Podcasts about Violin

While you wait for The Armitage Account season 2: Maxine, Melody, and their deadbeat father are moving yet again, this time to a remote chateau off Canada's New Brunswick coast. They arrive at the Grotte Château atop Sealskin Rock.Credits:Written by K. A. StatzProduced & Directed, with Sound Design by Travis VengroffAssistant Direction, Dialogue Editing, Editing, Sound Design, Mixing and Mastering by Finnur NielsenExecutive Producers Dennis Greenhill, Carol Vengroff, AJ Punk'n, & Maico VillegasRecording Engineer (LA Unit) - Paul HurtubiseScript Editing by W. K. Statz & Travis VengroffCast:Melody Morris – Marcy EdwardsMaxine Morris – LilyPichuSamson Morris – Ewan ChungLucas Broadrock – Mark MeerJulia Sauveterre – Carolyn Saint-PéMusic:"Missing Persons" - Written and Performed by Steven Melin"In the Silver Sleeps" Written and Performed by Brandon Boone, with Violin by Matheus SouzaCover Art by Abigail SpenceSpecial Thanks to:Our Patreon supporters! | Lisa Rainsong (Listening in nature) | Meadow Gladiator Kathydids Recordings | Cori Lausen (Wildlife Conservation Society Canada) for the amazing Silver Haired Bats RecordingsThis is a Fool and Scholar ProductionWe are a two person creative team and we can only create this show because of fan support!Please support us on Patreon: https://www.patreon.com/FoolandScholarFree Transcripts are available: https://www.patreon.com/posts/100731585Check out our Merch: https://www.foolandscholar.com/storeContent Warnings: FingernailsLearn more about your ad choices. Visit megaphone.fm/adchoices Hosted on Acast. See acast.com/privacy for more information.

Welcome to another episode of BREAKING Protocol, our ongoing mini-series where we break down key updates and design questions straight from the development of SHADE Protocol.We're diving back into the Violin Katana, one of Zura's most elegant yet devastating Instruments. What began with the World Cut's freeform slashes has now evolved into new possibilities like the Multicut — fast, cinematic bursts that hold enemies in place for stylish finishers.⁠⁠⁠⁠https://linktr.ee/LittleLegendaryGames?utm_source=linktree_profile_share⁠⁠Host: Jared Gonzalez. Executive Producer: Kendall Quinoñes. Cohost: Chaz Hawkins, Mauro Piquera. Master Chief Engineer: Jared Gonzalez. Editor: Jared Gonzalez. Graphics Editor: Jared Gonzalez. Digital Media Editor: Jared Gonzalez. Producer: Jared Gonzalez. ⁠⁠⁠⁠https://linktr.ee/razzledazzleshowpodcast⁠

In this episode with SongHa Choi, one of the most compelling violinists of her generation, The Founder Spirit sits down to explore her remarkable journey from South Korea to the global stage. More than a critically acclaimed violinist, SongHa is an artist with a creative, personal voice. And believe or not, she is only 25-years old, and is wise far beyond her years!Discover how her diverse musical experiences and cultural immersion have shaped her unique artistic voice. Listen as she shares insights into her rigorous practice routines, the influence of her family, and the challenges of pursuing a career as a soloist. This conversation also delves into the intersection of art and nature, highlighting the transformative power of music.What inner drive propelled SongHa to international fame so early in her career? TUNE IN to this conversation & find out. Don't forget to subscribe and support us on Patreon!For detailed transcript and show notes, please visit TheFounderSpirit.com.Also follow us on: - LinkedIn: https://www.linkedin.com/company/TheFounderSpirit- Instagram:  https://www.instagram.com/TheFounderSpirit- YouTube:  https://www.youtube.com/@TheFounderSpirit- Facebook:  https://www.facebook.com/TheFounderSpirit- X:  https://twitter.com/founder_spiritIf this podcast has been beneficial or valuable to you, feel free to become a patron and support us on Patreon.com, that is P-A-T-R-E-O-N.com/TheFounderSpirit.As always, you can find us on Apple, YouTube and Spotify, as well as social media and our website at TheFounderSpirit.com.The Founder Spirit podcast is proud to be a partner of the Villars Institute, a non-profit foundation focused on accelerating the transition to a net-zero economy and restoring planetary health.About This Podcast:Whether you are an entrepreneur, a mid-career professional or someone who's just starting out in life, The Founder Spirit podcast is for you!In this podcast series, we'll be interviewing exceptional individuals from all over the world with the founder spirit, ranging from social entrepreneurs, tech founders, to philanthropists, elite athletes, and more. Together, we'll uncover not only how they manage to succeed in face of multiple challenges, but also who they are as people and their human story.So TUNE IN & be inspired by stories from their life journey!

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

ReferencesGuerra, DJ. 2025 Unpublished LecturesFront Physiol. 2021 Jun 15;12:670977Pisendel, JG. 1730. Concerto for Violin and Orchestra D Majorhttps://music.youtube.com/watch?v=LM8OFQntSoo&si=QUbZn94z7ru_1WszHunter/ Garcia. 1972. China Cat/Know You Rider live Europe 72' Dead.https://music.youtube.com/watch?v=xCgZxrf8nrU&si=_JEOj_tFiYVoPAqf

ReferencesGuerra, GJ. 2025. Unpublished LecturesKirwan/McVie/Welch/Fleetwood. 1971.Future Games lp.https://music.youtube.com/playlist?list=OLAK5uy_myXM7dOObGkQ9rtg96p8QDy_mvV_3Nwt0&si=UPqZP9fbzLckOJVAScarlatti, D. ca. 1725-1740 Violin and Harpsichord Sonatashttps://music.youtube.com/watch?v=NJrO_u5jrS4&si=OZNrJJhfFxcDFaHo

Sindri, Lirril, and Elias arrive at their desired destination...⁠⁠⁠⁠⁠ Check out the podcast: Fables of Frost and Fur! Story by Travis Vengroff (Game Master) Produced, Edited, and with Sound Design by Travis Vengroff Executive Producers: Dennis Greenhill, Carol Vengroff, AJ Punk'n, & Maico Villegas Mixing and Mastering by Finnur Nielsen Transcriptions by KC Casill & Kessir Riliniki Cast: Narrator / Game Master – Travis Vengroff Father Sindri Westpike – Eyþór Viðarsson Rowena Granitepike – Hem Brewster Lirril – Tanja Milojevic Elias "Payne" Embertree – Drew Tillman Sister Andradite Cavernsfall – Marcy Edwards Akrill of House Kel-Tor – Kristján Atli Heimisson Music: (in order of appearance) Music Director / Arranged by - Travis Vengroff Music Engineer (Musiversal) - Gergő Láposi "The Allshadow" - Written and performed by Brandon Boone, Orchestrated, and Mixed by Steven Melin, Orchestrated by Catherine Nguyen, Violin by Matheus Garcia Souza, Hurdy Gurdy by Johannes Geworkian Hellman, Hammered Dulcimer by Kyle Paxton, Budapest Choir, Brass, & Strings Recorded by Musiversal "Unchecked Ambition" - Co-Written by Travis Vengroff, Co-Written, Orchestrated, and Mixed by Steven Melin, Other credits match ^ "What Lurks Beneath (Between Time Edition)" - Co-Written by Travis Vengroff, Co-Written, Orchestrated, and Mixed by Steven Melin, Other credits match ^ "Westmann's Hold" - Written by Steven Melin, Other credits match ^ "Funeral Rite of Celegon (Major Key)" - Written by Eyþór Viðarsson & Hem Cleveland, Arranged, Performed, & Produced by Steven Melin "Steel and Shadows" Written & Mixed by Steven Melin, orchestrated by Christopher Siu, Cello by Scott Semanski, Hurdy-Gurdy & Dulcimer by Enzo Puzzovio, violin by Matheus Garcia Souza, Budapest Strings by Musiversal Dark Dice art by Allen Morris with lettering by Kessir Riliniki This is a Fool and Scholar Production. For early episodes and bonus content join us at: ⁠⁠⁠⁠⁠https://www.patreon.com/FoolandScholar⁠⁠⁠⁠⁠ Check out our Merch: www.DarkDice.com Free Transcripts are also available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/posts/dark-dice-22460850⁠⁠ Special Thanks to: Our Patreon supporters! | Hem Cleveland | Our Fool & Scholar Discord Lampreys! | Carol Vengroff Content Warnings: Blood Ritual, Body Horror (Transformation), Drinking (alcohol), Fire, Loss (Familial), Needles (Darts) Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I'm joined by John Mailander, a fearless and lyrical fiddler/violinist whose work bridges bluegrass, jazz, ambient improvisation, and songcraft. We trace his path from San Diego to Berklee (where he studied American Roots with mentor Darol Anger) to Nashville, where he found a close-knit community that's as experimental as it is supportive. John discusses the city's “weirdo music” scene, ambient nights, free improvisation, and oddball collaborations, and how that energy coexists alongside the touring calendar. We dig into his life-changing chair with Bruce Hornsby: the no-setlist ethos, learning the “top 80” deep-cut originals, living on the edge together, and the night Bruce rearranged the stage so John could stand next to John Scofield, then kept tossing them intertwined solos all evening. John shares recent runs with Sam Grisman (with hero Peter Rowan onboard), producing and recording more from Nashville, and the origin of his own band Forecast, a genre-porous collective inspired by Bill Frisell, Brian Blade Fellowship, Pat Metheny/Brad Mehldau, and Joni Mitchell. We talk through the new record Let the World In: how residency nights at Dee's in Madison shaped the tunes, why the drums sound so alive, and why he welcomes rotating lineups to hear the same music through new lenses. Teaching and mentorship thread through the conversation: passing on what was given to him (formally and backstage between songs), honoring influences like Matt Mundy (ARU/Bruce Hampton), and why the point isn't “pushing boundaries” as a goal but playing honestly enough that the music pushes itself. It's a generous, grounded conversation about trust, curiosity, and letting the music lead.To learn more about John, visit his website. Music from the Episode:Let the World In (John Mailander's Forecast)Road (John Mailander's Forecast)Gardener (John Mailander's Forecast)Reprise (John Mailander's Forecast)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

There will always be things in life that make us angry, and in some situations, that is the proper response. However, what we do with our anger matters. Coach Jon Winkelman explains this with a tale about a trumpet, a violin, and self-control. As a thank you for your support this month, please choose from two study books— We'll send you two copies—one for you and one to gift to someone special:The Word Revealed - Jesus Makes Himself Known -  A 30 day journey through John 1-4The Word Revealed - Jesus' Power, Provision, and Promise -  A 30 day journey through John 5-6Yours with a gift of any amount.Thank you for supporting the mission of Christ.

Jello again. In exchange for a generous reward from Jack Benny, a man returns Jack's violin and he finally plays “The Bee!”Episode 247 of The Jack Benny Show. The program originally aired on on February 28, 1937.Please email questions and comments to host@classiccomedyotr.com.Like us on Facebook at facebook.com/classiccomedyotr. Please share this podcast with your friends and family.You can also subscribe to our podcast on Spreaker.com, Spotify, iTunes, Stitcher, TuneIn, iHeartRadio, and Google podcasts.This show is supported by Spreaker Prime.

In deze aflevering van Kalm met Klassiek gaan we overzees, naar het noordelijke IJsland! Daar woont de hedendaagse componist Viktor Orri Árnason. En hij maakte muziek gebaseerd op gedichten van landgenoten. Kwetsbaarheid, vernieuwing, natuur: Árnasons muziek bevat het allemaal. Laat je inspireren door zijn visie, in deze IJslandse muziek met de vertaalde titel 'The body is a wavering violin string'.  Klik hier (https://www.npoklassiek.nl/podcasts/ken-je-componisten/64095/1-sibelius-meer-dan-finlandia-1-nee-dit-is-niet-het-volkslied-van-finland-s03) voor de podcastserie 'Sibelius... Méér dan Finlandia!'. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/thema/kalm-met-klassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=be36463468d84e37).  

Fluent Fiction - Mandarin Chinese: A Violin's Calling: Li Wei's Journey to Self-Belief Find the full episode transcript, vocabulary words, and more:fluentfiction.com/zh/episode/2025-11-04-23-34-02-zh Story Transcript:Zh: 李伟站在学校的走廊上，微风轻轻拂过他的脸。En: Li Wei stood in the school hallway as a gentle breeze brushed against his face.Zh: 他手里握着小提琴，心里却像装着一只快乐的小鸟，总是想飞出去。En: He held a violin in his hand, but in his heart, there was a joyful little bird that always wanted to fly away.Zh: 深秋的校园被五颜六色的树叶装扮得格外美丽。En: The campus in late autumn was extraordinarily beautiful, adorned by colorful leaves.Zh: 晚秋的阳光明媚，但李伟的心情却紧张得像即将到来的暴风雨。En: The late autumn sun shone brightly, but Li Wei's mood was as tense as an impending storm.Zh: 李伟是个腼腆的学生，通常在人群中很少引起注意。En: Li Wei was a shy student, usually not attracting much attention in a crowd.Zh: 他的好朋友小林和明对他即将参加的学校才艺表演充满了期待。En: His close friends, Xiaolin and Ming, were filled with anticipation for his upcoming performance at the school talent show.Zh: 小林总是对李伟的才艺充满信心，但李伟自己却常常感到不安。En: Xiaolin always had confidence in Li Wei's talent, but Li Wei often felt uneasy himself.Zh: 他害怕在舞台上出错，害怕面对台下那么多双期待的眼睛。En: He was afraid of making mistakes on stage, scared of facing so many expectant eyes from the audience.Zh: 距才艺表演还有一星期，李伟在音乐教室练习，小提琴的声音在空气中回旋。En: With a week until the talent show, Li Wei practiced in the music classroom, the sound of the violin resonating through the air.Zh: 他开始犹豫，是坚持下去，还是退出比赛。En: He began to hesitate, unsure whether to persevere or withdraw from the competition.Zh: 就在这时，小林走了进来，她拍拍李伟的肩膀说：“你可以的，我们都相信你。”En: Just then, Xiaolin walked in and patted him on the shoulder, saying, "You can do it, we all believe in you."Zh: 明也点头赞同。En: Ming nodded in agreement.Zh: 李伟心里暖暖的，他决定不再逃避。En: Li Wei felt a warmth in his heart and decided not to avoid it anymore.Zh: 他找到了音乐老师，悄悄分享了自己的担心。En: He found the music teacher and quietly shared his worries.Zh: 老师微笑着说：“音乐是从心里演奏出来的，不用害怕，让它自然流淌。”En: The teacher smiled and said, "Music is played from the heart. Don't be afraid, let it flow naturally."Zh: 才艺表演的那天晚上，学校礼堂座无虚席，舞台灯光明亮。En: On the night of the talent show, the school auditorium was packed, and the stage lights were bright.Zh: 李伟穿着整洁的演出服，紧张地站在舞台一侧，他的手心微微出汗。En: Dressed neatly in performance attire, Li Wei stood nervously at one side of the stage, his palms slightly sweaty.Zh: 轮到他上场的时候，所有的灯光都对准了他。En: When it was his turn, all the lights focused on him.Zh: 台下一片安静，李伟却慌了神。En: The audience was silent, but Li Wei felt a wave of panic.Zh: 就在此时，他看见了坐在前排的小林，她正在对他微笑，并给了他一个坚定的点头。En: At that moment, he saw Xiaolin sitting in the front row, smiling at him and giving him a steadfast nod.Zh: 李伟深吸一口气，抚慰自己内心的紧张，慢慢将弓拉过琴弦。En: Li Wei took a deep breath, calming his inner nerves, and slowly drew the bow across the strings.Zh: 悠扬的琴声在寂静的礼堂中荡漾开来。En: The melodious sound of the violin spread throughout the silent auditorium.Zh: 当最后一个音符消散在空气中时，全场爆发出热烈的掌声。En: When the last note faded into the air, the entire hall erupted in enthusiastic applause.Zh: 李伟从未想过自己能得到这样的认可，他的心中涌出一股难以言喻的自豪感。En: Li Wei had never imagined receiving such recognition, and an indescribable sense of pride surged within him.Zh: 经过这次表演，李伟不再只是那个胆小内向的学生。En: After this performance, Li Wei was no longer just the timid and introverted student.Zh: 他发现自己可以在朋友和老师的支持下，面对任何挑战。En: He discovered that with the support of his friends and teachers, he could face any challenge.Zh: 他走下舞台，和小林、明交换了一个胜利的微笑。En: He stepped off the stage and exchanged a victorious smile with Xiaolin and Ming.Zh: 李伟知道，这是一个新的开始。En: Li Wei knew this was a new beginning.Zh: 通过这一次的努力和成功，他明白了一个重要的道理：自信是一点一点积累起来的，只要相信自己，就能创造出奇迹。En: Through his effort and success this time, he understood an important truth: confidence is built up bit by bit, and as long as you believe in yourself, you can create miracles.Zh: 秋天的校园仍然热闹非凡，而李伟的心情，已如同这灿烂的阳光，灿烂而温暖。En: The campus in autumn was still bustling, but Li Wei's mood was now as splendid and warm as the radiant sunlight. Vocabulary Words:hallway: 走廊breeze: 微风brushed: 拂过violin: 小提琴joyful: 快乐adorned: 装扮extraordinarily: 格外tense: 紧张impending: 即将到来的storm: 暴风雨shy: 腼腆anticipation: 期待performance: 表演uneasy: 不安persevere: 坚持withdraw: 退出steadfast: 坚定melodious: 悠扬resonating: 回旋auditorium: 礼堂attire: 服装slightly: 微微sweaty: 出汗panic: 慌了神calm: 抚慰enthusiastic: 热烈recognition: 认可pride: 自豪感victorious: 胜利splendid: 灿烂

Chris and Amy welcome listener Ricky and Polo Ascencio make NFL picks; listeners call in with their own ghost stories; a stolen violin.

In this hour we talk about Trump. A woman that wants to run for congress has a run in with federal agents. KMOX Sports Director Tom Ackerman joins in studio to talk about Blues slow start, reason to root for Blue Jays, college football and more. Finally, In Other News there is a haunted car wash and more.

The bell of bone rings twice, heralding the arrival of the Neverborn.⁠⁠⁠ Story by Travis Vengroff (Game Master) Produced, Edited, and with Sound Design by Travis Vengroff Executive Producers: Dennis Greenhill, Carol Vengroff, AJ Punk'n, & Maico Villegas Mixing and Mastering by Finnur Nielsen Transcriptions by KC Casill & Kessir Riliniki Cast: Narrator / Game Master – Travis Vengroff Father Sindri Westpike – Eyþór Viðarsson Rowena Granitepike – Hem Brewster Lirril – Tanja Milojevic Elias "Payne" Embertree – Drew Tillman Soren Arkwright – Peter Joeseph Lewis Velen Ironshard – Ladybeard Riith – Matt Mercer The Neverborn – Finnur Nielsen The Witch Hunter – Holly Billinghurst & Sean Howard Music: (in order of appearance) Music Director / Arranged by - Travis Vengroff Music Engineer (Musiversal) - Gergő Láposi "Staring Into the Abyss"  –Written and performed by Steven Melin, with cello by Sam Boase-Miller, hurdy gurdy, hammer dulcimer, and lutes by Enzo Puzzovio, arranged with lyrics by Travis Vengroff, and vocals by the Budapest Scoring Choir. "Reprieve - Written and Performed by Neil Martin of Blighthouse Studio "Motus" – Arranged with Accordion by Travis Vengroff, with Cello by Studio Pros, & stock media provided by avinograd/ Pond5, Written and Performed by Andrey Vinogradov, Mixed by Finnur Nielsen "The Darklands" "The Neverborn" - Written and performed by Brandon Boone, Orchestrated, and Mixed by Steven Melin, Orchestrated by Catherine Nguyen, Violin by Matheus Garcia Souza, Hurdy Gurdy by Johannes Geworkian Hellman, Hammered Dulcimer by Kyle Paxton, Budapest Choir, Brass, & Strings Recorded by Musiversal "Unchecked Ambition" - Co-Written by Travis Vengroff, Co-Written, Orchestrated, and Mixed by Steven Melin, Other credits match ^ "Westmann's Hold" - Written by Steven Melin, Other credits match ^ "Realmweaver's Prelude" - Written with Lyrics by Travis Vengroff, sung by Holly Billinghurst "Of Empires Lost" – Written by Austin Wintory & Dallas Crane, Orchestrated and Mixed by Steven Melin, Lyrics & Translations by Travis Vengroff & Florian Seidler, Woodwinds by Kristin Naigus, Violin by Matheus Garcia Souza, Hurdy-Gurdy by Matthias Loibner, Hammered Dulcimer by Kyle Paxton, Glockenspiel by Travis Vengroff, Budapest Strings, Choir, and Brass recorded by Musiversal Dark Dice art by Allen Morris with lettering by Kessir Riliniki This is a Fool and Scholar Production. For early episodes and bonus content join us at: ⁠⁠⁠⁠⁠https://www.patreon.com/FoolandScholar⁠⁠⁠⁠⁠ Check out our Merch: www.DarkDice.com Free Transcripts are also available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/posts/dark-dice-22460850⁠⁠ Special Thanks to: Our Patreon supporters! | Hem Cleveland | Our Fool & Scholar Discord Lampreys! | Carol Vengroff Content Warnings: Agency (Loss of), Blood (everywhere), Body Horror (Skin Stuff, Transformation), Disembowelment, Drinking (alcohol), Loss (Familial), Memory Loss, Mind Control, Spontaneous Combustion Learn more about your ad choices. Visit megaphone.fm/adchoices

Join QSJ Radio's MadLuh on Digging up the Underground for an in-depth conversation with award-winning composer Nan Avant. Starting with her haunting early film score Unremembered, we explore her multicultural roots, cinematic and orchestral compositions, and the award-winning music she's created over the past five years. Hear about Rememoramini – Tango (Milonga), Sirens of the Salish Sea, Tributum for Celtic Bagpipes and Orchestra, and Nani Lahaina – Rhapsody for Violin and Orchestra. Discover the inspirations, challenges, and vision behind her music — and what's next for this groundbreaking composer. Listen on: Spotify, Apple Podcasts, or wherever you get your podcasts.

Fred tells us a new fact about the most expensive violin!See omnystudio.com/listener for privacy information.

Jello again. True to his word, Jack is about to play “The Bee” on his violin when the unthinkable happens!Episode 244 of The Jack Benny Show. The program originally aired on on February 7, 1937.Please email questions and comments to host@classiccomedyotr.com.Like us on Facebook at facebook.com/classiccomedyotr. Please share this podcast with your friends and family.You can also subscribe to our podcast on Spreaker.com, Spotify, iTunes, Stitcher, TuneIn, iHeartRadio, and Google podcasts.This show is supported by Spreaker Prime.

Welcome, Memphis, TN native Ryan Beydler! Ryan is currently the touring drummer for 15-year-old rising country Artist Maddox Batson. In this episode, we cover Ryan's wide range of experiences in the music industry, as well as invaluable lessons from legendary drummers Ryan has been lucky enough to study with, including John "JR" Robinson, Shannon Forrest, and Zoro. Ryan takes us through tour life with Maddox and the band, including his techniques for integrating electronics into a hybrid setup, bucket list venues, and of course, Ryan's passion for finding the best food spots while on the road. Learn about Ryan's musical beginnings, the mentorships that shaped his career, and his thoughts on achieving balance and avoiding burnout in the competitive Nashville drumming scene. Chapters:0:00 Intro1:58 Welcome, Ryan! 2:20 On Tour w/ Maddox Batson 12:35 Implementing Electronics 20:36 Drum Box (Sponsor) 21:18 Ryan's Musical Beginnings 31:03 Belmont University & Mentorships 34:58 Low Boy Beaters (Sponsor) 35:40 Studying w/ John JR Robinson 36:57 Gaining Confidence and Mastering Time 39:56 Influences and Inspirations 42:01 Nashville Drumming Community 48:18 Balancing Identity and Adaptability 52:35 The Art of Subbing and Respecting the Gig 53:42 Drum Supply (Sponsor) 54:42 Violin Roots 58:58 Groove MPL (Sponsor) 1:02:01 Personal Life and Hobbies 1:13:19 Favorite Food Spots on the Road 1:17:40 Music City Audiology (Sponsor) 1:18:22 Lessons from Touring 1:27:19 Working at Apple During COVID 1:38:11 Bucket List Venues 1:42:05 Closing Questions 1:46:48 OutroThank you to our Episode Sponsors:Drum Boxhttps://drumbox.spaceDrum Supplyhttps://www.drumsupply.comLow Boy Beatershttps://lowboybeaters.comGroove MPLhttps://www.groovempl.comMusic City Audiologyhttps://www.musiccityaudiology.comConnect with Ryan:Website: https://www.ryanbeydler.comInstagram: https://www.instagram.com/ryanbeydlerYouTube: https://www.youtube.com/channel/UCNe6HaoKzTvHKJqeb2FrzKw/TikTok: https://www.tiktok.com/@ryguy_615Music Featured in this Episode:"One Too" - Makenzie Schriner"Wish You Gone" - Halle KearnsSupport the showConnect with us:WebsiteInstagramTikTokYouTubeFacebookRecorded at Garden Groove Recording Space, Nashville, TNPodcast Artwork: GENUINE CREATIVE ART ⓒ 2025 Nashville Drummers Podcast, LLC

It's spooky season and this is my third annual Halloween episode! It's the story of Aqua Tofana, a colorless, odorless, tasteless, and utterly deadly poison invented by a network of female poisoners in 17th century Italy. The music is from The Four Seasons by Antonio Vivaldi, recorded by The Wichita State University Chamber Players with John Harrison on Violin and Robert Turizziani and as Conductor. The recording is licensed under the Creative Commons and available under the classicals.de website. Visit the ⁠website⁠ (herhalfofhistory.com) for sources, transcripts, and pictures. Support the show on my ⁠Patreon page⁠ for bonus episodes, polls, and a general feeling of self-satisfaction. Or make a one-time donation on ⁠Buy⁠ ⁠Me a Coffee⁠. Join ⁠Into History⁠ for a community of ad-free history podcasts plus bonus content. Visit ⁠Evergreen Podcasts⁠ to listen to more great shows. Follow me on ⁠Threads⁠ as Her Half of History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ukrainian Field Notes - 15 October 2025 - with Vitalii "Bard" BardetskyiProduced for Resonance FM by Gianmarco Del ReTracklist:DakhaBrakha - Plyve chovenKobza - BunnyVodohrai - RemembranceEteria - Yak Stoyalo DrevoKyrylo Stetsenko (feat. Tetiana Kocherhina) Play, the Violin, PlayCukor Bila Smert' - The Great Hen-Yuan' River (Remastered 2024)Okean Elzy - ВставайHyphen Dash - Is it rage

An NPC rises to become a hero as Gram and her magical singing sword battle terrible evils to rescue her family's village! (Soren, Ildrex, Glom, & Gaelle are also technically present...)⁠ Story by Travis Vengroff (Game Master) Produced, Edited, and with Sound Design by Travis Vengroff Executive Producers: Dennis Greenhill, Carol Vengroff, AJ Punk'n, & Maico Villegas Mixing and Mastering by Finnur Nielsen Transcriptions by KC Casill & Kessir Riliniki Cast: Gram – Charlotte Norup Narrator / Game Master – Travis Vengroff Soren Arkwright – Peter Joeseph Lewis Ildrex Mystan – Russ D. More Glom Vogelberg – Sean Howard Gaelle Vogelberg – Holly Billinghurst Klymoore – Robert Clotworthy Tabitha – K.A. Statz Miggle & Boar Man – Andreas Somville Lauren – Megan Youmans Elven Farmer – Florian Seidler Father Dormund – Karim Kronfli Music: (in order of appearance) Music Director / Arranged by - Travis Vengroff Music Engineer (Musiversal) - Gergő Láposi "Theme of the Realmweaver" "The Light of Eastwood" & "Eastwood in Spring" "Victory Jingle" – Written and Mixed by Steven Melin, Orchestrated by Christopher Siu, with Additional Copyist Catherine Nguyen, Violin by Matheus Garcia Souza, Budapest Strings Recorded by Musiversal, Choir Recorded by Budapest Scoring "Valor" – Written by Nobuo Uematsu & Steven Melin, Orchestrated and Mixed by Steven Melin, Lyrics & Translations by Travis Vengroff & Florian Seidler, Budapest Strings, Choir, and Brass recorded by Musiversal "Virtues of the Destined" – Written by Yuzo Koshiro, Orchestrated and Mixed by Steven Melin, Lyrics & Translations by Travis Vengroff & Florian Seidler, Woodwinds by Kristin Naigus, Violin by Matheus Garcia Souza, Hurdy-Gurdy by Matthias Loibner, Hammered Dulcimer by Kyle Paxton, Glockenspiel by Travis Vengroff, Budapest Strings, Choir, and Brass recorded by Musiversal "Sufferers' Cant" – Written by Hitoshi Sakimoto, Orchestrated by Steven Melin, Same Credits as above "Weaver of Fate" – Written and Performed by Steven Melin, Lyrics and arrangement by Travis Vengroff with Cello by Sam Boase-Miller, Hurdy Gurdy, Lutes, and Dulcimer by Enzo Puzzovio, and Choir by the Budapest Scoring ChoirWritten and Performed by Steven Melin, feat. Hammered Dulcimer Enzo Puzzovio and Cello by Sam Boase-Miller "Eternal War" "Campfire" – Written & orchestrated by Steven Melin, Copyists Peter Jones & Steven Melin, Hurdy-Gurdy & Dulcimer by Enzo Puzzovio, Budapest Strings & Choir by Musiversal "Corridor of F*ckery" – Written and Performed by Neil Martin of Blighthouse Studio "Conspiracy" "Neverborn" "The Allshadow" – Written and performed by Brandon Boone, orchestrated by Christopher Siu & Catherine Nguyen, Budapest Strings (orchestra) recorded by Musiversal, Budapest Choir Recorded by Budapest Scoring, mixed by Steven Melin "Empty Hearts" – Arranged and Performed by Travis Vengroff with Cello by Sam Boase-Miller and stock media provided by avinograd/ Pond5, Written and Performed by Andrey Vinogradov Dark Dice art by Allen Morris with lettering by Kessir Riliniki This is a Fool and Scholar Production. For early episodes and bonus content join us at: ⁠⁠⁠⁠⁠https://www.patreon.com/FoolandScholar⁠⁠⁠⁠⁠ Check out our Merch: www.DarkDice.com Free Transcripts are also available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/posts/dark-dice-22460850⁠⁠ Special Thanks to: Our Patreon supporters! | Hem Cleveland | Our Fool & Scholar Discord Lampreys! | Carol Vengroff Content Warnings: Agency (Loss of), Animal people (harm to), Avoiding the Plot (triggering to DM's), Body Horror (Gluttony, Skin Stuff, Transformation), Cannibalism & Cooked Alive, Disembowelment, Drinking (alcohol), Eating Sounds (19:00-20:00), Father Issues, Leeches, Loss (Familial), Mind Control, Vomiting (but it's people) Learn more about your ad choices. Visit megaphone.fm/adchoices

In today's episode of the 2-Minute Drill, Success is a Choice podcast host, Jamy Bechler talks about a legendary story regarding the Italian violinist Niccolo Paganini. In life, we can't control what happens to us but can definitely control our reactions. The 2-Minute Drill is a short and sweet segment that examines insights regarding success, business, teamwork, culture, or leadership.   Each week, the Success is a Choice podcasting network brings you leadership expert Jamy Bechler (as well as various guests) who provides valuable insights, tips, and guidance on how to maximize your potential, build a stronger culture, develop good leadership, create a healthy vision, optimize results, and inspire those around you.  - - - -  Please follow us on Twitter @CoachBechler for positive insights and tips on leadership, success, culture, and teamwork. - - - -  The Success is a Choice podcast network is made possible by TheLeadershipPlaybook.com. Great teams have great teammates and everyone can be a person of influence. Whether you're a coach, athletic director, or athlete, you can benefit from this program and now you can get 25% off the price when you use the coupon code CHOICE at checkout. Build a stronger culture today with better teammates and more positive leaders. If you like motivational quotes, excerpts, or thoughts, then you'll want to check out Jamy Bechler's book "The Coach's Bulletin Board" as it has more than 1,000 positive insights to help you (and those around you) get motivated and inspired. Visit JamyBechler.com/BulletinBoardBook. Please check out our virtual sessions for parents, coaches, students, and administrators at FreeLeadershipWorkshop.com. These sessions are free and cover a variety of topics.  - - - - Please consider rating the podcast with 5 stars and leaving a quick review on Apple podcasts. Ratings and reviews are the lifeblood of a podcast. This helps tremendously in bringing the podcast to the attention of others. Thanks again for listening and remember that “Success is a choice. What choice will you make today?” - - - - Jamy Bechler is the author of nine books including "The Captain" and "The Bus Trip", host of the "Success is a Choice Podcast", professional speaker, and trains organizations on creating championship cultures. He previously spent 20 years as a college basketball coach and administrator.  TheLeadershipPlaybook.com is Bechler's online program that helps athletes become better teammates and more positive leaders while strengthening a team's culture. As a certified John Maxwell leadership coach, Bechler has worked with businesses and teams, including the NBA. Follow him on Twitter at @CoachBechler. To connect with him via email or find out about his services, please contact speaking@CoachBechler.com. You can also subscribe to his insights on success and leadership by visiting JamyBechler.com/newsletter.

Welcome to another episode of BREAKING Protocol, our ongoing mini-series where we break down key updates and design questions straight from the development of SHADE Protocol.Today we're diving into the Violin Katana, one of Zura's most elegant yet devastating Instruments. What began with the World Cut's freeform slashes has now evolved into new possibilities like the Multicut — fast, cinematic bursts that hold enemies in place for stylish finishers.⁠⁠https://linktr.ee/LittleLegendaryGames?utm_source=linktree_profile_shareHost: Jared Gonzalez. Executive Producer: Kendall Quinoñes. Cohost: Chaz Hawkins, Mauro Piquera. Master Chief Engineer: Jared Gonzalez. Editor: Jared Gonzalez. Graphics Editor: Jared Gonzalez. Digital Media Editor: Jared Gonzalez. Producer: Jared Gonzalez. ⁠⁠https://linktr.ee/razzledazzleshowpodcast⁠

My guest is Dr. Poppy Crum, PhD, adjunct professor at Stanford, former Chief Scientist at Dolby Laboratories and expert in neuroplasticity—our brain's ability to change in response to experience. She explains how you can learn faster and ways to leverage your smartphone, AI and even video games to do so. We also discuss “digital twins” and the future of health technology. This episode will change the way you think about and use technology and will teach you zero-cost protocols to vastly improve your learning, health and even your home environment. Read the episode show notes at hubermanlab.com. Thank you to our sponsors AGZ by AG1: https://drinkagz.com/huberman David: https://davidprotein.com/huberman Helix: https://helixsleep.com/huberman Rorra: https://rorra.com/huberman Function: https://functionhealth.com/huberman Timestamps (0:00) Poppy Crum (2:22) Neuroplasticity & Limits; Homunculus (8:06) Technology; Environment & Hearing Thresholds; Absolute Pitch (13:12) Sponsors: David & Helix Sleep (15:33) Texting, Homunculus, Mapping & Brain; Smartphones (23:06) Technology, Data Compression, Communication, Smartphones & Acronyms (30:32) Sensory Data & Bayesian Priors; Video Games & Closed Loop Training (40:51) Improve Swim Stroke, Analytics & Enhancing Performance, Digital Twin (46:17) Sponsors: AGZ by AG1 & Rorra (49:08) Digital Twin; Tool: Learning, AI & Self-Testing (53:00) AI: Increase Efficacy or Replace Task?, AI & Germane Cognitive Load (1:02:07) Bread, Process & Appreciation; AI to Optimize Physical Environments (1:09:43) Awake States & AI; Measure & Modify (1:16:37) Wearables, Sensors & Measure Internal State; Pupil Size (Pupillometry) (1:23:58) Sponsor: Function (1:25:46) Integrative Systems, Body & Environment; Cognitive State & Decision-Making (1:32:11) Gamification, Developing Good Habits (1:38:17) Implications of AI, Diminishing Cognitive Skill (1:41:11) Digital Twins & Examples, Digital Representative; Feedback Loops (1:50:59) Customize AI; Situational Intelligence, Blind Spots, Work & Health, “Hearables” (2:01:08) Career Journey, Perception & Technology; Violin, Absolute Pitch (2:09:44) Incentives & Neuroplasticity; Technology & Performance (2:13:59) Acoustic Arms Race: Moths, Bats & Echolocation (2:21:17) Singing to Spiders, Spider Web & Environment Detection; Crickets; Marmosets (2:31:44) Acknowledgements (2:33:18) Zero-Cost Support, YouTube, Spotify & Apple Follow, Reviews & Feedback, Sponsors, Protocols Book, Social Media, Neural Network Newsletter Disclaimer & Disclosures Learn more about your ad choices. Visit megaphone.fm/adchoices

The team finds the missing villagers... And they're ravenous. "Lied zur Krampusnacht" - Travis's silly holiday song about Krampus: https://open.spotify.com/album/5zVljo0WKehEfeKSW74xaW Story by Travis Vengroff (Game Master) Produced, Edited, and with Sound Design by Travis Vengroff Executive Producers: Dennis Greenhill, Carol Vengroff, AJ Punk'n, & Maico Villegas Transcriptions by KC Casill & Kessir Riliniki Mixing and Mastering by Finnur Nielsen Cast: Narrator / Game Master – Travis Vengroff Soren Arkwright – Peter Joeseph Lewis Ildrex Mystan – Russ D. More Glom Vogelberg – Sean Howard Gaelle Vogelberg – Holly Billinghurst Klymoore – Robert Clotworthy Gram – Charlotte Norup Tabitha – K.A. Statz Miggle – Andreas Somville Hungry Aristocrat – Ryan McQuinn Music: (in order of appearance) Music Director / Arranged by - Travis Vengroff Music Engineer (Musiversal) - Gergő Láposi "Theme of the Realmweaver" - Written and Mixed by Steven Melin, Orchestrated by Christopher Siu, with Additional Copyist Catherine Nguyen, Violin by Matheus Garcia Souza, Budapest Strings Recorded by Musiversal, Choir Recorded by Budapest Scoring "Questionable Associates" - Written, Orchestrated, Performed, and mixed by Brandon Boone, Copyist Steven Melin, featuring Scott Semanski on Cello, and Enzo Puzzovio on Hurdy Gurdy & Hammered Dulcimer "Virtues of the Destined" – Written by Yuzo Koshiro, Orchestrated and Mixed by Steven Melin, Lyrics & Translations by Travis Vengroff & Florian Seidler, Woodwinds by Kristin Naigus, Violin by Matheus Garcia Souza, Hurdy-Gurdy by Matthias Loibner, Hammered Dulcimer by Kyle Paxton, Glockenspiel by Travis Vengroff, Budapest Strings, Choir, and Brass recorded by Musiversal "Eternal War" - Written & orchestrated by Steven Melin, Copyists Peter Jones & Steven Melin, Hurdy-Gurdy & Dulcimer by Enzo Puzzovio, Budapest Strings & Choir by Musiversal "Corridor of F*ckery" - Written and Performed by Neil Martin of Blighthouse Studio "Broken Dawn" - Written and Performed by Scott Arc "Conspiracy" written and performed by Brandon Boone, orchestrated by Christopher Siu & Catherine Nguyen, Budapest Strings (orchestra) recorded by Musiversal, Budapest Choir Recorded by Budapest Scoring, mixed by Steven Melin "Empty Hearts" "The Journey from Ilmater's Hope" – Arranged and Performed by Travis Vengroff with Cello by Sam Boase-Miller and stock media provided by avinograd/ Pond5, Written and Performed by Andrey Vinogradov Dark Dice art by Allen Morris with lettering by Kessir Riliniki This is a Fool and Scholar Production. For early episodes and bonus content join us at: ⁠⁠⁠⁠https://www.patreon.com/FoolandScholar⁠⁠⁠⁠ Check out our Merch: www.DarkDice.com Free Transcripts are also available: ⁠⁠⁠⁠⁠⁠https://www.patreon.com/posts/dark-dice-22460850⁠ Special Thanks to: Our Patreon supporters! | Hem Cleveland | Our Fool & Scholar Discord Lampreys! | Carol Vengroff Content Warnings: Body Horror (Gluttony), Cannibalism, Drinking (alcohol), Eating Sounds, Father Issues, Loss (Familial), PTSD, Hooked Chains Learn more about your ad choices. Visit megaphone.fm/adchoices

In a special two-part Hear the Dance Episode, host Silas Farley leads us on a wide-ranging discussion of Jerome Robbins' 1971 ballet The Goldberg Variations. In this first part, Farley is joined by former NYCB Dancer Bruce Wells, an original cast member, and current Principal Dancer Emilie Gerrity, one of the ballet's present-day interpreters. Wells shares the challenges Robbins faced after an injury forced him to choreograph from a wheelchair, as well as highlights from the year-long creative process. Gerrity describes the "class" section of this monumental ballet as "simple but beautiful," and recalls learning the work from original dancer Christine Redpath, among other memorable coaches. (1:12:53) Written by Silas Farley Edited by Emilie Silvestri MUSIC:  Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach All music performed by New York City Ballet Solo Pianist Susan Walters Quotations from the writings of Lincoln Kirstein are © 2019 by the New York Public Library (Astor, Lenox and Tilden Foundations) Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Bach: Music in the Castle of Heaven by John Eliot Gardiner Bach's Musical Universe: The Composer and His Work by Christoph Wolff Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein

Robert Redford & the violin To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices