y., Testorf, M. E., Leslie, G. A., Bujarski, K. A., Ettinger, A. B., & Jobst, B. C. (2021). Musical components important for the Mozart K448 effect in epilepsy. Scientific Reports, 11(1). https://doi.org/10.1038/s41598-021-95922-7 AFP. (2021). One Mozart Song Calms The Brains of People With Epilepsy, And We May Finally Know Why. ScienceAlert. https://www.sciencealert.com/listening-to-mozart-somehow-helped-people-with-epilepsy?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+sciencealert-latestnews+%28ScienceAlert-Latest%29 Follow Curiosity Daily on your favorite podcast app to learn something new every day withCody Gough andAshley Hamer. Still curious? Get exclusive science shows, nature documentaries, and more real-life entertainment on discovery+! Go to https://discoveryplus.com/curiosity to start your 7-day free trial. discovery+ is currently only available for US subscribers. See omnystudio.com/listener for privacy information.
Donald Macleod explores the life and work of Béla Bartók. Music Featured: For Children Piano Concerto No 3 Contrasts Hungarian Sketches Kossuth 14 Bagatelles, Nos 4 & 5 Piros Alma / Red Apple 44 Duos for Two Violins (No 44, Transylvanian Song) Allegro Barbaro Romanian Folk Dances for Orchestra Transylvanian Dance String Quartet No 2 (i Moderato; ii Allegro molto capriccioso) Orchestral Suite No 2 (ii Allegro scherzando) Three Hungarian Folk Tunes The Miraculous Mandarin Suite Village Scenes (i Wedding; ii Lullaby) Dance Suite Two Portraits (ii One grotesque – Presto) Out of Doors (iii Musettes; iv The Night's Music; v The Chase) Piano Concerto (i Allegro moderato; ii Andante) Cantata Profana Mikrokosmos Bulgarian Rhythm No 1 (Vol 4, No 113) Study in Chords (Vol 3, no 69) Perpetuum Mobile (Vol 5, No 135) Sonata for Two Pianos and Percussion Sixth String Quartet (iii Mesto – Burletta – moderato; iv Mesto) Sonata for Solo Violin (i Tempo di ciaccona) Concerto for Orchestra (v Finale) Presented by Donald Macleod Produced by Martin Williams, for BBC Cymru Wales For 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 Béla Bartók (1881-1945) https://www.bbc.co.uk/programmes/m000ztnr 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
★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on: Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Casey Cangelosi, Ben Charles, and Ksenija Komljenović Intro music by Bartek Miler https://bartekmiler.com/ Guest: Matt Keown https://www.mattkeownpercussion.com/about Watch here Listen below 01:10 Music History – March 18 Birthdays: Hanna Kulenty, Nikolai Rimsky-Korsakov, premieres: Dmitri Shostakovich – New Babylon (Film), Edward Elgar – In the South, Arnold Schönberg – Verklarte Nacht, Anatoly Lyadov – Baba Yaga 09:10 Guest Intro: Matt Keown 11:56 How are you, where are you? 12:43 What did Robert Van Sice think of the Blue Devils? 17:52 Percussionist father, Alan Keown. 20:02 How do the marching percussion and concert percussion sides interact? 24:22 Animosity between marching and concert percussionists? 27:37 How has your dynamic with your father changed over the years? 34:03 Stereotypes of parents who push children into music 36:38 What have you learned in the past year during Covid-19? 39:37 Topic: NY Times Review “Yuja Wang Makes a Case for Piano as Percussion” 43:53 Bartok's Sonata for Two Pianos and Percussion – the challenges of programming the work 48:31 Ksenija's arrangement of The Rite of Spring for percussion and piano 56:13 Icarus Quartet (two pianos, two percussion) – what commissions are you working on? 58:39 Churches Made Out of Shipwrecks by Michael Laurello 01:01:43 IG Question from @Jade_Hails - You've spent time on either coast, what would you say is the primary difference between them from a musical perspective? Gigs, player attitude, teachers, etc.? 1:06:48 IG Question from lrklorker – If you were a character from “The Ballad of Poisonberry Pete”, who would you be? 01:07:50 Who is your favorite person to play in the Percussion Collective? 01:09:13 Michael Jackson arrangement played by the Percussion Collective 01:10:32 How does Jeff Stern challenge you? 01:12:55 What was the last thing that challenged you? 01:16:04 Real friends in music and criticism 01:18:18 Ben talks about ugly babies (book: Creativity, Inc.) 01:19:14 Objective vs. subjective arguments in chamber music 01:23:40 What's your next project? Icarus Quartet performance in April
Facebook: https://www.facebook.com/thebestmusicpodcast Blog: https://bestmusiccoach.blogspot.com Twitter: https://www.twitter.com/thebestmusicpod Instagram: https://www.instagram.com/thebestmusicpodcast/ The Best Music Podcast #4 | Taylor Goodson — Composition, Timpani | Composing for Dungeons & Dragons and Marching Band Taylor's Website: https://www.tg-sounds.com/ Taylor's YouTube: https://www.youtube.com/channel/UCPszJhABNrr83Aoy3PSphdg Taylor's Soundcloud: https://soundcloud.com/taylor-arthur-goodson Taylor Goodson is active as a freelance percussionist in the New York/New Jersey metropolitan area, participating in performance with members of the Metropolitan Opera, the New York Philharmonic, the New York City Opera, and the Orchestra of St. Luke's at many notable venues in both New York and New Jersey. He is the principal tympanist of both the Montclair Orchestra and the FEA Symphony and he performs regularly with a multitude of ensembles, including the Paragon Ragtime Orchestra and the New Jersey Festival Orchestra. He is also active as a member of the New York Percussion Group, a New York City-based percussion ensemble, and Festival Percussion, an educational percussion quartet in the New York/New Jersey area. As a soloist, he has appeared on multiple occasions with performances of works such as William Kraft's "Concerto for Timpani and Orchestra," Eric Ewazen's "Concerto for Marimba," and Béla Bartok's "Sonata for Two Pianos and Percussion." As an active composer as well, Mr. Goodson has written material for a wide variety of mediums. His music for the concert stage ranges from solo instrumental pieces to large symphonic works where his voice is described as “cinematic” and “emotional.” He was selected as a winner of the 2010 Dallas Wind Symphony Fanfare Competition and has received a multitude of commissions for a large variety of ensembles. Taylor has also written arrangements for notable soloists and conductors around the globe and has been published by Row-Loff Productions for some of his work for percussion. Since 2014, Mr. Goodson has also been writing original shows for competitive marching bands in northern New Jersey. Two of his original scores have received national titles ( Equilibrium, 2015 and Jamais Vu, 2019 ) and many others have had extensive success on the state and local levels. He continues to compose new and engaging works for the marching arts each year and strives to write music that is both engaging and educational. Taylor also has experience with other media as his music is featured in podcasts, video games, television, and film. His work in the realm of digital composition in combination with live recording have won him much critical acclaim, many of these projects having been featured on two of his albums "Inspirations: Volume I" (2014) and "Inspirations: Volume II" (2015), both of which are available through major digital music retailers. Mr. Goodson is a member of the American Federation of Musicians (AFM, Local 802) and the American Society of Composers, Authors, and Publishers (ASCAP). 0:00 Intro 2:53 Warm-Up Questions 9:37 Timpani - What they are 12:57 Timpani - When and how they get used and history 1 18:05 Timpani - Making your own mallets and sticks 22:49 Timpani - When and how they get used and history 2 25:52 Auditioning for ensembles 33:24 How to maintain high-quality performances 40:31 Composing - Finding your voice 47:26 Composing - Winning national marching band titles 52:08 Composing - Dungeons & Dragons 54:09 Composing - Dungeons & Dragons: Creating a world through music 58:24 Lifestyle: Sleep 1:00:58 Lifestyle: Diet 1:02:14 Lifestyle: Mindfulness 1:02:56 Lifestyle: Exercise 1:03:51 Lifestyle: Support & scheduling 1:06:20 Practice: What is easy? 1:06:20 Practice: What is easy? 1:06:20 Practice: Serving the music (Dan is going to eat his words in the next episode) 1:12:36 Practice: What is hard? 1:20:13 Practice: Duration of time 1:22:00 Practice: Longest duration 1:25:29 Creativity: Time of Day & life balance 1:26:16 The problem with too much music theory 1:30:20 Performance Anxiety Logo, Intro Video, and Branding: Arron Leishman Audio and Video: Zach Ramey zacherylramey@gmail.com Video Thumbnail: Jean Tomasulo https://www.behance.net/jeantomasulo Dan's Thumbnail Photo: John Mollura Photography
Quincy Porter bridges many of the themes we've seen so far in the podcast: he was the last student of nineteenth-century American composer Horatio Parker (who also taught 1947 prize winner Charles Ives), he taught composition at an Ivy League school (Yale, in this case) for many years, and he was celebrated for his orchestral music during his lifetime, but is virtually forgotten today. From that list, and from our previous episodes on Howard Hanson, Walter Piston, and Douglas Moore, you might think you have a good sense of what Porter's Ivy League New England musical style might be, but are you right? Join us to find out. For more about Quincy Porter: 1) https://composers.com/composers/quincy-porter 2) https://necmusic.edu/archives/quincy-porter
Edit: So it came out soon after we recorded and released this episode that the writer for Act Age, Tatsuya Matsuki, is not someone we should have ever been talking about because of "indecent acts," as the ANN article very generously put it. He was groping at least one middle school student, which is very obviously disgusting. We would not have ever talked about Act Age had this come out before the episode was recorded. Thankfully, Act Age has been canceled, and hopefully Matsuki never gets a chance to work again. Our best to Shiro Usazaki, who is incredibly talented and deserves all the work that can come her way. The NBA and the WNBA are back in their bubbles, which seems to be the only safe way to do sports in a pandemic if MLB is any indication. I will enjoy White Sox wins while they last (as in before MLB is canceled, not because the White Sox are bad), and before, during, and after that, I will enjoy Clipper wins and Chicago Sky wins. This episode, we're talking about Tomoko Ninomiya's Nodame Cantabile, formerly published by Del Rey and currently published digitally Kodansha. Then we talk about Tatsuya Matsuki (writer) and Shiro Usazaki's (art) Act Age, published by Viz! The song you heard in this episode was Mozart's Sonata for Two Pianos. As always, you can find me on Twitter @ImpassionateK, and my co-hosts Helen (@WanderinDreamr) and Apryll (@manjiorin) on Twitter at those places in the parenthesis. You can find both of their writing at The Organization of Anti-Social Geniuses, more of Helen's writing at Narrative Investigations, and my writing at the Fandom Post. Listen Show notes: 1:02 - We talk about Nodame Cantabile! 16:23 - We talk about Act Age! Next time is Promised Neverland SPOILERCAST and Love me for who I am!
Í dag er kvenréttindadagurinn, hátíðisdagur þar sem við minnumst þess að fyrir 104 árum fengu konur á Íslandi, 40 ára og eldri, kosningarétt og kjörgengi til Alþingis. Stórt skref í kvenréttindabaráttunni stigið þann dag. Karlar fá því ekki mikið pláss í þætti dagsins, auðvitað verður ekki alveg hægt að sniðganga þá, það er erfitt í okkar heimi, til dæmis verður flutt tónverk eftir karlmann í lok þáttarins, ég vona að það fari ekki fyrir brjóstið á neinum. En við heyrum af ýmsum konum, meðal annars einni sem aldrei fær að hvílast heldur tekur á móti sálum á leið sinni í ljósið. Guðrún Rannveig Stefánsdóttir kemur og segir frá ljóðabálki sínum sem hún orti um Guðrúnu Oddsdóttur, vökukonunni í Hólavallakirkjugarði, sem kemur út í dag, með formála og eftirmála eftir Sólveigu Ólafsdóttur. Einnig heyrum við af Elísabetu Jónsdóttur frá Grenjaðarstað í Aðaldal sem var ein af þeim fyrstu til að fá lög sín birt á prenti. Fanney Kristjáns Snjólaugardóttir, tónlistarkona, segir Gígju Hólmgeirsdóttur aðeins af hennar sögu, en í dag - í tilefni kvenréttindadagsins - verður hátíðardagskrá henni til heiðurs í Hofi á Akureyri. Í dag er kvenréttindadagurinn þar sem við minnumst áfanga í sögu kvenréttindabaráttunnar, en í gær var stigið stórt skref í annarri baráttu, þegar lagafrumvarp um kynrænt sjálfræði var samþykkt á Alþingi. Þorbjörg Þorvaldsdóttir, formaður Samtakanna 78, lítur við til að ræða þetta nýja frumvarp og þýðingu þess. Tónlist: Farfuglarnir eftir Elísabetu Jónsdóttur Brúður söngvarans eftir Elísabetu Jónsdóttur Katia og Marielle Labeque spila síðasta þáttinn úr verkinu Four Movements for Two Pianos eftir Philip Glass
Today in 1932, Francis Poulenc's Concerto for Two Pianos had its debut at the International Society for Contemporary Music in Venice. Commissioned and dedicated to the Princess Edmond de Polignac, the piece was written in three months over the course of the summer of 1932. On today's "A Classical Day in the Life", we break down the movements of the concerto and explore some of its surprising influences.
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