Podcasts about Violin

Donald Macleod explores Robert Schumann's years in Dusseldorf – the city where he would spend the final years of his life. Despite often being portrayed as a creative disaster, during this period, Schumann was greatly inspired by the city and by the countryside which surrounded it, and would write some of his greatest music.Music featured: Marchenbilder, Op 113 (1st mvt, Nicht schnell) Symphony No 3 in E-flat major ‘Rhenish' Op 97 5 Lieder, Op 40 (No 4, Der Spielmann) Geistervariationen in E-flat major for piano, WoO 24 Violin Concerto in D minor, WoO 23 (2nd & 3rd mvts) Konzertstück for 4 Horns and Orchestra, Op 86 (1st mvt) Lieder und Gesange aus Wilhelm Meister, Op 98a Scenes from Goethe's Faust, Part 3 (excerpt) The Bride of Messina Overture Kinderszenen, Op 15 (No 7 Träumerei) Genovera Overture Op 81 Sechs Gesange, Op 107 (No 6 Abendlied) Adventlied (excerpt) Mass in C minor, Op 147 (Gloria) Symphony No 4 in D minor, Op 120 (1st mvt) Manfred Overture, Op 115 Cello Concerto in A minor, Op 129 Violin Sonata No 1 in A minor, Op 105 (2nd mvt) Der Rose Pilgerfahrt, Op 112 Marchenerzahlungen, Op132 (No 3) Fantasy for Violin and Orchestra in C major, Op 131 Introduction and Concert Allegro, Op 134 Blumenstuck in D-flat Major, Op 19 Wenn mein Stundlein vorhanden istPresented by Donald Macleod Produced by Sam Phillips 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 Robert Schumann (1810-1856) https://www.bbc.co.uk/programmes/m002hwtc 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

The team delves deeper into the dungeon and is offered a most curious exchange. 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, The Chimera – Travis VengroffSoren Arkwright – Peter Joeseph LewisIldrex Mystan – Russ D. MoreGlom Vogelberg – Sean HowardGaelle Vogelberg – Holly BillinghurstKlymoore – Robert ClotworthyGram – Charlotte NorupTorturée – Andreas SomvilleWinnower – Dayn LeonardsonManic Farmer – Ryan McQuinn Music: (in order of appearance) Music Director / Arranged by - Travis VengroffMusic 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 "The Silent Clan" - Written and Performed by Steven Melin, Remixed by Travis Vengroff, feat. Hammered Dulcimer Enzo Puzzovio and Cello by Sam Boase-Miller, Mixed by Finnur Nielsen "Steel and Shadows (Between Time Edition)" – Written, Performed, and Remixed by Steven Melin, Remixed again by Travis Vengroff "Echo of Seasons (Between Time Edition)" & "Great Vernasko (Between Time Edition)" – Written by Hitoshi Sakimoto, Remixed & Performed by Steven Melin, Remixed again by Travis Vengroff "Lights Beyond the Trees" – Written by Yuzo Koshiro, Remixed & Performed by Steven Melin "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 "Corridor of F*ckery" "Reprieve" - Written and Performed by Neil Martin of Blighthouse Studio "Lark" Written and Performed by Dayn Leonardson "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 "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 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: Alcohol Abuse, Child Abuse (Father), Child Death (Narrated, Past Tense, Manslaughter), Death (Parents), Disassociate Personality Disorder, Drinking (alcohol), Falling, Father Issues, Gaslighting (Revealed), Gender/Identity Confusion (this will trigger the folks who hate CWs), Happiness (Visions of), Hatred of Child (Parental PoV), Hatred of Sibling, Lawsuit from WotC (Potential), Loss (Familial), Mazes, Mirror F*ckery, Patricide, PTSD, Racial Ignorance (Friendly), Separation Anxiety (Spiritual, Emotional), Torture (Ripping, Hooked Chains), and lastly, Vind Greyview is a great guy :) Learn more about your ad choices. Visit megaphone.fm/adchoices

First up on the podcast, despite so many advances in treatment, HIV drugs can suppress the virus but can't cure the infection. Where does suppressed HIV hide within the body? Staff Writer Jon Cohen joins host Sarah Crespi to talk about the Last Gift Study, in which people with HIV donate their bodies for rapid autopsy to help find the last reservoirs of the virus.   Next on the show, Christine Elliott, a doctoral candidate in the department of entomology at Purdue University, talks about the Bug Bowl—an annual public outreach event that highlights all the wonders and benefits of insects. We also get to hear the sounds of violins trying to be crickets and learn how music connects people to bugs in ways that posters and public lectures can't.   This week's episode was produced with help from Podigy. About the Science Podcast   Authors: Sarah Crespi; Jon Cohen Learn more about your ad choices. Visit megaphone.fm/adchoices

It's not every day that Bob Dylan pulls the car over and spots you on the street and then asks you to come to the studio to hear you play...her story doesn't end there.  Scarlet Rivera has had an amazing life, and it's only getting better.  She has a new album dropping in January, and she'll be performing tomorrow night (9/5) at the Silver Bay music festival Indoors.  Check out her great songs, and I promise, this is worth the listen!  

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  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.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. 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.  00:56:31 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 – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

First up on the podcast, despite so many advances in treatment, HIV drugs can suppress the virus but can't cure the infection. Where does suppressed HIV hide within the body? Staff Writer Jon Cohen joins host Sarah Crespi to talk about the Last Gift Study, in which people with HIV donate their bodies for rapid autopsy to help find the last reservoirs of the virus.   Next on the show, Christine Elliott, a doctoral candidate in the department of entomology at Purdue University, talks about the Bug Bowl—an annual public outreach event that highlights all the wonders and benefits of insects. We also get to hear the sounds of violins trying to be crickets and learn how music connects people to bugs in ways that posters and public lectures can't.   This week's episode was produced with help from Podigy. About the Science Podcast   Authors: Sarah Crespi; Jon Cohen Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we speak with rock violinist Joe Deninzon.  Hailed as the "Jimi Hendrix of Violin", Joe has played with great artists including Bruce Springsteen, The Who, Ritchie Blackmore, and many others.  In 2023, he was selected as the new violinist for Kansas, and he has his own excellent band, Stratopheerius.  We discuss his musical journey, playing with Kansas, and Statopheerius' latest album, Imposter. 

커튼콜 278회의 주인공은 지난 5월 핀란드에서 열린 제13회 장 시벨리우스 국제 바이올린 콩쿠르에서 우승한 바이올리니스트 박수예 씨입니다. 보통은 콩쿠르 수상을 발판으로 음반 발매와 공연 기회를 얻게 되지만, 박수예 씨는 '역주행'을 했습니다. 2017년 16살의 나이에 녹음한 파가니니의 24개 카프리스 음반을 시작으로, 이미 여러 장의 음반을 내고 활발하게 활동 중에 콩쿠르에서 우승했으니까요. 박수예 씨는 어떤 마음으로 콩쿠르에 참가했을까요? 콩쿠르의 의미, 치열했던 경연 현장 뒷이야기, 유학 생활의 애환, 새 음반 이야기 등등 진솔한 음악과 삶 이야기 나눠봤습니다. 박수예는 13살 때 받은 금반지 선물을 잊을 수 없다고 하는데요, 이 반지에 담긴 사연도 들어봤습니다. 유튜브 재생목록 '김수현 문화전문기자의 커튼콜'을 추가해 보세요. https://han.gl/3YIq8 ♬ Sibelius Violin Competition Finals 2025 中 J. Sibelius- Violin Concerto in d minor, op. 47 V. 박수예, 헬싱키 필하모닉 오케스트라 ♬ M. Bruch_ Violin Concerto No.1 in g minor, Op.26 C. 송민규, V. 박수예 ♬ E. Elgar - Salut d'amour, Op.12 V. 박수예, P.김홍기 ♬ Beethoven Sonata for Violin and Piano No.1 in D Major, Op.12/1 V. 박수예, P.박영성 진행: SBS 김수현 문화전문기자, 이병희 아나운서 l 출연: 바이올리니스트 박수예 l 글·편집 : 김은혜 PD 음원 및 영상 제공출처 : AREENA, MOC PRODUCTION, 금호아트홀, 수성아트피아

BC takes over tonight's show. Labor day weekend. Violin on Fire. Most fun State.

9:00 HOUR: A bar gets set for Brian Branch, We play the world's tiniest violin for Ndamukong Suh

The team searches for the missing residents of a ghost town. 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: Balmur – Jeff GoldblumNarrator / Game Master – Travis VengroffSoren Arkwright – Peter Joeseph LewisIldrex Mystan – Russ D. MoreGlom Vogelberg – Sean HowardGaelle Vogelberg – Holly BillinghurstKlymoore – Robert ClotworthyFather Dormund – Karim KronfliGentry Hull – Michelle TanGnomish Sorter – Rikke RømerManic Farmer – Ryan McQuinnGram – Charlotte Norup Music: (in order of appearance) Music Director - Travis Vengroff "Theme of the Realmweaver" "Audin" - Written and Mixed by Steven Melin, Orchestrated by Christopher Siu, with Additional Copyist Catherine Nguyen, Lyrics & Translations by Travis Vengroff, Violin by Matheus Garcia Souza, Budapest Strings Recorded by Musiversal, Choir Recorded by Budapest Scoring "The Silent Clan" "Devil's Gamble" - Written and Performed by Steven Melin, Remixed by Travis Vengroff, feat. Hammered Dulcimer Enzo Puzzovio and Cello by Sam Boase-Miller , Mixed by Finnur Nielsen "Theme of the Realmweaver (Between Time Edition)" – Written, Performed, and Remixed by Steven Melin "The Darklands" – 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 "Glom's Nightmare" – Written by Steven Melin, Arranged and Performed by Mike Pettry, Lyrics by Travis Vengroff. Performed by Jeff Goldblum, Peter Joseph Lewis, Russ D. More, Holly Billinghurst, and Travis Vengroff, Mixed by Finnur Nielsen "Empty Hearts" "The Journey from Ilamter'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 "Oh While Crossing River Bridge" – 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: Creepy Child Lore (stories children tell that traumatize), Drinking (alcohol), Father Issues (wanting one), Gaslighting, Loss (familial), PTSD, Torture (references to) Learn more about your ad choices. Visit megaphone.fm/adchoices

Pete Davidson has a size issue. And no, it’s not what you think—it’s bigger than that. The BDE rumours won’t die, and now Pete’s weighing in with a gender comparison that has Em, Amelia and Holly raising their eyebrows. And Lindsay Lohan is back, baby — and it’s hitting us right in the feelings. Why does her comeback feel like a warm hug from 2004? One of us hit the Freakier Friday premiere and brought back juicy behind-the-scenes tea. Plus, Em's is in a new situationship. Except this time, robots are involved and it's all got a bit... complicated. Oh, and it's Friday recoos time: A skincare product that slaps (your face, gently), an animated movie that had us crying in public, and an Instagram account that reads as a big cry for help. Support independent women's media Your discount does good — 20% off for you, 20% donated to RizeUp. Subscribe today with the code GIVEBACKOUTLOUD. This offer is valid until 11:59pm Sunday 24 August. Terms and Conditions RizeUp is an Australian charity that supports women and families escaping domestic violence. They furnish and equip homes with everything needed to help families make a fresh start, and provide practical support to rebuild lives with safety and dignity. Recommendations Em recommends the Hot Dudes Reading Instagram Account Amelia recommends Torriden's hylauronic acid serum Holly recommends Kpop Demon Hunters on Netflix What To Listen To Next: Listen to our latest episode: The Third Wheel That's Ruining My Relationship Listen: How Was This Ever Broadcast On TV? Listen: And Just Like That... It's Over Listen: The Romance Effect: Why We're All Obsessed With Love Stories Listen: The Dating Experience Women Keep Having Listen: The Problem With Hiring Friends & The Takeaway Tension Listen: Taylor Swift & Why Her Boyfriend's Podcast Listen: What Does King Charles Do With A Problem Like Prince Andrew? Connect your subscription to Apple Podcasts Watch Mamamia Out Loud: Mamamia Out Loud on YouTube What to read: 'You're all wrong about the em dash — my emotional support punctuation.' Life really does feel way too fast right now. Here’s why. These men are extremely loveable. It's a shame they're not real. Pete Davidson's latest relationship has just had its official hard launch. There's a scientific reason why everyone is falling in love with Pete Davidson right now. The one question that caught Jamie Lee Curtis and Lindsay Lohan completely off guard. Lindsay Lohan's face is derailing her comeback tour. Lindsay Lohan’s new Christmas movie set her on an unexpected career path. THE END BITS: Check out our merch at MamamiaOutLoud.com Mamamia studios are styled with furniture from Fenton and Fenton GET IN TOUCH: Feedback? We’re listening. Send us an email at outloud@mamamia.com.au Share your story, feedback, or dilemma! Send us a voice message. Join our Facebook group Mamamia Outlouders to talk about the show. Follow us on Instagram @mamamiaoutloud and on Tiktok @mamamiaoutloud Mamamia acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Scientists made the tiniest violin ever, but I'd rather focus on creating something that brings joy and shares God's Good News. What are you creating with your time and energy?

Soren, Glom, Gaelle, and Ildrex must protect a priest that they unintentionally endangered. We're doing a live show at WORLD'S LAIR IN LONDON on AUGUST 27th! We'll also be hosting a game at D&D in a Castle in April, 2026! 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 Mixing and Mastering by Finnur Nielsen Cast: Narrator / Game Master - Travis Vengroff Soren Arkwright - Peter Lewis Ildrex Mystan - Russ D. More Glom Vogelberg - Sean Howard Gaelle Vogelberg - Holly Billinghurst Officer Cyne - Ariana Rosario Father Fitelsch - Russ Gold Lukas, Jennevieve - Tanya Wheelock Swa Maelreskar Ekal Vahre' St. Soller the 23rd - Kittie KaBoom Captain Renniss - Sean Daniel Francis Gremmit - Mikhail Pollack Father Dormund - Karim Kronfli Steinee - Jack Houghton Music: (in order of appearance) Music Director - Travis Vengroff "Theme of the Realmweaver," "Audin," "Steel and Shadows" - Written and Mixed by Steven Melin, Orchestrated by Christopher Siu, with Additional Copyist Catherine Nguyen, Lyrics & Translations by Travis Vengroff, Violin by Matheus Garcia Souza, Budapest Strings Recorded by Musiversal, Choir Recorded by Budapest Scoring "Theme of the Realmweaver (Between Time Edition)" - Written, Performed, and Remixed by Steven Melin "The Craftsmen's Creed" - 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 Dark Dice art by Allen Morris with lettering by Kessi 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: Abuse of Authority/Power, Classism, Drinking (alcohol), Loss (familial), PTSD, References to Racism & Classism, Torture, Xenophobia Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of One Symphony with Devin Patrick Hughes, composer Nan Avant takes us on a journey through her orchestral world — where nature, heritage, and imagination meet in music. Known for works inspired by the sea, the winds of Lahaina, and the birth of distant nebulas, Nan Avant blends classical tradition, cinematic color, and unexpected sounds — from steel road plates to wind machines — to tell her stories. From her Peruvian roots and classical piano training to collaborations with the London Symphony Orchestra and Northwest Sinfonia, Avant reveals how she turns personal memories and natural landscapes into vivid symphonic experiences. She also shares insights into orchestration, working directly with musicians, and weaving cultural influences into her scores. Music in this episode: Aloha ‘Oe – Queen Lili'uokalani, jazz bossa nova arrangement by Nan Avant End Credit Music from Remember Me (2009) Bijoux (The Nebulae) – Northwest Sinfonia Orchestra, David Sabee conducting Soundness of the Sea for Violin and Piano Wind Machine and Bass Drum demonstration Lahaina – Rhapsody for Violin and Orchestra – London Symphony Orchestra, featured on Symphonic Stradivarius Tributum – Northwest Sinfonia Orchestra, David Sabee conducting Whether you're drawn to the craft of composition, curious about the sounds that shape an orchestra, or simply love hearing music's human stories, this conversation with Nan Avant offers a rare glimpse into the mind and heart of a modern composer.

Tonight, we'll read about selecting wood from “Violin Making” written by Walter H. Mayson and published in 1909. The modern violin first appeared in 16th-century Italy, evolving from earlier bowed string instruments like the medieval rebec and Renaissance viol. Over time, it became both a tool of virtuosity and an object of cultural symbolism, equally at home in a grand concert hall or a lively village square. While the word “fiddle” is often used interchangeably with “violin,” its music spans a surprisingly wide range—from Western classical to folk, country, jazz, and even many non-Western traditions. For centuries, violinists and collectors have prized instruments made by legendary families such as Amati, Guarneri, and Stradivari. These instruments inspire almost mythic reverence for their tone and craftsmanship, with qualities that have resisted precise scientific explanation. While modern luthiers continue to challenge the old masters, a Stradivari remains a benchmark of beauty and rarity—one selling for £9.8 million (about $15.9 million US) in 2011 still holds the record. Walter H. Mayson, the author of tonight's text, was an English violin maker who entered the craft relatively late in life, beginning at the age of 39. His book, published after his death, distills a lifetime's devotion to the art, offering practical instruction and insights into the materials and methods behind the making of fine violins. In this excerpt, he turns his attention to one of the most crucial stages of the process—choosing the wood itself. — read by 'V' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoices

Playlist: Oscar Peterson, Marc Bourdeau - Hymn to FreedomJohn Tavener, Maya Beiser - Lament for PhaedraPeter Scott Lewis, Blair McMillen - Pacific TriptychFrancisco Mignone, Diego Caetano - Piano Sonata No 1Hilda Sehested, Ensemble MidtVest - Intermezi for Violin, Cello, & PianoGeorge Gershwin, Philadelphia Orchestra - Piano ConcertoJean Papineau-Couture, Robert Uchida, violin - Suite for Violin Alone

In May 2025, a former player is upset by the sacking of Head Coach Tom Cleverley — causing wider ramifications in the Watford Football Club afterlife. Hosted on Acast. See acast.com/privacy for more information.

In this episode, we discuss recordings of “Locatelli: 6 Introduttioni Teatrali, Concerto Per Violino E Archi” (Naïve) by Fabio Biondi & Europa Galante, “Hovhaness: Concerto No. 2 for Violin & Strings, Op. 89a & Other Works” (Naxos) by Zina Schiff, Valerie Stark &Salzburg Chamber Soloists / Avlana Eisenberg, “Kõrvits | Tamberg | Tüür” (Orchid Classics) by Martin Kuuskmann & the Estonian National Symphony Orchestra / Mihhail Gerts, “Viewfinder” (Attica Records) by Hugh Pascall, “Sweet William” (Shifting Paradigm Records) by Eric Siereveld's Organic Quintet, and “FONK” (CrownSounds Records) by Fredrik Kronkvist.   The Adult Music Podcast is featured in: Feedspot's 100 Best Jazz Podcasts   Episode 222 Deezer Playlist   Fair use disclaimer: Music sample clips are for commentary and educational purposes. We recommend that listeners listen to the complete recordings, all of which are available on streaming services in the links provided. We also suggest that if you enjoy the music, you consider purchasing the CDs or high-quality downloads to support the artists.   “Locatelli: 6 Introduttioni Teatrali, Concerto Per Violino E Archi” (Naïve) Fabio Biondi, Europa Galante https://open.spotify.com/album/5Utoi3Vxc5uYSlSNmWSJ99 https://music.apple.com/us/album/locatelli-6-introduttioni-teatrali/1810463518 https://music.amazon.com/albums/B0F6KKNT1S   “Hovhaness: Concerto No. 2 for Violin & Strings, Op. 89a & Other Works” (Naxos) Zina Schiff, Valerie Stark, Salzburg Chamber Soloists / Avlana Eisenberg https://open.spotify.com/album/4sL1vHnFuqBMVnw4N7jVM8 https://music.apple.com/us/album/hovhaness-violin-concerto-no-2-op-89a-works-for-violin-piano/1816878662 https://music.amazon.com/albums/B0F513C5D9   “Kõrvits | Tamberg | Tüür” (Orchid Classics) Martin Kuuskmann, Estonian National Symphony Orchestra / Mihhail Gerts https://open.spotify.com/album/6Ilhiehs7q4AUB0lfIkUsE https://music.apple.com/us/album/tõnu-kõrvits-tamberg-erkki-sven-tüür-works-for-bassoon/1819699313 https://music.amazon.com/albums/B0FBGYSXW6   “Viewfinder” (Attica Records)  Hugh Pascall https://open.spotify.com/album/7IBrlJsdgj0sY579JDebqT https://music.apple.com/us/album/viewfinder/1825686850 https://music.amazon.com/albums/B0FH2XKXG5   “Sweet William” (Shifting Paradigm Records) Eric Siereveld's Organic Quintet https://open.spotify.com/album/0vEmifVjbK9NAXzDuK8ZiS https://music.apple.com/us/album/sweet-william/1814768341 https://music.amazon.com/albums/B0F8VPL31N   “FONK” (CrownSounds Records) Fredrik Kronkvist https://open.spotify.com/album/1VMTRY5HYk7FMnK2bG1Lk8 https://music.apple.com/us/album/fonk/1801259433 https://music.amazon.com/albums/B0DZYWQNW7

The conclusion of the mystery thriller from the indie podcasting team of Fool & Scholar Productions! And subscribe to stay up to date with new stories. Fire and something just as ancient threatens Sealskin Rock and its occupants. Credits: Written by K. A. Statz Produced & Directed, with Additional Sound Design by Travis Vengroff Assistant Direction, Dialogue Editing, Editing, Sound Design, Mixing and Mastering by Finnur Nielsen Executive Producers Dennis Greenhill, Carol Vengroff, AJ Punk'n, & Maico Villegas Recording Engineer (LA Unit) - Paul Hurtubise Script Editing by W. K. Statz & Travis Vengroff Cast:Melody Morris – Marcy Edwards Maxine Morris – LilyPichu Lucas Broadrock – Mark Meer Ian Paulson – Russ D. More Whispers – Stephane Cornicard Music: "Missing Persons" & "Maxine's Goodbye" - Written and Performed by Steven Melin "Dance with the Ghosts" - Written and Performed by Scott Arc "In the Silver Sleeps" - Written and Performed by Brandon Boone, with Violin by Matheus Souza Cover Art by Abigail Spence Special 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 Recordings This is a Fool and Scholar Production We 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/FoolandScholar⁠⁠⁠⁠⁠⁠ Free Transcripts are available: ⁠⁠⁠⁠⁠⁠https://www.patreon.com/posts/100731585⁠⁠⁠⁠⁠⁠ Check out our Merch: ⁠⁠⁠⁠⁠⁠https://streamlabs.com/foolandscholar/merch⁠⁠⁠⁠⁠⁠ Content Warnings: Fire, Grooming, Loss & Mourning (paternal), Murder, References to Suicide, Sexism, Very Good Acting (trauma) Learn more about your ad choices. Visit megaphone.fm/adchoices

We get the full Fundie Family Experience this week. It's a Bates-Duggars event. Some kids get to fiddlin'. Some participate in Whitney's bloodsport of choice:4-square. The dads get to pat each other on the back for having so many kids. We watch a very red-faced Bates boy get so uncomfortable when he gets to sit next to a young woman that's not in his family. In our Dig, we look into hospitality within IBLP. What they say it is for, the rewards you get for it, and the copious amounts of rules and strings that are attached to it. Put out your best peppered turkey, because we're hosting, but for the lord. Enjoy what you hear? Would you like to support our peppered turkey habit in Glendale, Arizona? Well head on over to ⁠⁠⁠⁠⁠⁠⁠⁠www.buymeacoffee.com/diggingupthedug⁠⁠⁠ . ⁠⁠⁠⁠⁠If you would like to grab a jar and become one of the Pickle People, you get ad-free episodes, and even get them early. We post bonus episodes with Duggar content, personal topics, Mildred Mondays (gotta give the people what they want), recipes and other goodies. Join us on insta ⁠⁠⁠⁠⁠@digginguptheduggarspod⁠⁠⁠⁠⁠We also have a P.O. Box 5973, Glendale AZ, 85312

Send us a textHello, passionate cruisers! This is Paul. This week on The Joy of Cruising Podcast, I am proud to welcome Emily Gelineau, a Grammy award-winning Violinist, Pianist, Vocalist, Composer and Arranger who is known for interpreting modern styles of music from jazz to country, pop to rock, and world styles such as French and Brazilian music. Emily performs as a guest entertainer onboard luxury cruise ships. Listeners know I am as passionate about music and comedy as I am about cruising so when I get a chance to have a conversation with someone who has performed on cruise ships, I am in my glory. Residing in the USA for 4 years, Emily is a graduate from the prestigious Berklee College of Music in Boston. She has performed live and recorded with many infamous and influential artists across the world, including recording Violin for the 8-Bit Big Band on their 2022 Grammy-Winning arrangement of “Metaknight's Revenge”. Today, Emily is a well sought-after musician on the Jazz scene in Australia and overseas, whilst regularly earning composing commissions, arranging for orchestras and organizations such as RWS Entertainment and the Perth Symphony Orchestra, composing for media, and performing at sea.Do you have a dream car?Support the showSupport thejoyofcruisingpodcast https://www.buzzsprout.com/2113608/supporters/newSupport Me https://www.buymeacoffee.com/drpaulthContact Me https://www.thejoyofcruising.net/contact-me.htmlBook Cruises http://www.thejoyofvacation.com/US Orders (coupon code joyofcruisingpodcast)The Joy of Cruising https://bit.ly/TheJoyOfCruisingCruising Interrupted https://bit.ly/CruisingInterruptedThe Joy of Cruising Again https://bit.ly/TheJoyOfCruisingAgainIntl Orders via Amazon

On the latest episode of ‘New Classical Tracks,' Canadian violinist James Ehnes joins his many friends at the National Arts Center Orchestra to record all of Bach's Violin Concertos. Listen now with host Julie Amacher!

Trong thập niên qua, ông Tan Chin Seng, nghệ nhân làm đàn violin chuyên nghiệp đầu tiên của Malaysia, đã đạt được nhiều giải thưởng quốc tế. Hiện tại, ông đang hướng dẫn một thế hệ nghệ nhân mới tại xưởng của mình gần Kuala Lumpur. Đây là một nghề thủ công vẫn còn ít được biết đến ở Malaysia và Đông Nam Á, điều mà ông hy vọng sẽ thay đổi.

Over the last decade, Malaysia's first professional violin maker has earned many international accolades. Now, Tan Chin Seng is mentoring a new generation of makers from his studio near Kuala Lumpur. It's a craft still little known in Malaysia and Southeast Asia more widely - something Tan hopes to change.

Elizabeth Perry talks with Benjamin Hebbert and John Wright about the future of training violin makers in the UK. Special Guests: Benjamin Hebbert and John Wright .

Podience! It is high summer and we are moving around and around. Lots of pieces are getting mixed up and rearranged. Life is one big puzzle when you really think of it, isn't it? In this episode we talk about MOVING in NYC, we give some advice on what to do with your DYNAMICS, we define often occuring phenomenon and we end with an EPIC multi generational ghost of gags past. Thank you for tuning in! 

Happy 4th of July 2025! - Tim's Ambition // Petro // Violin // Dog Poop Dump!

South Korea elects a new leader, the Church of England seeks a new archbishop, and the challenges for adults learning the violin. Plus, a dog guards the fridge, Cal Thomas on the Vietnam war, and the Thursday morning newsSupport The World and Everything in It today at wng.org/donateAdditional support comes from the MIssion Focused Men for Christ podcast. This month: fathers helping sons embrace biblical manhood. Mission Focused Men for Christ on all podcast apps.From Ridge Haven Camp and Retreat Centers in Brevard, North Carolina, and Cono, Iowa. Camp and year-round retreat registrations at ridgehaven.orgAnd from The Joshua Program at St. Dunstan's Academy in Virginia ... a gap year shaping young men ... through trades, farming, prayer ... stdunstansacademy.org

This is a new horror mystery by the creators of The White Vault. 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. Follow the story on the Don't Mind podcast. Credits: Written by K. A. Statz Produced & Directed, with Sound Design by Travis Vengroff Assistant Direction, Dialogue Editing, Editing, Sound Design, Mixing and Mastering by Finnur Nielsen Executive Producers Dennis Greenhill, Carol Vengroff, AJ Punk'n, & Maico Villegas Recording Engineer (LA Unit) - Paul Hurtubise Script Editing by W. K. Statz & Travis Vengroff Cast: Melody Morris – Marcy Edwards Maxine Morris – LilyPichu Samson Morris – Ewan Chung Lucas Broadrock – Mark Meer Julia Sauveterre – Carolyn Saint-Pé Music: "Missing Persons" - Written and Performed by Steven Melin "In the Silver Sleeps" Written and Performed by Brandon Boone, with Violin by Matheus Souza Cover Art by Abigail Spence Special 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 Recordings This is a Fool and Scholar Production We 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/FoolandScholar⁠ Free Transcripts are available: ⁠https://www.patreon.com/posts/100731585⁠ Check out our Merch: ⁠https://streamlabs.com/foolandscholar/merch⁠ Content Warnings: Fingernails Learn more about your ad choices. Visit megaphone.fm/adchoices