Podcasts about Wolfgang Amadeus Mozart

durée : 00:59:13 - La Série musicale - par : Zoé Sfez - Toujours reconnu comme un véritable génie, Wolfgang Amadeus Mozart occupe une place à part dans la musique dite classique. Derrière une apparente simplicité, son œuvre très versatile permet d'aller puiser dans plusieurs genres et plusieurs styles, du jazz au hip hop. - réalisation : Thomas Jost

durée : 00:59:13 - La Série musicale - par : Zoé Sfez - Toujours reconnu comme un véritable génie, Wolfgang Amadeus Mozart occupe une place à part dans la musique dite classique. Derrière une apparente simplicité, son œuvre très versatile permet d'aller puiser dans plusieurs genres et plusieurs styles, du jazz au hip hop. - réalisation : Thomas Jost

« Sans Léopold, pas de Wolfgang Amadeus Mozart ». Eric-Emmanuel Schmitt ne parle pas d'un point de vue biologique, mais bien musical, saluant la capacité du père à encourager les talents du fils et à oser passer la main en constatant sa propre médiocrité. Invité de la matinale, et devenu père récemment, il a parlé de son dernier livre, dédié à la relation entre les Mozart, père et fils.Eric-Emmanuel Schmitt est dramaturge, romancier, nouvelliste, essayiste, cinéaste. Traduit en 45 langues et joué dans plus de 50 pays, il publie Juste après Dieu, il y a Papa aux éditions Albin Michel.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

"Juste après Dieu, il y a papa" : voilà ce que disait Wolfgang Amadeus Mozart à son père Léopold. Une relation qui se dégrade au fil des ans. Le livre d'Eric-Emmanuel Schmitt paraît chez Albin Michel. Ecoutez Laissez-vous tenter - Première avec Sophie Aurenche du 26 février 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this episode, we're joined by pianist Jeneba Kanneh-Mason to explore Jane Austen's creativity beyond the written word and through music. We talk about Jeneba's recent project Jane Austen's Piano EP (Available on Spotify and Apple Music now) and her extraordinary experience playing the Clementi pianoforte at Jane Austen's House, reading directly from Austen's own sheet music. Together, we unpack the role of music in Austen's novels, not merely as social decoration, but as a vital form of expression and emotional release. Consider music as a language Austen spoke fluently and something that's been captured by many adaptations over the years with some outstanding scores like the 2005 Pride and Prejudice. The conversation also draws surprising and delightful connections between Austen's writing and the music of Wolfgang Amadeus Mozart, particularly the way her novels move like concertos: balanced, playful, and emotionally precise.I hope you enjoy this new reflection on an art form that was as special to Austen as writing itself, even if it was practised for personal pleasure and shared most often with those closest to her.She Played and Sang: Jane Austen and Music by Gillian Dooley I mention this book in the episode, and it's one I thoroughly enjoyed and used while preparing for this discussion. It's full of fascinating insights into Jane Austen's relationship with music, some of which were completely new to me, alongside striking analysis of how music appears throughout her novels. I'd really recommend this read if you enjoyed the episode or if you're a lover of music.Ways to support the podcast, and yourself through things I use and love: Tembo - Saving for a house? I know that for many of us, saving to buy our own home can feel like a far-off dream. For the past few years, though, I've been using the Tembo app to help me save for my first home, and it's made the process feel easier, more consistent, and genuinely enjoyable because I can see real progress month by month. The app also offers helpful advice and guidance on recent policy changes, along with recommendations for mortgage brokers, pricing, and interest rates. If you're saving too, I really recommend giving Tembo a try. And if you sign up using my link, you'll get a joining bonus.Wilsons Pet Food (Hoggle's recommendation) Wilsons are offering 20% off when you use my code: whattheausten at checkout

La hermana mayor de Wolfgang Amadeus Mozart fue una inspiración para él. Juntos asombraron a Europa como unos niños prodigio, pero después sus vidas tomaron rumbos distintos.

Imagine a world in 1791 where the craft of watchmaking was as much art as it was science. For reference, this was also the year Wolfgang Amadeus Mozart premiered his opera The Magic Flute, a masterpiece that showcased the brilliance of the time. Just as Mozart was redefining music, Jean-François Bautte emerged, crafting exquisite ultra-thin timepieces that whispered elegance and ingenuity. From these humble beginnings, the story of Girard-Perregaux unfolds, revealing an enduring pursuit of artistry and precision that continues to inspire.

Dois concertos arrebatadores de Johann Friedrich Fasch, compositor que viveu na fronteira entre o Barroco e o nascimento do Classicismo. Aqui, o som não é apenas música — é poder, cerimônia e ousadia sonora.No Concerto para Trompete em Ré maior (FaWV L:D1), Fasch explora o trompete natural em todo o seu esplendor. Nada de válvulas — apenas técnica, ar e virtuosismo no registro clarino. A estrutura tradicional em três movimentos (Allegro – Largo – Allegro) ganha vida com diálogos vibrantes entre solista e cordas, um movimento lento de solenidade contida e um final dançante que exala energia cortesã. É música pensada para impressionar.Já o Concerto para 3 Trompetes em Ré maior (FaWV L:D3) eleva o espetáculo. Três trompetes barrocos, tímpanos, oboés e cordas criam uma atmosfera quase arquitetônica de som. O primeiro Allegro abre como uma cerimônia real em pleno auge. O Andante traz contraste e refinamento. O último movimento devolve o brilho com força rítmica e imponência. Não é difícil imaginar salões germânicos ecoando essa sonoridade majestosa.Fasch, contemporâneo e admirado por gigantes como Johann Sebastian Bach e Georg Philipp Telemann, foi Kapellmeister em Zerbst a partir de 1722, responsável por fornecer música para eventos religiosos e políticos. Sua escrita para metais revela acesso a trompetistas virtuosos — figuras altamente prestigiadas nas cortes alemãs.Mais do que compositor de ocasião, Fasch foi um arquiteto da transição estilística que abriria caminho para Joseph Haydn e Wolfgang Amadeus Mozart. Sua música carrega o DNA do Barroco tardio, mas já aponta para uma estética mais leve, clara e galante.#JohannFriedrichFasch #ConcertoBarroco #TrompeteBarroco #MusicaClassica #BarrocoTardio #HistoriaDaMusica #AnaliseMusical #ConcertoParaTrompete #MusicaInstrumental #PodcastMusicalApresentado por Aroldo Glomb com Aarão Barreto na bancada. Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Gustavo Holtzhausen, João Paulo Belfort , Arthur Muhlenberg e Rafael Hassan.

Decimo di diciassette figli, Benjamin Franklin è un "self made man" ed è un uomo dalla curiosità inesauribile. Nel 1752 compie l'esperimento più pericoloso: fa volare un aquilone durante un temporale e dimostra che i fulmini sono elettricità. Nel 1776 è tra i padri fondatori degli Stati Uniti. Nel 1783 l'Accademia delle Scienze di Torino lo elegge tra i suoi primi soci stranieri, definendolo "il più grande filosofo del secolo".Franklin ama l'Italia, corrisponde con gli studiosi della penisola italiana in italiano e scambia idee sull'elettricità. Ecco la storia dell'uomo che ha strappato il fulmine al cielo e lo scettro ai tiranni.NOTA: il brano eseguito con la glass-armonica è l'Adagio in Do Minore K.617a di Wolfgang Amadeus Mozart, registrato dal vivo al Conservatorio di Ginevra il 28/1/2022. Esecutore: Matthias Würsch.Estratto da YouTube - Swiss Chamber Concert Geneva 

Découvrez la vie extraordinaire d'un personnage qui a marqué l'Histoire… Cette fois-ci : Wolfgang Amadeus Mozart !Embarquez avec nous sur les réseaux sociaux pour ne rien rater !Instagram : https://www.instagram.com/bonjourmarloHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1==================================================== DEVOCIÓN MATUTINA PARA MENORES 2026“HEROES Y VILLANOS”Narrado por: Tatania DanielaDesde: Juliaca, PerúUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church10 de FebreroEl héroe mecenas«Ahora, hermanos, queremos contarles cómo se ha mostrado la bondad de Dios en las iglesias de Macedonia. A pesar de las pruebas por las que han tenido que pasar, son muy felices; y a pesar de ser muy pobres, sus ofrendas han sido tan generosas como si fueran ricos» (2 Corintios 8: 1-2).Algunas especialidades, como el arte, estarían muertas de no ser por el generoso apoyo de otros. Históricamente, ese rol se lo debemos a Gayo Cilnio Mecenas (70 a. C. a 8 a. C.), un político y consejero del emperador Augusto en la antigua Roma.Mecenas desempeñó un papel importante en la política romana, actuando como consejero de Augusto y ayudando mantener la estabilidad del régimen. Fue también un hábil diplomático y negociador, y se le atribuye haber contribuido a la expansión del imperio romano a través de acuerdos políticos y alianzas. Mecenas es recordado como uno de los personajes más influyentes y emblemáticos de la época de Augusto, y su nombre se ha convertido en sinónimo de mecenazgo cultural y apoyo a las artes en la historia de Roma.Mecenas llegó a ser conocido por su generosidad y por ser un patrocinador de las artes y la literatura. Patrocinó a numerosos escritores, poetas y artistas de la época, entre ellos Virgilio, Horacio, Ovidio y Propercio, contribuyendo así al florecimiento cultural y artístico de Roma.Gracias a Mecenas, se creó un rol en la sociedad que se conoce precisamente por el nombre de este caballero: ser un mecenas. Un mecenas es una persona que brinda apoyo financiero y estímulo a diversos campos. La palabra mecenas ha llegado a significar «patrocinio» o «filantropía».Lorenzo de' Medici fue un influyente mecenas del Renacimiento italiano, conocido por su apoyo a artistas como Leonardo da Vinci, Miguel Ángel y Botticelli. La reina Isabel I de Inglaterra apoyó a artistas del campo de la literatura y del teatro, y a escritores como William Shakespeare y Christopher Marlowe. Johann Sebastian Bach contó con el apoyo del príncipe Leopold de Anhalt-Köthen y Wolfgang Amadeus Mozart tuvo apoyo del emperador José II de Austria y el barón Gottfried van Swieten.Cuando alguna causa digna requiere apoyo, los que tienen recursos e influencia pueden venir al rescate. Gracias a personas como ellas, otros han podido preservar su arte o sus ideas para beneficio de muchos. Aunque deseable, no necesitamos invertir recursos financieros cuando se trate de apoyar causas dignas. Será notable que haya proyectos u organizaciones cuyas metas son buenas y se verían ayudadas con lo que podamos dar o hacer. Si miramos a nuestro alrededor, no tardaremos mucho en hallar alguna de esas dignas causas. 

[School of Movies 2026] For this episode we were lucky enough to be able to bring in stand-up comedian and 18th Century history nut Jenny Zigrino. We gave Jenny free reign on the choice of movie to talk about and she went for her favourite; the story of the greatest composer who ever lived, Wolfgang Amadeus Mozart. This masterpiece, directed by Milos Foreman and based on a 1979 stage play swept the Oscars in 1985 and if you've never had the pleasure you'll soon find out why. You can find Jenny's standup material easily on YouTube, and check out her website where she is currently fundraising for her next show: https://www.jennyzigrino.com/ It was an absolute pleasure to have her on. And for fans of irevenrent sexy alternate history I also showcase one of my own personal favourite projects, The Princess Thieves, the audiodrama of which can be found here: https://newcentury.bandcamp.com/ Guest: Jenny Zigrino

Wunderkind, Genie, Enfant terrible: Wolfgang Amadeus Mozart ist eine der bekanntesten Figuren der Musikgeschichte – und doch voller Rätsel. In der Sendung Treffpunkt ordnen wir ein, wofür Mozart bis heute hinhält und warum er noch immer begeistert, auch junge Menschen. Wolfgang Amadeus Mozart war Wunderkind, Virtuose und einer der ersten echten Superstars der Musikgeschichte. In nur 35 Lebensjahren schuf er über 800 Werke, viele davon bis heute unverwüstliche Hits. Seine Musik ist allgegenwärtig, und ebenso allgegenwärtig ist das Bild, das wir uns von ihm gemacht haben. Doch wie viel davon ist historisch belegt und wie viel Mythos? Im Treffpunkt ordnen wir ein, wer Mozart war: ein musikalisches Genie mit aussergewöhnlichem Arbeitstempo, aber auch eine widersprüchliche Figur zwischen Anpassung und Provokation, zwischen Genie und Enfant terrible. Wir schauen darauf, was wir wirklich über ihn wissen, und wie früh sein Leben zur Projektionsfläche wurde. Klar ist, er hält bis heute für alles hin. In Filmen, Serien und im Theater, aber auch weit über die Musik hinaus. Mozart inspiriert die Modewelt, dient als Marke, als Türöffner für Geschäftsideen und als kulturelles Symbol, das immer wieder neu gedeutet wird.

Come riconocsere la modalità maggiore? Attraverso l'ascolto di brani che sono certamente nel tuo universo sonoro da sempre. Partiamo da Fra Martino Campanaro, un pezzo che suona infanzia pura, e da La donna è mobile, dal III atto del Rigoletto di Verdi, un manifesto all'escalamazione. Ti faccio sentire tutti i brani che suonano maggiore anche a chi non ha una formazione musicale (tranne quella del flauto dolce della scuola media) e sono già nella tua memoria acustica soono utili per costruire una competenza, sistematizzando ciò che già sai. Io stessa non sono musicista e il mio obiettivo non è quello di darti definizioni tecniche e tecnicismi: non è la mia materia, e forse on userei neppure i termini corretti. Voglio di fornirti gli strumenti per capire, per sentire. E far riferimento a ciò che già conosci è un ottimo sistema per convertire in conoscenza una esperienza.Continuiamo con un esempio pop internazionale: Don't worry be happy di Bobby McFerrin. Un tormentone! La modalità maggiore è un sorriso sonoro, e non si identifica con un genere musicale specifico. Un sorriso sonoro, cheben si sposa con questo "Non ti preoccupare e sii felice"!Ecco altri brani del repertorio della musica classica che non puoi non conoscere: L'inno alla gioia di Ludwig van Beethoven, che è diventato l'inno europeo. Gioia dichiarata, costruita tutta in maggiore. Serenata Notturna di Wolfgang Amadeus Mozart, un brano di cui forse non conosciamo tutti quanti il titolo ma che è fa parte della nostra educaizone sonora. Trasparente, luminoso, immediatamente leggibile: immagina i colori che puoi vedere in una bella giornata di sole, senza nuvole, con un bel cielo terso. Il maggiore come chiarezza mentale. Questi due brani ci chiariscono che il maggiore non è “felicità sciocca o infantile”, come poteva essere Fra Martino Campanaro, ma apertura, sollievo. Altro grande “classico” che è impossibile non conoscere:  Let it be dei Beatles La velocità più lenta e calma, ci mostra che il Maggiore può essere anche calmo, fiducioso e consolatorio, non è necessariamente euforia con quattro punti sclamativi. E la colonna sonora del mitico film “Mago di Oz” Over the Rainbow. Chi non lo conosce? Magari non hai visto il film, ma questo brano lo hai ascoltato di certo.Interessante perché parte con una piccola tensione emozionale, ma la percezione del maggiore resta luminosa, desiderante. Il maggiore non è di per se stesso “allegria obbligatoria”: non è una emozione stereotipata ma è espansione, orizzonte, tono aperto, giornata di sole e cielo azzurro. Se facciamo una analisi razionale, percettiva, possiamo trovare alcune caratteristiche musicali che possono motivare l'emozionalità che il maggiore comunica,di apertura: - Le distanze tra i suoni creano sensazione di ampiezza, non ci sono note troppo vicine fra loro che causino incertezza.- Non genera tensioni emotive: è come stare in una stanza luminosa con le finestre aperte, o in una giornata con clima sereno. Non sei per forza felice. Però respiri meglio, ti senti meglio. Il maggiore permette apertura, distensione.  Gli esempi che ho usato non sono appartengono ad un repertorio universale assoluto, ma sono una porta di accesso alla comprensione del maggiore per chi come noi è cresciuto dentro un universo sonoro occidentale o occidentalizzato.In altre culture magari non li conoscono quanto li conosciamo noi, che li abbiamo sentiti moltissime volte. Ma la sensazione che producono, quella apertura, quella stabilità, quella mancanza di attrito, mancanza di incertezze, è qualcosa che molti esseri umani anche di culture molto differenti dal punto di vista musicale riconoscono, anche se la chiamano in modo diverso. Ma non ci interessano i nomi!Sono Sabina Todaro, mi occupo di flamenco e danze e musiche del mondo arabo dal 1985 e insegno baile flamenco a Milano al Mosaico Danza dal 1990 e un lavoro sulla espressione delle emozioni attraverso danze e musiche arabe, che ho chiamato Lyrical Arab Dance. Sono appassionatissima di neuroscienze, psicologia, storia della Musica, espressività... e sono secchiona abbastanza da capire che dietro ad ogni cosa c'è un modo meraviglioso che possiamo esplorare e che possiamo sfruttare (o meglio... disfrutar, godere) al meglio.Perché nel flamenco il maggiore è raro? Nella sua natura, il flamenco non serve a rassicurare ma a raccontare le emozioni per come sono. C'è sempre una specie di tensione non risolta, una sorta di sopracciglio alzato, di dubbio esistenziale, come succede nella vita! Infatti ciò che domina musicalmente nel flamenco è il modo flamenco, che per la teoria musicale è assimilabile alla scala andalusa, riconoscibile con la cadenza andalusa, che ha ombre, ambiguità, dualismo, sensazione di non tutto è risolto, siamo di passaggio in questa emozione. Ne parleremo ancora in altri podcast.Dire "tutto ok" non è la tipica espressione del flamenco, ma l'uso del maggiore in questo contesto culturale indica che ci sono spazi e possibilità, forse anche nonostante tutto. Non si tratta solo di una parentesi felice, leggera e spensierata. In realtà sono momenti di affermazione e di presenza. Non è un caso che i palos che si svolgano prevalentemente sulla tonalità maggiore sono pochi: parecchie Cantinas, Guajiras, Colombianas, Garrotin, Buleria de Cadiz. FIne dell'elenco! In altri palos ci sono passaggi alla tonalità maggiore, mescolati ad altre tonalità. Anche dopo aver parlato di altre emozioni, il flamenco ha sempre un pizzico di dubbio, di malinconia.  Il maggiore, quando entra alla fine di una contesto più oscuro, è continuare a stare in piedi, dritti e fieri dopo aver attraversato qualcosa di duro. Come dopo una siguiriya, quando arriva cabales. Quando il maggiore entra nel flamenco illumina senza cancellare totalmente l'ombra. In qualche modo fa capire che la luce ha senso solo se sai da dove viene. Questa è una vera e propria alfabetizzazione percettiva, non una teoria. Ti insegna a sfruttare competenze e conoscenze che hai già, e semplicemente ti aiuta a riunirle sotto un nome, a dar loro una casa. L'esperienza già ce l'hai! E quando le cose assumono un nome si crea nel nostro cervello una categoria, nella quale confluiscono le informazioni che abbiamo, e che ci aiuta a capire e ricordare. 

Donald Macleod takes a tour of the life of Franz Xaver Mozart, son of Wolfgang Amadeus Mozart, with guest Professor Cliff Eisen.Music featured: Piano Concerto No 1 in C, Op 14 (excerpt) Das Finden, Op 27 No 2 (Drei Deutsche Lieder) Variations on a Minuet from W. A. Mozart's Don Giovanni, Op 2 Piano Quartet in G minor Op 1 Variation 28 for Anton Diabelli's Waltz Piano Concerto No 1 in C, Op 14 (Allegro maestoso) Rondo in F, Op 4 (excerpt) Nein! (Sechs Lieder, No 3) Violin Sonata in B flat, Op 7 Piano Concerto No 1 in C, Op 14 (Adagio) Polonaise mélancolique No 5 in F minor, Op 17 Piano Concerto No 1 in C, Op 14 (Allegretto) Violin Sonata in F, Op 15 (excerpt) Sinfonia in D Das liebende Mädchen (Sechs Lieder, No 1) An spröde Schönen (Sechs Lieder, No 2) Piano Sonata in G Violin Sonata in F, Op 15 (Polonaise) In der Väter Hallen ruht, Op 12 Piano Concerto No 2 in E flat, Op 25 (excerpt) Variations on a Theme of an Ukrainian Folk Song, Op 18 An Emma, Op 24 Grand Sonata for piano and cello in E, Op 19 Polonaise mélancolique, Op 22 No 1 (Risoluto) Piano Concerto No 2 in E flat, Op 25 (Allegro con brio) Engel Gottes künden Rondo in E minor Polonaise mélancolique, Op 22 No 2-4 An den Abendstern, Op 27 No 1 Piano Concerto No 2 in E flat, Op 25 (excerpt)Presented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales & West For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Franz Xaver Wolfgang Mozart (1791-1844): https://www.bbc.co.uk/programmes/m002q4m1And 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

This Day in Legal History: Hitler Appointed ChancellorOn January 30, 1933, Adolf Hitler was appointed Chancellor of Germany, a moment that marked the beginning of one of the darkest legal and political transformations in modern history. Contrary to popular belief, Hitler did not seize power in a coup; his rise was accomplished through entirely legal means under the Weimar Constitution. Once in office, the Nazi regime moved swiftly to erode civil liberties, beginning with the Reichstag Fire Decree, which suspended constitutional protections like freedom of speech, assembly, and due process. This decree, signed by President Hindenburg, gave the government extraordinary powers under the guise of national emergency.Shortly thereafter, the Enabling Act of March 1933 granted Hitler the authority to enact laws without the involvement of the Reichstag, including laws that violated the constitution itself. The judiciary, instead of serving as a check on executive overreach, largely complied or cooperated, enabling legal persecution of Jews, political dissidents, and other marginalized groups. Laws were passed systematically to isolate, disenfranchise, and ultimately exterminate entire populations, all with the appearance of legality and bureaucratic order.What happened in Germany is a stark reminder that authoritarianism often arrives wrapped in the language of law and order. The rule of law is not inherently just—it depends on who writes the laws, how they are enforced, and whether constitutional checks are robust enough to resist consolidation of power. Today, as various democracies grapple with executive overreach, politicized judiciaries, and emergency powers, the legal path taken in 1933 offers a chilling historical parallel. The slow erosion of legal norms, once set in motion, can be devastatingly hard to reverse.A federal appeals court ruled that the Trump administration unlawfully ended Temporary Protected Status (TPS) for roughly 600,000 Venezuelans living and working in the United States. The Ninth Circuit Court of Appeals agreed with a lower court that Homeland Security Secretary Kristi Noem exceeded her authority by terminating protections that had been extended under the Biden administration. The court emphasized that, since Congress created TPS 35 years ago, no administration had claimed the power to cancel a country's designation while it remained in effect. Judges found that the statute's language clearly limits executive authority and does not permit unilateral termination mid-designation.Despite the ruling, the decision will not immediately restore protections because the U.S. Supreme Court has allowed the policy to remain in effect while the case continues on appeal. The court noted that the termination has left hundreds of thousands of migrants in fear of detention, deportation, and family separation, often to countries where they previously faced violence. The ruling also upheld a finding that TPS protections for Haitians were unlawfully ended, though the administration has pursued separate efforts to terminate those protections. One judge wrote separately to argue that the policy was influenced by racist stereotyping, citing public statements by senior officials about Venezuelan and Haitian migrants. Advocacy groups welcomed the ruling but stressed that, because of the Supreme Court's order, affected migrants remain vulnerable in the meantime.Trump administration unlawfully ended Venezuelans' legal status, US court rules | ReutersA significant wave of attorneys has left the U.S. federal government since Donald Trump returned to office, fueling a major shift in the legal workforce. Between January and November 2025, over 8,500 licensed attorneys exited federal service, leading to a net loss of 6,524—one of the sharpest declines in decades. The Department of Justice (DOJ) was especially affected, with notable departures from its Civil Rights Division and Federal Programs Branch, and the closure of its Tax Division. Some resignations were linked to policy disagreements, while others were the result of force reductions or shifting departmental priorities.This exodus has dramatically reshaped the hiring market for large law firms. In 2025, top-grossing firms hired over 1,100 lawyers directly from government positions, more than doubling the rate seen in prior years. Recruiters report a flood of interest from government attorneys, many of whom began reaching out even before Trump's inauguration. However, while high-ranking officials and prosecutors remain in demand, lower-level attorneys without niche skills are facing a tougher private market.The overall federal workforce, not just lawyers, has contracted significantly under Trump's renewed efforts to reduce government size. The DOJ alone has seen a net loss of nearly 9,000 employees. While the number of federal lawyers remains close to 2017 levels, the recent surge in departures marks a striking reversal of long-standing hiring trends.Lawyers leaving US government drive workforce shift | ReutersMassachusetts Governor Maura Healey has proposed legislation that would block other states from deploying their National Guard troops into Massachusetts without her approval. The move comes in response to President Donald Trump's controversial use of the National Guard in 2025, when troops from various states were sent to cities like Chicago and Los Angeles without consent from local governments—breaking with long-standing norms regarding domestic military deployment.Several states already have similar laws, designed to prevent out-of-state Guard deployments unless coordinated through mutual agreement or in federally controlled situations. However, legal gray areas remain when the federal government asserts control over state troops. Last year, the Trump administration attempted to deploy federalized National Guard units from California and Texas to assist immigration enforcement in Portland, Oregon. That effort was met with lawsuits from state officials, who claimed no valid emergency justified the action; the troops were withdrawn before the legal battle concluded.Healey's bill aims to reinforce state sovereignty over such deployments and to guard against federal overreach in the absence of local consent. The National Guard is typically used across state lines only in emergency situations like natural disasters, and even then, usually with approval from affected states.Massachusetts bill aims to block National Guard deployment from other states | ReutersThis week's closing theme is by Wolfgang Amadeus Mozart.This week's closing theme is the Lacrymosa from Mozart's Requiem in D minor, a work shrouded in both mystery and mourning. Mozart began composing the Requiem in 1791, the final year of his life, and died before completing it—adding an eerie depth to a piece already suffused with sorrow and transcendence. The Lacrymosa movement in particular is a haunting meditation on grief, built around the Latin text “Lacrimosa dies illa” (“That tearful day”), which describes the final judgment and the weeping of the soul.The music swells with mourning, yet carries within it an unmistakable dignity—grief not as chaos, but as reckoning. Today, as we reflect on events that echo the legal and moral breakdowns of the past—and resound in the present—the Lacrymosa feels like a fitting elegy. It reminds us that great tragedy often begins under the guise of order, and that mourning is not only for the dead, but for the living systems and values that can perish when unchecked power takes root.Mozart, though apolitical and far removed from the 20th century, composed music that reaches across time to articulate the emotional weight of collective loss. The unfinished nature of the Requiem also mirrors the historical unfinished business of justice—how societies reckon with their past, or fail to. This piece, suspended between the sacred and the human, between hope and despair, offers a solemn moment of reflection as the week closes.Without further ado, the Lacrymosa from Mozart's Requiem in D minor – enjoy. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

El 27 de enero de 1755 nació Wolfgang Amadeus Mozart, compositor, pianista, director de orquesta y profesor de origen austriaco. Maestro del clasicismo, es considerado como uno de los músicos más influyentes y destacados de la historia.

Wolfgang Amadeus Mozart - RondoTakako Nishizaki, violinCapella Istropolitana Johannes Wildner, conductorMore info about today's track: Naxos 8.550414Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

In this episode we look at the published version of Chapter 22. We talk about how proactive Anne is in these final chapters, the arrival of Charles, Mary and the Musgrove clan, Louisa's change in personality, how the Musgroves all want Anne to be with them, and the first time Wentworth actually refers to the time he and Anne were together.The characters we discuss is are Charles and Mary Musgrove. In the historical section, Michael talks about the shooting, and for popular culture Harriet looks at two books that retell Persuasion from the point of view of another character.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Sheila Kaye-Smith and G.B. Stern, Talking of Jane Austen (1943) and More Talk of Jane Austen (1950)Historical discussion:E. W. Bovill, English Country Life, 1780-1830 (1962) ‘The Thing About Willoughby's Pointers with guest Dr. Stephanie Howard-Smith‘, The Thing About Austen podcast, Episode 73Popular culture discussion:Amanda Grange, Captain Wentworth's Diary (2007)Dorothea-Sofia Rossellini, Mrs Clay: The Austen Expert's Companion to ‘Persuasion' (2016) Diana Birchall, In Defense of Mrs Elton (1999) Creative commons music used:Extract from Wolfgang Amadeus Mozart, Sonata No. 12 in F Major, ii. Adagio.Extract from Joseph Haydn, Piano Sonata No. 38. Performance by Ivan Ilić, recorded in Manchester in December, 2006. File originally from IMSLP.Extract from Wolfgang Amadeus Mozart, Sonata No. 13 in B-Flat Major, iii. Allegretto Grazioso. File originally from Musopen.Extract from George Frideric Handel, Suite I, No. 2 in F Major, ii. Allegro. File originally from Musopen.Extract from Ludwig van Beethoven, Piano Sonata No. 28 in A major. File originally from Musopen.

     This week- two films about men with great destines.     After attempting suicide, former court composer of Joseph II, Antonio Salieri confesses to having murdered Wolfgang Amadeus Mozart. 49 years earlier, learning that Mozart was a childishly obscene reprobate with divine musical inspiration lead Salieri to renounce God and swear to take his revenge by destroying Mozart. Another masterwork by one of cinema's patron saints of nonconformity, Miloš Forman, with a screenplay by Peter Shaffer, based on his Tony Award winning play, and driven by one of the greatest villain performances ever put to film, Amadeus.     In 2005, a seemingly random mass stabbing left two people dead and one injured before the assailant jumped off a cliff; his body was never found. Three years later, found footage horror filmmaker Koji Shiraishi sets out to make a documentary about the aftermath and interviews the survivors. Shohei Eno, whose wounds are in the shape of a strange symbol, claims that he is grateful and ever since has witnessed miracles nearly everyday. Before long, Eno begins to hint at another act of extreme violence will be happening soon and insists  Shiraishi has a part to play in it. A found footage by the director who literally wrote the Textbook of Fake Documentaries and made two of the first J-Horrors to breakout internationally, Koji Shiraishi's woefully overlooked Occult.     All that and Dave describes his loungewear, Tyler suffers in Indiana, and Kevin makes friends with the little guy from Asobi. Join us, won't you?   Episode 447- Haunt Me Amadeus

This Day in Legal History: Schenck v. United StatesOn January 9, 1919, the U.S. Supreme Court began hearing oral arguments in Schenck v. United States, a foundational case in American free speech law. Charles Schenck, the general secretary of the Socialist Party, had been convicted under the Espionage Act of 1917 for distributing leaflets urging resistance to the military draft during World War I. The case raised critical constitutional questions about the boundaries of the First Amendment in times of national crisis. Schenck's defense argued that his actions were protected political speech. However, the government maintained that his words posed a threat to wartime recruitment and national security.The Court would go on to unanimously uphold Schenck's conviction in a decision authored by Justice Oliver Wendell Holmes Jr. Although the ruling came in March 1919, the arguments heard on January 9 and 10 set the stage for what became a pivotal moment in legal history. In his opinion, Holmes introduced the “clear and present danger” test, writing that the First Amendment does not protect speech that creates a clear and present danger of causing substantive evils Congress has a right to prevent. He famously noted that the most stringent protection of free speech would not protect a man falsely shouting fire in a crowded theater.This standard marked the beginning of a more nuanced approach to free speech jurisprudence, where context and consequences mattered. It reflected the tensions between civil liberties and national security during wartime. Although later cases would refine or move away from the “clear and present danger” test, Schenck remains a foundational precedent in American constitutional law. The case also marked the rise of Holmes as a central figure in shaping First Amendment doctrine.The U.S. Supreme Court is expected to issue at least one opinion this Friday, potentially including a highly anticipated decision on the legality of tariffs imposed by President Donald Trump. The case represents a significant test of presidential authority, especially in the context of Trump's use of emergency powers under the 1977 International Emergency Economic Powers Act. Trump imposed these tariffs after returning to office in 2025, targeting nearly all U.S. trading partners and citing national emergencies such as trade deficits and drug trafficking, including fentanyl, as justification.During oral arguments in November, justices from both ideological sides expressed skepticism about the legal basis for the tariffs. Lower courts previously ruled that Trump had exceeded his authority, prompting his administration to appeal. Trump has defended the tariffs as strengthening the U.S. economy and warned that a ruling against them would severely harm the country.The case was brought by affected businesses and a coalition of 12 states—mostly led by Democrats—arguing that the tariffs were unlawfully broad. The outcome could have major implications for global trade and executive power. The Supreme Court, which currently holds a 6-3 conservative majority, is also considering other significant cases, including a challenge to part of the Voting Rights Act and a First Amendment dispute over a Colorado ban on “conversion therapy” for LGBT minors.Supreme Court set to issue rulings as Trump awaits fate of tariffs | ReutersA federal appeals court has ruled in favor of New York Yankees star Aaron Judge and the Major League Baseball Players Association, rejecting a Long Island man's attempt to trademark the phrases “All Rise” and “Here Comes The Judge.” The U.S. Court of Appeals for the Federal Circuit upheld the U.S. Patent and Trademark Office's decision that Michael Chisena's filings infringed on Judge's common law trademark rights.Chisena filed for the trademarks in 2017 during Judge's breakout rookie season, claiming he planned to use them on clothing. He denied any connection to professional sports and insisted he had never seen Judge play. However, the USPTO's appeals board cast doubt on his good faith, noting the suspicious timing of the filings and their close link to Judge's rising fame.Judge and the MLBPA opposed the applications in 2018, arguing they would likely confuse consumers by associating the phrases with Judge's well-known public persona. They emphasized that the baseball star's last name, with its clear legal overtones, naturally lent itself to those phrases, which had become synonymous with him early in his career.The appeals court affirmed that Judge had built strong common law trademark rights through commercial use, and that Chisena's applications lacked merit. Chisena, who represented himself in court, also lost a related claim involving an image of a gavel and scales over a baseball diamond.Yankees' Judge clinches win in ‘All Rise,' ‘Here Comes The Judge' trademark case | ReutersLuigi Mangione, accused of killing UnitedHealth CEO Brian Thompson in a high-profile Manhattan shooting in December 2024, is set to appear in federal court Friday to challenge the possibility of facing the death penalty. Mangione, 27, has pleaded not guilty to federal charges including murder, stalking, and firearms offenses, and remains in custody while awaiting trial.His attorneys will argue before U.S. District Judge Margaret Garnett that prosecutors failed to meet legal standards for the firearm-related murder charge—the only count that could result in a death sentence. They are also seeking to dismiss the entire indictment, claiming Mangione's constitutional rights were violated, which they argue should disqualify the government from pursuing capital punishment.While New York outlawed the death penalty in 2004, the ban applies only to state prosecutions. Because Mangione is being tried in federal court, the death penalty remains a legal possibility. He also faces separate charges at the state level, where a conviction could carry a life sentence.Judge Garnett has yet to decide on either the motion to dismiss the death-eligible charge or the broader request to throw out the indictment. No trial date has been set for the federal or state proceedings.Mangione, suspect in health insurance CEO murder, fights death penalty charge in court | ReutersVice President JD Vance announced the creation of a new assistant attorney general role focused on fighting fraud involving taxpayer money. The position will have nationwide jurisdiction and is intended to strengthen federal oversight and enforcement against misuse of public funds. Vance stated that a nominee for the role will be named in the coming days, signaling the administration's commitment to addressing financial misconduct within programs funded by taxpayers. The announcement was made during a White House press briefing, reflecting a broader effort to enhance government accountability—at least, ostensibly.Vance announces new assistant attorney general role to combat taxpayer fraud | ReutersThis week's closing theme is by Wolfgang Amadeus Mozart.This week's closing theme features one of the most charming and instantly recognizable pieces in the classical repertoire: the first movement of Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K. 331 – “Andante grazioso.” Composed around 1783, likely in Vienna or Salzburg, this sonata showcases Mozart's extraordinary ability to blend elegance, wit, and emotional nuance with apparent ease. The opening movement is not a fast-paced sonata-allegro form, as one might expect, but rather a gentle theme and variations, a structure that allows Mozart to explore the same musical idea through shifting textures, moods, and embellishments.“Andante grazioso” lives up to its title—graceful and moderately paced, it opens with a lilting, almost courtly theme that feels both poised and playful. As the variations unfold, Mozart's genius becomes more apparent: he adds rhythmic complexity, dynamic contrasts, and increasingly virtuosic flourishes, while always keeping the original melody in sight. The movement is accessible but never simplistic, classical in form yet deeply expressive.K. 331 is the same sonata that ends with the famous “Rondo alla Turca,” but it is in this opening Andante that we see Mozart at his most refined and imaginative. He draws the listener in not through drama, but through balance, warmth, and an almost conversational intimacy between performer and listener. This piece has been beloved for centuries, not only by pianists but also by those new to classical music.As we close the week, the delicate ornamentation and unhurried beauty of “Andante grazioso” offers a kind of musical exhale—a moment of elegance and clarity in contrast to the noise of modern life. It's a quiet reminder of why Mozart remains one of the most enduring voices in Western music.Without further ado, Mozart's Piano Sonata No. 11 in A major, K. 331 – “Andante grazioso” – enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Wolfgang Amadeus Mozart - Don Giovanni: Fin ch'han dal vinoBo Skovhus, baritoneNicolaus Esterhazy Sinfonia Michael Halasz, conductorMore info about today's track: Naxos 8.557893Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Cesare Fertonani"Il flauto magico"Emanuel SchikanederEdizione in tedesco e italianoTraduzione di Gian Piero BonaPrefazione di Pietro CitatiCon un saggio di Jurgis BaltruyaitisEdizioni Adelphiwww.adelphi.it«Il flauto magico è una favola per bambini, e una parabola destinata alle creature angeliche, che attraversano l'oscurità e la luce tenendo nella mano un ramo di palma» (Pietro Citati).Nella storica traduzione di Gian Piero Bona, l'opera più seducente e misteriosa di Mozart, accompagnata da due contributi illuminanti che ci portano fino all'Egitto di Iside.A pochi mesi dalla morte, Mozart viene contattato a Vienna da un vecchio amico bavarese, Emanuel Schikaneder, sotto la cui nomea di «avventuriero» e di «guitto» si nasconde un geniale arruffone dai mille talenti; attore, librettista, impresario dal fiuto sopraffino. Proporrà a Mozart (che accetterà entusiasta) di musicare il libretto «esoterico» a cui sta lavorando, avviando la composizione di un'opera sublime – Il flauto magico – ancora oggi in larga parte impenetrabile: un labirinto vertiginoso di sensi riposti e allusioni, che il presente volume cerca di decodificare con due contributi risolutivi. Se Pietro Citati, analizzando la sterminata rete dei testi consultati da Mozart e Schikaneder, chiarisce le ragioni del re-sacerdote Sarastro e l'ambivalenza irriducibile della Regina della Notte, che domina l'opera con «la sua sopravveste brillante di atro splendore», Jurgis Baltrušaitis identifica nel Flauto magico una delle sequenze-chiave di quel percorso sinuoso che l'«Egitto assoluto» e Iside stessa hanno compiuto nei millenni lungo l'immaginario occidentale. L'ultimo tentativo di evocare la «leggenda dell'Egitto», che Mozart e Schikaneder fanno rivivere con la grazia e l'incanto di una favola per bambini.Emanuel Schikaneder, noto anche come Johann Emanuel Schikaneder o J. E. Schikaneder, è stato un attore, basso e librettista tedesco.Personaggio singolare dai molti talenti, diede un significativo contributo alla storia del teatro in Germania, non solo diffondendo la conoscenza dei grandi classici del repertorio teatrale (da Shakespeare a Lessing a Schiller), ma anche, e soprattutto, dedicando largo spazio a un genere di teatro popolare (musicale e non), grazie al quale riuscì a conquistare il favore di un vasto pubblico. A Vienna fu Direttore del Theater auf der Wieden (1789-1800) e poi fondatore del Theater an der Wien (1801). Nel Theatter auf der Wieden fu rappresentato per la prima volta proprio Die Zauberflöte di Wolfgang Amadeus Mozart. Schikaneder scrisse il libretto del Flauto Magico, interpretando inoltre il personaggio di Papageno.Nel 1790 fu coautore del singspiel La pietra filosofale, della quale scrisse il libretto e parte delle musiche insieme a Franz Xaver Gerl, Johann Baptist Henneberg, Wolfgang Amadeus Mozart e Benedikt Schack, ognuno dei quali contribuì con un brano proprio.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Mozart is celebrated for his musical genius – but how did he rise to such enduring fame? What inspired him, and who was the man beyond the concert halls and compositions? Ahead of new TV drama Amadeus launching on Sky Atlantic in the UK on 21 December, Hannah Templeton tells Lauren Good about the composer's life, his experiences as a child prodigy on European tours, and the mystery surrounding his death. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Scott Bryan, Hayley Campbell and Naga Munchetty review the week's biggest new TV and streaming releases.This week the trio looked at Sky and Now TV's 'Amadeus', a retelling of the life of renowned compser Wolfgang Amadeus Mozart and his rivalry with fellow compser Antonio Salieri in 18th-century Vienna.Next 'The War Between the Land and the Sea', a five-part Doctor Who spin-off on BBC One, about the conflict between humanity and an ancient species which emerges from the ocean.Finally 'The Revenge Club' on the streaming service Paramount +, Based on the hugely successful book by The Othello Club J.D. Pennington, the series follows a group of strangers who decide to team up and seek revenge on their exes.You can Email mustwatch@bbc.co.uk to have your say.

Support us at https://buymeacoffee.com/whiskeytangent Whiskeys (mostly): Zwack's Unicum • Uuahouua Pinot Noir Austrian Single Malt Whisky • Nestville Hit & Run Slovakian Blended Whisky • Carpathian Romanian Wine Cask Collection Single Malt Whisky • The Stranger Polish Rye Whisky Tangents: Brian the Whiskey Explorer joins us once again for some whiskey, some history, and some whiskey history! • Ed regales us with the dual monarchy of Austro-Hungarian Empire • F**k the Astros • Stop trying to make Czechia a thing, Gretchen • Unicum ruined Ed's nose (but might be good in cocktails) • #liquidpotpourri • The Austrian whisky smells like a flower shop (and the color is Heather) • Apparently “Licking the top of a pile of Skittles” is a tasting note now • Brian gives a shout-out to an injured friend • Does anyone live in Europe? • The Slovakian whiskey comes in a baseball bat • Chat, is Ed the serious one? • Scott's meth dealer lives in Delaware • Ed gets trolled by a Transylvanian • Zwack's Hoagie Shack Smack of the Game! • 36 million Polish people are now mad at us • Is the Polish whisky really a Polish whisky? • #phillyjokes • Is Bulleit Rye a Polish-American whisky? • Scott has enough material to put Ed in prison • HR shut off Ed's mic • Scott has a different definition of “The Stanger” • Brian's wife might not let him come back Music Credits: Whiskey on the Mississippi, Tenebrous Brothers Carnival Act Two, and Waltz of Treachery by Kevin MacLeod from https://incompetech.com/music/royalty-free/music.html • Eine kleine Nachtmusik by Wolfgang Amadeus Mozart at https://commons.wikimedia.org

This Day in Legal History: 21st Amendment RatifiedOn December 5, 1933, the United States ratified the Twenty-first Amendment to the Constitution, officially ending the era of national Prohibition. This amendment repealed the Eighteenth Amendment, which had banned the manufacture, sale, and transportation of intoxicating liquors since 1920. Prohibition, championed by temperance movements and moral reformers, was initially seen as a solution to social problems such as crime and poverty. However, over the following decade, it led instead to a surge in organized crime, illegal speakeasies, and widespread disregard for the law.The Twenty-first Amendment is unique in American legal history—it is the only amendment to repeal a previous amendment. It is also the only amendment ratified through state conventions rather than by state legislatures, a strategic move to bypass potential legislative gridlock. Utah became the 36th state to ratify the amendment, securing the three-fourths majority needed for adoption.The repeal of Prohibition returned control over alcohol regulation to the states, many of which continued restrictions at the local level. The amendment's passage marked a shift toward a more pragmatic and less moralistic approach to federal lawmaking. It also highlighted the limits of federal power to regulate personal behavior and underscored the complexities of enforcing unpopular laws.In the broader context of constitutional law, the Twenty-first Amendment demonstrated the capacity of the Constitution to adapt and self-correct. It remains a pivotal example of how constitutional amendments can respond to changing public sentiment and unintended legal consequences.A federal appeals court allowed President Donald Trump to continue deploying National Guard troops in Washington, D.C., halting a lower court ruling that would have required the troops to withdraw by December 11. The temporary order from the D.C. Circuit Court does not address the underlying legality of the deployment but permits it to proceed while litigation continues. The deployment, which began in August, intensified after a November 26 shooting near the White House left two National Guard members injured—one fatally. Trump responded by sending 500 additional troops and renewing his call to halt immigration from what he called “third-world countries,” after a 29-year-old Afghan national was charged in the attack.D.C. Attorney General Brian Schwalb sued the administration in September, arguing Trump unlawfully took over local policing authority and violated federal restrictions on military involvement in domestic law enforcement. A federal judge initially sided with Schwalb, calling the deployment likely unlawful, but delayed enforcement of her ruling to allow time for appeal. The Trump administration maintains it can deploy troops to D.C. without local approval, citing the city's unique federal status. Meanwhile, similar deployments in other Democratic-led cities have sparked lawsuits and accusations that Trump is using federal force for political purposes. Lower courts have largely ruled against these moves, and the Supreme Court is expected to weigh in on the legality of the Chicago deployment soon.Appeals court allows Trump National Guard deployment in DC to continue | ReutersTom Goldstein, a prominent Washington attorney and co-founder of SCOTUSblog, is fighting to sell his $3 million home in D.C.'s Wesley Heights to fund his defense against 22 financial crime charges, including tax evasion. Prosecutors allege that Goldstein, who has made millions as a poker player, misrepresented his financial situation to obtain loans, including one used to purchase the property. A Maryland federal judge barred the sale, ruling the house is likely connected to the alleged crimes. Goldstein has appealed, arguing that blocking the sale violates his Sixth Amendment right to use untainted assets for legal defense, and insists the home is not tied to the alleged misconduct.The appeal is before the 4th Circuit, where Goldstein—representing himself—says he's accumulated millions in legal fees. Prosecutors maintain the house is tainted because Goldstein omitted over $15 million in debt from the mortgage application. The home is also collateral for Goldstein's appearance bond, due to his being labeled a flight risk. One of Goldstein's key financial backers, litigation funder Parabellum Capital, is a witness in the case but not accused of wrongdoing. Legal experts say his effort to sell the house faces steep odds given the property's legal entanglements and standard federal practices regarding tainted assets.Tom Goldstein fights to sell home as tax trial looms | ReutersA federal grand jury has declined to indict New York Attorney General Letitia James, rejecting prosecutors' second attempt to bring criminal charges against her, according to sources familiar with the matter. The Justice Department had sought to revive a case involving allegations of bank fraud and false statements related to a mortgage, after the initial indictment was dismissed in November due to the unlawful appointment of the prosecutor, Lindsey Halligan. Despite the setback, prosecutors reportedly plan to seek a new indictment.James, a Democrat and prominent critic of Donald Trump, was accused of misrepresenting financial information to obtain favorable mortgage terms on a Virginia property. She pleaded not guilty to the original charges. The failed indictment effort comes amid broader DOJ efforts targeting Trump critics, including former FBI Director James Comey and ex-national security adviser John Bolton—cases that have also faced legal hurdles.Grand jury rejections are rare, as prosecutors usually face a low threshold of probable cause to proceed. James is now the highest-profile figure to have such a case rejected during Trump's second term. The president has publicly attacked James for leading a civil fraud lawsuit against him, which resulted in a massive financial penalty, later reduced on appeal but with Trump still found liable for fraud.Grand jury rejects second criminal case against New York Attorney General Letitia James, sources say | ReutersLawyers representing authors and publishers in a $1.5 billion copyright settlement with AI company Anthropic have requested $300 million in legal fees, amounting to 20% of the total settlement. Filed in federal court in San Francisco, the fee request comes after Anthropic agreed in October to settle claims it used pirated books to train its AI models, including its commercial product Claude. As part of the agreement, Anthropic will pay over $3,000 per infringed work, destroy the infringing datasets, and certify they are not part of its commercial systems.The legal team, led by Susman Godfrey and Lieff Cabraser, argued that the fee is “conservative” by class action standards, citing more than 26,000 hours of high-risk work. The settlement, which received preliminary approval in September, is being described as the largest reported copyright class action resolution to date. Anthropic has denied wrongdoing and retains the right to contest the fee amount.Authors have until January 15 to opt out of the class action and pursue individual claims. A final fairness hearing before U.S. District Judge William Alsup is scheduled for April, where objections from class members and fee disputes will be reviewed.Authors' lawyers in $1.5 billion Anthropic settlement seek $300 million | ReutersThis week's closing theme is by Wolfgang Amadeus Mozart, a composer of some note.On December 5, 1791, the world lost one of its greatest musical minds: Wolfgang Amadeus Mozart. Just 35 years old at the time of his death, Mozart left behind an astonishing body of work that shaped the course of Western classical music. His death, shrouded in speculation and mystery, came while he was in the midst of composing what would become one of his most profound and haunting works—the Requiem in D minor, K. 626. The Lacrymosa movement, in particular, captures the emotional gravity of that moment, as if echoing his own impending end.Although Mozart did not live to finish the Requiem, the fragments he left behind were completed by his student Franz Xaver Süssmayr, guided by sketches and oral instruction. The Lacrymosa, with its solemn melodies and aching harmonies, stands as one of the most emotionally resonant sections of the work. Franz Liszt later transcribed it for solo piano, creating a version that retains its choral intensity while adding a layer of intimate, virtuosic expressiveness.Listening to Liszt's transcription of the Lacrymosa is like hearing Mozart's farewell whispered through the keys of a piano—stark, mournful, and deeply human. December 5, then, is not only the date of Mozart's passing but also a reminder of the enduring beauty he left behind, etched into every phrase of the Requiem. His music, especially in this piece, speaks across centuries to the depths of loss and the hope of transcendence.Without further ado, Mozart's Requiem in D. minor – enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe