Podcasts about wolfgang amadeus

Frohe Weihnachten, ihr Lieben! Dax und Moritz haben wieder mal ein kleines Hörspiel eingesprochen: So kam es zu den strittigen Personalentscheidungen beim Kulturmagazin “titel, thesen, temperamente”. Außerdem: Karl Lauterbachs Carrera-Bahn, Weihnachten auf hoher See und ein musikalisches Schmankerl aller erster Güte.

Wolfgang Amadeus (1756-1791) - La Betulia liberata K1 118 (K6 74c)Oratorio sacro in due parti per soli, coro ed orchestra su libretto di Pietro Metastasio Ouverture - Allegro (re minore). Andante. Presto - 2 oboi, 2 fagotti, 4 corni, 2 trombeParte I: Popoli di Betulia - Recitativo (Ozia)D'ogni colpa la colpa maggiore - Aria (Ozia) - Allegro aperto (si bemolle maggiore) - 2 oboi, 2 corni, archi E in che sperar? - Recitativo (Cabri, Amital)Ma qual virtù non cede - Aria (Cabri) - Moderato (sol minore) - archi Già le memorie antiche - Recitativo (Ozia, Cabri, Amital)Non hai cor, se in mezzo a questi - Aria (Amital) - Allegro (mi bemolle maggiore). Andante (do minore). Allegro (mi bemolle maggiore) - 2 oboi, 2 fagotti, 2 corni, archi E qual pace sperate - Recitativo (Ozia, Amital, Coro)Pietà, se irato sei - Coro e preghiera (Ozia, Coro) - Adagio (do minore) - 2 oboi, 2 corni, archi Chi è costei - Recitativo (Cabri, Amital, Ozia) Che ascolto, Ozia! - Recitativo (Giuditta) - Andante. Allegro. Andante - archiDel pari infeconda - Aria (Giuditta) - Andante (fa maggiore) - 2 flauti, 2 corni, archi Oh saggia, oh santa, oh eccelsa donna! - Recitativo (Ozia, Cabri, Giuditta)Pietà, se irato sei - Coro e preghiera (Ozia, Coro) - Adagio (do minore) - 2 oboi, 2 corni, archi Signor, Carmi a te viene - Recitativo (Cabri, Amital, Ozia, Carmi, Achior)Terribile d'aspetto - Aria (Achior) - Allegro (do maggiore) - 2 oboi, 2 corni, 2 trombe, archi Ti consola, Achior - Recitativo (Ozia, Cabri, Achior, Giuditta)Parto inerme, e non pavento - Aria (Giuditta) - Allegro (sol maggiore). Adagio. Allegro - 2 oboi, 2 corni, archiOh prodigio! oh stupor! - Coro (Coro) - Allegro (mi bemolle maggiore) - 2 oboi, 2 corni, archi Parte II: Troppo mal corrisponde - Recitativo (Achior, Ozia)Se Dio veder tu vuoi - Aria (Ozia) - Andante (la maggiore) - 2 oboi, 2 corni, archi Confuso io son - Recitativo (Achior, Ozia, Amital)Quel nocchier, che in gran procella - Aria (Amital) - Allegro (si bemolle maggiore). Andante (sol minore). Allegro (si bemolle maggiore) - 2 oboi, 2 corni Lungamente non dura - Recitativo (Ozia, Amital, Choeur, Cabri, Giuditta, Achior) Appena da Betulia partii - Recitativo (Giuditta, Amital, Ozia) - archi Oh prodigo! Oh portento! - Recitativo (Ozia, Cabri, Achior, Giuditta, Amital)Prigionier che fa ritorno - Aria (Giuditta) - Adagio (re maggiore). Andante (sol maggiore). Adagio (re maggiore) - 2 oboi, 2 corni, archi Giuditta, Ozia, popoli, amici - Recitativo (Achior)Te solo adoro - Aria (Achior) - Andante (fa maggiore) - archi Di tua vittoria un glorioso effetto - Recitativo (Ozia, Amital)Con troppa rea viltà - Aria (Amital) - Andante (mi maggiore). Adagio. Andante - archi Quanta cura hai di noi - Recitativo (Cabri, Carmi, Ozia, Amital)Quei moti, che senti - Aria (Carmi) - Allegro (fa minore) - 2 oboi, 2 fagotti, 2 corni, archi Segnansi, o Carmi, i fuggitivi - Recitativo (Ozia, Amital, Cabri, Achior, Giuditta)Lodi al gran Dio - Coro (Giuditta, Coro) - Andante (sol maggiore). Allegro (re maggiore) - 2 oboi, 2 corni, archiAbout La Betulia liberata Achior: Franz-Josef SeligAmital: Julia KleiterCabri: Irena Bespalovaite Carmi: Jennifer Johnston Giuditta: Marijana Mijanovic Ozia: Jeremy Ovenden  Munich Chamber OrchestraVienna State Opera ChorusAndreas Schuller, Chorus MasterConductor: Christoph Poppen, conductor Festival di Salisburgo 2006

José Manuel Zapata no abandona la música sacra porque hoy viene a hablarnos de una apasionante obra maestra: el Réquiem de Wolfgang Amadeus Mozart. Esta obra que analizaremos con nuestro tenor favorito ofrece a la historia de la música uno de sus más enrevesados misterios, que hasta hoy siguen creando fascinación a musicólogos e investigadores. Escuchar audio

Idomeneo: la primera gran obra maestra lírica de Wolfgang Amadeus. Introducimos esta imponente ópera seria hablando de las circunstancias de su composición y de su estreno, instruyendo acerca de sus contenidos y comentando algunos de sus antecedentes. Escuchamos su obertura, un aria de Mitrídate del propio Mozart, el comienzo del segundo acto de Orfeo y Eurídice y el aria de Alcestes de Gluck y varios números de la propia Idomeneo, como la primera aria, con recitativo accompagnato de Ilia, una de las protagonistas de la ópera mozartiana, en la voz de Pilar Lorengar.Escuchar audio

Le génie et la renommée de Mozart n'ont pas totalement éclipsé certains membres de sa famille. Ainsi se souvient-on de son père, le compositeur et professeur de musique Léopold Mozart qui, entre 1761 et 1772, entreprit des tournées en Europe pour exploiter le talent musical exceptionnel de son fils.Dans ces déplacements professionnels, il amenait aussi la sœur aînée de Wolfgang Amadeus, Maria Anna, surnommée Nannerl, qui avait, elle aussi, des dons évidents pour la musique.En revanche, on parle rarement de la mère de Mozart. Née en 1720, dans la principauté ecclésiastique de Salzbourg, Anna Maria Pertl a elle-même été élevée dans une famille de musiciens. En effet, son père était contrebassiste et professeur de chant.La vie d'Anna Maria Pertl prend un cours nouveau quand, en 1747, elle épouse Léopold Mozart. Ils auront six enfants, mais deux seulement survivront.La mère de Mozart mena toujours une vie très discrète, dans l'ombre d'un mari autoritaire, qui ne semblait guère s'en préoccuper. Il lui arrive d'accompagner son jeune fils dans ses tournées, notamment lorsque son mari était retenu auprès du prince-archevêque de Salzbourg, dont il était le maître de concert.Le jeune Wolfgang étant de santé fragile, sa mère est à ses côtés et le soigne durant ses maladies. Elle lui apporte aussi un soutien matériel quand il en a besoin, notamment quand, au début des années 1770, il prend en charge sa carrière musicale.À partir de 1763, la famille vit souvent à Paris, où elle change souvent d'adresse. En juin 1778, alors que les Mozart vivent depuis peu dans un appartement de l'actuelle rue du Sentier, dans le IIe arrondissement, Anna Maria, qui a 57 ans, tombe malade. Atteinte de fièvres aiguës, elle meurt le 3 juillet. Elle est enterrée dans le cimetière voisin de Saint-Joseph.Aussi discrète soit-elle, la mère de Mozart lui aura inspiré certaines œuvres, comme les célèbres variations pour piano "Ah ! vous dirai-je maman", ou encore les sonates 10, 11 et 12 pour piano. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Le génie et la renommée de Mozart n'ont pas totalement éclipsé certains membres de sa famille. Ainsi se souvient-on de son père, le compositeur et professeur de musique Léopold Mozart qui, entre 1761 et 1772, entreprit des tournées en Europe pour exploiter le talent musical exceptionnel de son fils. Dans ces déplacements professionnels, il amenait aussi la sœur aînée de Wolfgang Amadeus, Maria Anna, surnommée Nannerl, qui avait, elle aussi, des dons évidents pour la musique. En revanche, on parle rarement de la mère de Mozart. Née en 1720, dans la principauté ecclésiastique de Salzbourg, Anna Maria Pertl a elle-même été élevée dans une famille de musiciens. En effet, son père était contrebassiste et professeur de chant. La vie d'Anna Maria Pertl prend un cours nouveau quand, en 1747, elle épouse Léopold Mozart. Ils auront six enfants, mais deux seulement survivront. La mère de Mozart mena toujours une vie très discrète, dans l'ombre d'un mari autoritaire, qui ne semblait guère s'en préoccuper. Il lui arrive d'accompagner son jeune fils dans ses tournées, notamment lorsque son mari était retenu auprès du prince-archevêque de Salzbourg, dont il était le maître de concert. Le jeune Wolfgang étant de santé fragile, sa mère est à ses côtés et le soigne durant ses maladies. Elle lui apporte aussi un soutien matériel quand il en a besoin, notamment quand, au début des années 1770, il prend en charge sa carrière musicale. À partir de 1763, la famille vit souvent à Paris, où elle change souvent d'adresse. En juin 1778, alors que les Mozart vivent depuis peu dans un appartement de l'actuelle rue du Sentier, dans le IIe arrondissement, Anna Maria, qui a 57 ans, tombe malade. Atteinte de fièvres aiguës, elle meurt le 3 juillet. Elle est enterrée dans le cimetière voisin de Saint-Joseph. Aussi discrète soit-elle, la mère de Mozart lui aura inspiré certaines œuvres, comme les célèbres variations pour piano "Ah ! vous dirai-je maman", ou encore les sonates 10, 11 et 12 pour piano. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hoy entrevistamos a Ramón Morales Valverde, científico titular del CSIC, que ha trabajado en el Real Jardín Botánico de Madrid hasta su jubilación en 2020, aunque sigue activo publicando interesantes escritos sobre botánica. Leonardo Daimiel Pérez de Madrid presenta la carta de Leopold Mozart sobre la copia de su hijo Wolfgang Amadeus del Miserere secreto de Roma en la sección "Pensar y sentir". El profesor Ignacio del Villar presenta la figura del científico Nicolas Steno, santo, en la sección de la Sociedad de Científicos Católicos. Luis Antequera presenta la sección de historia "Hoy no es un día cualquiera". El profesor José Manuel Amaya presentará la sección de curiosidades científicas.

Je dagelijkse portie muzikale verwondering. Welkom in mijn wonderkamer, vol muziek, verhalen en voorwerpen. Een muzikale reis door eeuwen, windstreken en genres. ‘Mozart in Utrecht, 1766' Over het niveau van de musici liet Leopold Mozart heel expliciet uit: ‘Ezels!' Wat zijn zoontje er van vond…? Op 21 april 1766 verzorgde Wolfgang Amadeus een concert in Utrecht. Kaarten waren oa verkrijgbaar bij het hotel in de Minnebroederstraat waar de Mozarts verbleven. Meer zien? Klik hier (https://www.nporadio4.nl/klassiek/podcasts/001b2297-b70e-40d8-b38d-ed0b29ac3b19/dit-hoor-je-deze-week-in-franks-klassieke-wonderkamer-week-16-17-t-m-21-april) Wolfgang Amadeus Mozart Symfonie nr.5, KV.22 Il Fondamento olv Paul Dombrecht (album: Mozart Early Symphonies) Franks Klassieke Wonderkamer is straks niet meer via de Bach van de Dag feed te beluisteren. Niks missen? Abonneer je dan op de podcast Franks Klassieke Wonderkamer.

Je dagelijkse portie muzikale verwondering. Welkom in mijn wonderkamer, vol muziek, verhalen en voorwerpen. Een muzikale reis door eeuwen, windstreken en genres. 'De zoon van Mozart' Je zult het maar zijn: de zoon van Wolfgang Amadeus. Het was dan ook geen gemakkelijk leven voor Franz Xaver Mozart… altijd die vergelijking. Franz Xaver werkte een deel van zijn leven in Lemberg oftewel Lviv in wat nu de Oekraine is. Meer zien? Klik hier (https://www.nporadio4.nl/klassiek/podcasts/f32bc497-7b61-4ffb-99d4-16b765eb0c53/dit-hoor-je-deze-week-in-franks-klassieke-wonderkamer-week-13-27-t-m-31-maart) Franz Xaver Mozart Concert voor piano en orkest, nr.2, op.25; II Howard Shelley, piano Sinfonieorchester St. Gallen (album: Classical Piano Concerto vol.3) Franks Klassieke Wonderkamer is straks niet meer via de Bach van de Dag feed te beluisteren. Niks missen? Abonneer je dan op de podcast Franks Klassieke Wonderkamer.

Die Spezial-Folge für Tobi, der sich mehr Hochkultur wünscht.

Pianiste, musicologue, enseignant… Robert D. Levin connait Mozart sur le bout des doigts ! L'élève de Nadia Boulanger a ainsi eu la joie tout autant que le privilège de poser ses mains sur le pianoforte de Mozart conservé au Mozarteum de Salzbourg pour y enregistrer l'intégralité des sonates du maître. Érudit par excellence de Wolfgang Amadeus, Robert D. Levin a ainsi achevé certaines pièces du légendaire compositeur dont on citera, entre autres, la fugue de l'Amen du Requiem en ré mineur ou encore la « Grande » messe en ut mineur, s'inspirant de la Première école de Vienne coutumière d'intégrer des éléments d'improvisation dans les répétitions. Accordons-nous un voyage dans le temps au pays des « notes qui s'aiment » !

Pünktlich zur fünften Jahreszeit schmeißen sich Laury und Uli in ihr Büttenrednergewand und führen euch durch vogelwilde Faschingsgeschichten. Woher kommen eigentlich die Ausrufe Helau und Alaaf, wer von den großen Komponist:innen hat sich auf dem Römischen Karneval herumgetrieben und was war die Lieblingsverkleidung vom kleinen Wolfgang Amadeus? Konfetti und Bonbons für alle in dieser Folge Klassik für Klugscheisser!

During holiday periods, we occasionally return to past podcasts, and this week, prompted by the news that he is about to release a new album inspired by an encounter with György Kurtág, we revisit a conversation from September 2021 with the Icelandic pianist Víkingur Ólafsson.  James Jolly caught up by video call with the pianist at his home in Iceland just a few days after Ólafsson's triumphant debut at the 2021 BBC Proms to talk about the album 'Mozart & Contemporaries' which gathers music by CPE Bach, Galuppi, Cimarosa and Haydn around the great Wolfgang Amadeus.

Okay, maybe you already know the right story behind this famous nursey rhyme, but nevertheless we're here to set the record straight. Feat. our favorite boy, Mozart!   Music: https://imslp.org/wiki/12_Variations_on_%27Ah,_vous_dirai-je_maman%27,_K.265/300e_(Mozart,_Wolfgang_Amadeus) https://creativecommons.org/licenses/by/3.0/legalcode

In this episode, Erin and Nicole answer the question: was Wolfgang Amadeus Mozart into scat play? I could go on, but I think that says it all. This episode is sponsored by Zencastr! Thinking about starting a podcast? Sign up for a Zencastr Pro Account and save 30% off your first 3 months of service by visiting zen.ai/dtfupodcast! SHOW INFORMATION Hosted and produced by Nicole Mackie and Erin Saul Merch: Dude, That's F****d Up Store Patreon: Patreon.com/DTFUPodcast Facebook Page: @DFTUPodcast Facebook Group: Listeners of Dude, That's F****d Up Instagram: @DTFUPodcast Twitter: @DTFUPodcast YouTube: DTFUPodcast Website: DTFUPodcast.com Email: DTFUPodcast@gmail.com Music: The Hands of Stone Artwork: Brad Walters Design Subscribe: Spotify, Apple Podcasts, Stitcher, Google Podcasts --- Support this podcast: https://anchor.fm/dude-thats-fd-up8/support

Auf dem Programm steht dieses Mal die Klaviersonate A-Dur, KV 331 von Wolfgang Amadeus Mozart. Christine Lemke-Matwey, Andreas Göbel und Kai Luehrs-Kaiser hören Aufnahmen, ohne zu wissen, wen sie hören. Das müssen die drei selbst herausfinden. Moderiert von Christian Detig.

MÚSICA Johann Sebastian Bach - Fugue from WTC II arranged for string quartet by Wolfgang Amadeus in A Minor (G Minor BWV885) (CD) The Bach Players: Bach arranging and arranged © Magnatune – www.magnatune.com -- AUTOR DOS TEXTOS P. Luís Providência, sj -- LEITORES André Rodrigues (pontos) Teresa Almeida (textos bíblicos)

Gramophone's Artist of the Year for 2019, Víkingur Ólafsson, has recorded three critically acclaimed albums for DG, and now he adds a fourth entitled 'Mozart & Contemporaries' which gathers music by CPE Bach, Galuppi, Cimarosa and Haydn around the great Wolfgang Amadeus. James Jolly caught up by video call with the pianist at his home in Iceland just a few days after Ólafsson's triumphant debut at the BBC Proms where he joined the Philharmonia and Paavo Järvi in concertos by JS Bach and Mozart.

Sie war zuerst da, sie war begabt, aber sie hatte kaum eine Chance. Maria Anna Mozart, geboren am 30. Juli 1751, war die fünf Jahre ältere Schwester von Wolfgang Amadeus. Autor: Holger Noltze

In this episode of the Free Walking Tour Salzburg's Podcast, I will tell you where Mozart was born and what it's like to visit the birthplace of Mozart in Salzburg. Mozart's birthplace is the second most visited museum in Salzburg and the most photographed building in the city. On the Free Walking Tour Salzburg, we pass by the birthplace and I tell you about it but should you also visit the inside of the building and why should you get a Salzburg Card when doing so. This and more you are gonna find out in todays episode of the Free Walking Tour Podcast.

Kalm met Klassiek is jouw dagelijkse dosis klassieke rust. Vrijdag: hoog tijd om lekker te ontspannen na een drukke werkweek! De familieweek is bijna op z'n eind, maar natuurlijk niet zonder de volgende familie in de spotlights te zetten: de Mozart. Dat muzikale DNA van Wolfgang Amadeus en Maria Anna kwam rechtstreeks van vader Leopold. Geniet van zijn 'Symfonie' en ga relaxed het weekend in.

Stel je voor: je bent een wonderkind, kan al jong fantastisch pianospelen, componeert als de beste, tourt door Europa en draagt de achternaam Mozart. Een succesverhaal, denk je. Ja, wel voor Wolfgang Amadeus. Maar niet voor zijn grote zus Maria Anna. Waarom liepen hun wegen zo anders? Van Kassia en Hildegard von Bingen tot Caccini en Mozart: in de eerste aflevering van 'Muziek is een vrouwelijk woord' duikt Rebecca van der Weijde samen met historica Agnes Cremers en musicologe Simone Leuven in de verborgen levens van deze klassieke vrouwen.

my review of the French synth pop band Phoenix - Their release in 2009 Wolfgang Amadeus

Music is art, but it's also science! Join us this week as we delve into the so called Mozart effect- maybe you'll end up smarter at the end! Philip Glass, Music with Changing Parts: https://www.youtube.com/watch?v=DdNPGjkqL2Q Music:  https://imslp.org/wiki/Sonata_for_2_Pianos_in_D_major,_K.448/375a_(Mozart,_Wolfgang_Amadeus) https://creativecommons.org/licenses/by-nc-nd/3.0/legalcode  

Ob Mozart, Bach oder Beethoven. Männliche Komponisten prägen den Kanon der klassischen Musikgeschichte. Doch wie sieht es mit den Komponistinnen aus, mit Isabella Leonarda oder Rebecca Saunders? «Kontext» widmet sich den fehlenden Frauen im musikwissenschaftlichen Kanon und im Konzertbetrieb. Wolfgang Amadeus, Johann Sebastian, Ludwig: Die passenden Nachnamen kennt jeder. Aber was ist mit Emilie, Mel, Rebecca? Weder in Schulbüchern noch in den Konzerthallen sind sie besonders präsent. Auf den Spielplänen der klassischen Konzertsäle findet man sie – wenn überhaupt – selten. Partituren, Fachliteratur? Mangelware. Aber viele Komponistinnen und Musikerinnen prägten die Welt der klassischen Musik. Überwanden Hindernisse und gesellschaftliche Zwänge, um kreativ arbeiten und veröffentlichen zu können. Einige waren zu Lebzeiten sogar sehr bekannt, gerieten nach Ihrem Tod aber in Vergessenheit. Auch in der Pop- und Rockmusik müssen Frauen für ihre Sichtbarkeit kämpfen. Trotz Megastars wie Beyoncé oder Lady Gaga. Auch in der Region sind Musikerinnen in Bands und auf der Bühne untervertreten. Ein Blick auf das Line-up vieler Festivals zeigt: Männer stehen auf der Bühne, Frauen im Publikum. Die Headliner sind Männer, Machos mit Gitarren. «Kontext» stellt verschiedene Formen einer weiblichen Musikgeschichte vor – vom Buch bis zum Film. Und wir fragen: Warum werden Komponistinnen und Musikerinnen bis heute selten in den sogenannten Kanon aufgenommen? Weitere Themen: - «Komponistinnen»: Eine filmische und musikalische Spurensuche - Ein Verlag macht Furore – mit komponierenden Frauen - Streifzug statt Kanon: «These Girls»

LADIES AND GENTLEMEN! We will now play for you... the absolutely very final Gotta Be Done episode for Bluey season one! Yep, with season two just hours away, we're going back to where it all began - it's Magic Xylophone!  And it wouldn't be Gotta Be Done without some extreme and far-fetched conspiracy theories. This time, we're tracing episode origins right back to some The Simpsons circa 1997! Or is it just Mary going crazy? (Ahem, I withdraw my question.)  Plus a deep-dive on Wolfgang Amadeus, Bandit-Chilli romance theories, season two excitement, and whether it's really plausible that Bingo could track down the xylophone dinger that rapidly?? Basically, there's so much to pack in before season two starts - can you tell we're a bit excited?! ++ Gotta Be Done is ex-journos and Melbourne mums Kate McMahon and Mary Bolling, as we deep-dive on every Bluey episode, with plenty of detours into mama life, childhood memories, and everything else we're bingeing, too! Follow us on Insta at @blueypod @marytbolling @katejmcmahon or on Twitter at @blueypodcast - and use #blueypod to join in.

Het is de geboortedag van ‘Wolfje’, de koosnaam die vader Leopold Mozart aan zijn zoon gaf. Wolfgang Amadeus kwam al vroeg in aanraking met de muziek van J.S. Bach – de bewondering voor en de studie van de Thomascantor is terug te horen in de muziek van Mozart. Johann Sebastian Bach, Fuga BWV.874 (WTCII), Andras Schiff (piano) Wolfgang Amadeus Mozart, Fuga K.405/5 (naar Bach, BWV.874), Akademie fur Alte Musik Berlin

Used to just hate Mozart’s music but now is one of my favorites. Also a sample of upcoming ClassicaLite release of Mozart sonata arranged for 2 guitars. Plus musician jokes of course. --- Send in a voice message: https://anchor.fm/sounds-safe/message

Caitlin celebrates Dave's Mercury Prize win with a discussion of Top Boy: the Netflix grime series and accompanying album funded by Drake. Then Tanner delights in the rhythms of another excellent Halsey single and an unexpected turn from A Boogie wit da Hoodie. Playlist: https://spoti.fi/2nBVM7p

This book name is ‘A Mouse Called Wolf’. I like this book cause it is fun and have many details and I like a caricter name ‘Wolfgang Amadeus’.Because he is funny.

Ah yes, there must've been something special happening on the network on this Monday the 21st, because the show was reduced from the usual fifteen minutes down to ten. Nevertheless, our trusty quartet (Bob, Ray Sherman on piano, Jud De Naut on bass, and Ralph Collier on drums and percussion) manages to pack a full show of entertainment. Our "Sweet Georgia Brown" intro is followed by "I've Got My Love To Keep Me Warm", which the quartet performed less than a month before (Season 2 Episode 7). Our new announcer, John Storm, brings in song star Margo Powers for "I See Your Face Before Me", a tune that was Nelson Riddle's first arranging assignment eleven years prior. Bob and Margo team up for the tune they'd sung two weeks before (Season 2 Episode 8), "You Was". The quartet races for home with a familiar melody that Bob gave new life to (and hilariously credits the original composer): "Turkish Boogie" which is titled "Turkish March" in its original incarnation. It's a showcase for both Bob and Ray Sherman's chops-Wolfgang Amadeus never heard it so good!

Episode 20! We talk movie adaptations - what makes them good or bad? Trevor presents the 1994 page-turner "The Alienist" by Caleb Carr who had a totally chill childhood and Marc completely understands "Steppenwolf" by Herman Hesse

Hijo del violinista y compositor Leopold Mozart, Wolfgang Amadeus fue un niño prodigio que a los tres años lograba distinguir sucesiones armónicas y crear melodías. Tras sus últimas composiciones en 1791, Mozart cayó enfermo y durante dos meses padeció de fuertes dolores y alucinaciones que lo llevaron a la muerte el 5 de diciembre del mismo año. Hasta el día de hoy se desconoce la verdadera causa de su muerte.

Hijo del violinista y compositor Leopold Mozart, Wolfgang Amadeus fue un niño prodigio que a los tres años lograba distinguir sucesiones armónicas y crear melodías. Tras sus últimas composiciones en 1791, Mozart cayó enfermo y durante dos meses padeció de fuertes dolores y alucinaciones que lo llevaron a la muerte el 5 de diciembre del mismo año. Hasta el día de hoy se desconoce la verdadera causa de su muerte.

Surprise! The Mozart family is the gift that keeps on giving! Here is one more week's worth of fascinating info about the Mozart family, this time directed to W. A. Mozart's sister, Nannerl! Music: http://imslp.org/wiki/Minuet_in_G_major,_K.1/1e_(Mozart,_Wolfgang_Amadeus) https://creativecommons.org/licenses/by-sa/4.0/legalcode https://imslp.org/wiki/Piano_Sonata_No.11_in_A_major%2C_K.331%2F300i_(Mozart%2C_Wolfgang_Amadeus) https://creativecommons.org/licenses/by/3.0/legalcode

It's the CoffeeHouse's 2nd birthday, and to celebrate we're bringing you the history of one of the most well known and greatest composers to ever live, Wolfgang Amadeus Mozart! Enjoy, and listen in JUST ONE WEEK to Part II of our Mozart spectacular!  Music: http://imslp.org/wiki/Divertimento_in_F_major%2C_K.138%2F125c_(Mozart%2C_Wolfgang_Amadeus) https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode https://imslp.org/wiki/Eine_kleine_Nachtmusik%2C_K.525_(Mozart%2C_Wolfgang_Amadeus) https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode https://imslp.org/wiki/Piano_Sonata_No.11_in_A_major,_K.331/300i_(Mozart,_Wolfgang_Amadeus) https://creativecommons.org/licenses/by/3.0/legalcode https://imslp.org/wiki/Requiem_in_D_minor,_K.626_(Mozart,_Wolfgang_Amadeus) https://creativecommons.org/licenses/by/3.0/legalcode

En 1977 la NASA lanzó dos sondas espaciales para explorar nuestro sistema solar. En ellas colocaron un disco de oro con información sobre nuestro planeta: fotos, saludos, sonidos, y música. ¿Quieres escuchar parte de la música que se incluyó en este disco? Las notas del episodio en www.allegromagico.com/29  En este episodio escucharás: [01:39] Goldsmith, Jerry y otros. Star Trek Voyager Main Title  [03:15] Beethoven, Ludwig van. Symphony No. 5 in C Minor, Op. 67 Fate I. Allegro con brio [05:27] Bach, J.S.  Prelude & Fugue No. 1 in C Major, BWV 870 Praeludium [06:36] Stravinsky, Igor. Le sacre du printemps, Pt. 2 The Sacrifice Sacrificial Dance (The Chosen Victim) [07:44] Mozart, Wolfgang Amadeus.The Magic Flute, K. 620 Der Hölle Rache kocht in meinem Herzen (Queen of the Night) [10:05] Maciel, Antonio. El Cascabel [11:34] Night Chant, Yeibichai (Navaho) [12:36] Berry, Chuck. Johnny B. Goode.      Si te gusta el episodio, califícalo en tu app favorita (Podcasts iTunes, iVoox) o puedes dejar tu review. :)    No te pierdas ningún episodio. Súscríbete al newsletter en allegromagico.com/suscribirme.    Síguenos en: Facebook, Twitter, Instagram y Pinterest.  Únete a la comunidad de Allegro Mágico en allegromagico.com/comunidad.

Our heroes state their case. Find out more about the show at our website: www.vre.show Support us on Patreon: www.patreon.com/VRE Follow us @VRECast This episode uses an excerpt from a recording of Piano Sonata No. 16 in C major as performed by Simone Renzi, available here: http://imslp.org/wiki/PianoSonataNo.16inCmajor,K.545(Mozart,Wolfgang_Amadeus)

Wir sind mittendrin in Augsburg, beim Mozartfeschtle. Leopold Mozart ist in Augsburg aufgewachsen und sein Sohn, Wolfgang Amadeus, war auch mehrmals dort. Wo und warum, davon erzählen wir Euch.

Works by Mozart performed by Charlie Albright on February 14, 2016. Mozart, Wolfgang Amadeus: 12 Variations on “Ah vous dirai-je, Maman” Mozart, Wolfgang Amadeus: 9 Variations on a Minuet by Duport, K. 575 Many of us think of “improvisation” as a modern concept, usually linked to jazz. But throughout the centuries, so-called “classical” keyboard players were often expected to improvise, whether they were vamping at the organ to fill time during a church service or creating a spontaneous piano version of an opera score for friends and patrons gathered around a salon. Indeed, there are many accounts that suggest that Mozart—now thought of for his notated scores—relied heavily on improvisation in creating and even performing his own works. All to say, Mozart was a master of the art of improvised variation. Today, we’ll hear two notated works that hint at the sort of thing we might have heard, had we been so lucky to be in the room when Mozart was improvising at the keyboard. First, we’ll hear his 12 Variations on “Ah, vous dirai-je, Maman.” Next, we’ll hear 9 Variations on a Minuet by Duport, based on a cello sonata theme.

Step right up folks, and be dazzled by the miraculous Rag King himself: Scott Joplin! Tap your toes to his upbeat music, and join us in discussions of the mysterious life of this national treasure! Music: https://creativecommons.org/licenses/by-nc/3.0/legalcode https://musopen.org/music/43092-magnetic-rag/ https://musopen.org/music/43164-maple-leaf-rag/ https://musopen.org/music/43166-peacherine-rag/ https://musopen.org/music/33547-heliotrope-bouquet/ https://musopen.org/music/43390-treemonisha/ http://imslp.org/wiki/Piano_Sonata_No.11_in_A_major,_K.331/300i_(Mozart,_Wolfgang_Amadeus)

Why do we struggle to write? The ONE word? What’s that? And why does it play such an incredibly important part in article writing? That’s what we explore in this second part of what I’ve learned in article writing. We also look at why we struggle to write—Yes, we seem to get in our own way most of the time. How do we get others to help us? Find out more here. ========= In this episode Sean talks about Part 1: Why the ONE word concept is your compass in the darkness Part 2: Why when we sit down to write, we often get into a state of randomness Part 3: How can you be sure you have the right ‘One Word’ ? Right click here and ‘save as’ to download this episode to your computer.   Useful Resource 5000bc: If you suspect that your business could be bringing in a lot more revenue but you don’t have a clue how to make that happen without hype or hassle, 5000bc is a must-have resource. Listen or read: Part 1 of Three Interesting Things I Know About Writing ============== Element 3: Why the ONE word concept is your compass in the darkness ALMOST half of the goals scored in football—or soccer—are virtually random! So says Martin Lames of the Technical University of Munich. Raphael Honigstein’s new book, “Das Reboot” talks about the non-random side of football. It talks about how a well-prepared team can rise from the depths and win the match, even the tournament. And especially if that team is Germany—which is considered to be a world-class team, but was at the bottom of the football heap in 2000. Germany’s randomness arose from complacency In the European Championships in 2000, they failed to win a single game—and even lost to the English team (which was considered pretty terrible in the first place). And yet, 14 years later, Germany would rout Brazil 7-1 and make its way to the ultimate prize defeating Argentina in the World Cup final. What Germany did—and did effectively—was reduce the randomness. Right after the 2000 Euro disaster, Germany’s top professional clubs were ordered to set up academies—and this was a considerable cost to the clubs, so they actively resisted the directive. Ten years later, this move proved to be a boon saving the clubs millions of dollars in transfer fees, because more than half the players in the top division were academy graduates. In short, the moment they got rid of their randomness, the German team started to see results. A similar concept applies to article writing. When we sit down to write, we often get into a state of randomness And you know it’s random because you can’t sum up the article in one word or one idea. The moment you have one idea—it becomes that wall around your article. You know exactly what you’re going to write about, what are the sub-topics under that main topic—and how to get the stories and case studies to support the piece. For instance, this section is about why the article can’t be random. Instead of starting the article with a boring line that says: “The worst thing you can do is write a random article”, the article starts with a story of disaster—well, a disaster for the German football team, anyway. Yet, most writers never sit down and write down their one word because they’re not sure if it’s the right word There is no right word. The word is what you want to communicate. In the introduction, the story was about the journey. Well, that’s where the story of Isambard Brunel came to light. The second part was about the coach—and we ran right into Wolfgang Amadeus’ father—Johann Leopold Mozart. The third part was about why writing for yourself is so very hard, and the two female conductors told their story. And finally, we have the story of randomness—and the German football team. When you have a single word to focus on—or a single idea—it’s not hard to get stories But it also forces you to stay within the parameters of that single word. I have to stay within the walls of randomness as this part of the article unfolds. It becomes my binding agent. And ironically, the one word can be picked randomly. The one word in this piece could have been completely different. It could have been about “binding”—and the story would be different; the angle different. It could have been about “boundaries” and yet again we’d see different stories and a different angle? But isn’t it cheating to decide one word and then write an article? No, it’s not. Put yourself in the shoes of noted author and TV personality, David Attenborough. Do you think the TV crew goes into the jungle, finds whatever footage they can find, before returning to write the script? That would be a nightmare because you’d have to go through hundreds of mismatched shots to build a coherent documentary. As radio personality Ira Glass describes: “You write the story, and then you go out and ask the questions. You have the idea in your mind; the questions down on paper long before you get to the person you’re interviewing. That way you get a coherent structure. And the same concept applies to article writing. If you simply sit down to write an article, you’re doing what a lot of crummy writers do Sure, you can pick the one word or one idea randomly, but that becomes your binding agent; your wall; your barrier. Now you have focus. The direction of your article is no longer random. You follow the lead of the one word, and your article isn’t a mish-mash of ideas thrown randomly on paper. You become like the German football association-focused and getting results every single time! ===== So let’s summarise what we’ve learned. Article writing is a journey. And you can limp into the harbour or arrive in great shape. To sail into the harbour in glory, I’ve learned three things over the years. The first is you need a coach—this can be a course, a book, a workshop—but you need that coach. And that coach needs to be a teacher, not a preacher. Then you need an editor. Everyone needs an editor. I have five or six—but even a single editor makes a world of a difference. The second element is one of writing for yourself. It’s a head banging, frustrating process. The best way out of this mess is to get questions. I get questions from clients in 5000bc, from e-mails, from consulting, from almost everywhere. But they’re not random questions on the Internet. They’re from a person—a person I know—and this makes all the difference. I don’t have a cocktail party in my brain because I’m focused on answering the questions of the client. My entire mood, mode and method changes when I’m focused on them, instead of myself. And finally, we have the one word. Without the one word, you’re in random land. Define what you want to say in a word, and then look for examples that fit that word. The only thing that’s random is the choice of the one word itself. You can choose any word or idea, but once you do, everything in the article must align to that one word or idea. And that’s what I’ve learned—three things I know about article writing. That it’s a journey—and Isambard Brunel would have been proud to be on this crazy, exhilarating journey! You can also listen to or read this episode: Part 1 of Three Interesting Things I Know About Writing. (http://www.psychotactics.com/three-writing-strategies/)

Un nuevo Soleado repleto de comentarios sin sentido y temarracos del demonio de gente como Larry Gus, The Dead Weather, Bob Moses, Pharrell Williams y Ducktails. De paso, Señorlobo le da un nuevo nombre a Lubacov por anticuado. A ver si pega.

(Lucy) In Don Giovanni, Wolfgang Amadeus and Lorenzo da Ponte created opera's most famous antihero. Find out how Mozart and Da Ponte were influenced by the philosophical ideas and social concerns of their day in forging a tale of class conflict and libertinism, violence and seduction, private passions and public space... and find out why this opera without a genre had different endings in the two greatest cities of the Holy Roman Empire.

Enregistrement public de la 26e saison, du concert d'hiver de la Formation Symphonique (FS) des Choeur et Orchestre des Grandes Ecoles, réalisé les : Vendredi 23 janvier 2009 à 20h30 en l'Église Saint-Eustache (Paris 1er). Dimanche 25 janvier 2009 à 16h en l'Église Sainte Clotilde (Paris 7e). Direction musicale : Laetitia TROUVÉ, chef d'orchestre. Patrizia METZLER, chef de choeur. Solistes : CUVELLIER Urszula, soprano. GELAS Florence, soprano. SERFATY Daniel, ténor. Le 4 janvier 1783, dans une lettre adressée à son père, Mozart s'excuse de ne pas avoir envoyé plus tôt ses vœux de bonne année. Récemment marié à Constance Weber sans l'accord paternel, il dit vouloir se rendre à Salzbourg durant l'été afin de présenter son épouse à sa famille. Cette lettre évoque également une messe encore inachevée, très probablement la Messe en ut mineur K 427. Il pourrait s'agir d'une composition écrite en reconnaissance de la guérison de Constance, de son mariage ou encore de la naissance de leur premier enfant. Le journal de la sœur de Mozart évoque également une messe écrite par Wolfgang et exécutée à Salzbourg le 26 octobre de la même année... Retrouvez plus d'informations sur ce programme en consultant cette page : https://www.coge.org/programme/26-fs01/messe-en-ut-mineur-k-427-grande-messe-de-mozart.html

Stagione 26 - Registrazione pubblico del concerto de inverno de la Formazione Sinfonica (FS) dei Core e Orchestra delle Grandi Scuole, Parigi, Francia. Direttore musicale : Laetitia TROUVÉ, chef d'orchestre. Patrizia METZLER, chef de choeur. Solisti : CUVELLIER Urszula, soprano. GELAS Florence, soprano. SERFATY Daniel, ténor. Più informazioni disponibili nel nostro sito Internet : https://www.coge.org/programme/26-fs01/messe-en-ut-mineur-k-427-grande-messe-de-mozart.html

Season 26 - Public recording of the winter concert of the Symphonic Group of the Choir and Orchestra of the Grandes Ecoles, Paris, France. Music director : Laetitia TROUVÉ, chef d'orchestre. Patrizia METZLER, chef de choeur. Soloists : CUVELLIER Urszula, soprano. GELAS Florence, soprano. SERFATY Daniel, ténor. Find more information on this program online : https://www.coge.org/programme/26-fs01/messe-en-ut-mineur-k-427-grande-messe-de-mozart.html

Stagione 21 - Registrazione pubblico del concerto de inverno de la Formazione da Camera (FC) dei Core e Orchestra delle Grandi Scuole, Parigi, Francia. Direttore musicale : Vsevolod POLONSKY, chef d'orchestre. Nicolas POMMIER, chef de choeur. Solisti : MOKOLE Elias, basse. FOUQUE Virginie, mezzo. SMITH-BESSETTE Tracy, soprano. TKACHENKO Serguéi, ténor. Più informazioni disponibili nel nostro sito Internet : https://www.coge.org/programme/21-fc01/requiem-de-mozart.html

Season 21 - Public recording of the winter concert of the Chamber Group of the Choir and Orchestra of the Grandes Ecoles, Paris, France. Music director : Vsevolod POLONSKY, chef d'orchestre. Nicolas POMMIER, chef de choeur. Soloists : MOKOLE Elias, basse. FOUQUE Virginie, mezzo. SMITH-BESSETTE Tracy, soprano. TKACHENKO Serguéi, ténor. Find more information on this program online : https://www.coge.org/programme/21-fc01/requiem-de-mozart.html

Enregistrement public de la 21e saison, du concert d'hiver de la Formation de Chambre (FC) des Choeur et Orchestre des Grandes Ecoles, réalisé les : Dimanche 18 janvier 2004 à l'Église de la Sainte-Trinité (Paris 9e). Mardi 20 janvier 2004 à l'Église Saint-Germain-des-Prés (Paris 5e). Jeudi 12 février 2004 au Théâtre de Fontenay le Fleury (Yvelines). Direction musicale : Vsevolod POLONSKY, chef d'orchestre. Nicolas POMMIER, chef de choeur. Solistes : MOKOLE Elias, basse. FOUQUE Virginie, mezzo-soprano. SMITH-BESSETTE Tracy, soprano. TKACHENKO Serguéi, ténor. Retrouvez plus d'informations sur ce programme en consultant cette page : https://www.coge.org/programme/21-fc01/requiem-de-mozart.html

Thu, 1 Jan 1795 12:00:00 +0100 http://epub.ub.uni-muenchen.de/11182/ http://epub.ub.uni-muenchen.de/11182/1/8P.germ.2432a_19.pdf Mozart, Wolfgang Amadeus; Schikaneder, Emanuel Mozart, Wolfgang Amadeus und Schikaneder, Emanuel: Fünf schöne neue Weltliche Lieder. Das Erste, Wir sind die zwey lustigen Bauern, aus der Opers des Steins der Weisen. Das Zweyte, Ein Ritter ritt wohl in den Krieg. Das Dritte, Philint stand jüngst vor Babets Thürs. Das Vierte, Selbst die glücklichsten Ehen. Das Fünfte, Von Einsiedler, Wer in seinen Leben vergnügt will ; [Nro. 148]. Wien: Leitner, 1795