Podcasts about Wolfgang Amadeus Mozart

Alec and Nick return to podcasting to discuss their special respective connections to classical music. The conversation employs a back-to-basics overview of the form: what is classical music? What is NOT classical music? What was and is it? Taking a zoomed-out approach, the episode spans the culture, mechanics, operations, and evolution of classical music: arriving at an assessment of the “audacity of its form” in relationship to the dysfunction and cosmopolitanism of contemporary society. Johann Sebastian Bach, Igor Stravinsky, Richard Strauss, Maurice Ravel, Erik Satie, John Cage, Morton Feldman, Wolfgang Amadeus Mozart, and even … Béla Fleck & the Flecktones are all mentioned. 

On this episode of Inside the Music, Derek Delaney, Artistic Director of Capital Region Classical, takes a look into the final string works of Mozart through live CRC performances by the Artemis Quartet, Musicians from Marlboro, and Belcea Quartet.Quartet in B‐flat Major, K. 589LarghettoMenuettoAllegro assaiArtemis Quartet [2/12/2006 performance]Viola Quintet in D Major, K. 593AdagioMenuettoMusicians From Marlboro [2/23/2008 performance]Lily Francis & Yura Lee, violins; Eric Nowlin & Maiya Papach, violas; Marcy Rosen, celloQuartet in F Major, K. 590AndanteMenuettoAllegroBelcea Quartet [10/16/2014 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Das Wunderkind – Wunderkinder haben schon von Geburt an eine riesige Portion Talent mitbekommen. Für den Erfolg braucht es dann nur noch die richtige Förderung und etwas Glück.

This Day in Legal History: John Locke BornOn August 29, 1632, John Locke was born in Wrington, England. A foundational figure in political philosophy, Locke's ideas on government, natural rights, and property would come to shape the ideological core of liberal democracies. His “Two Treatises of Government” advanced the notion that legitimate governments are founded on the consent of the governed and exist to protect life, liberty, and property. Locke's theory of property, rooted in the idea that individuals gain ownership by mixing their labor with natural resources, would have lasting effects not only in political theory but also in legal frameworks—particularly intellectual property law.Locke argued that since individuals own their labor, they also own the results of that labor. This labor-based theory of property acquisition later served as a philosophical underpinning for intellectual property rights, especially in Anglo-American legal systems. The notion that creators have a natural right to control and benefit from their intellectual creations echoes Locke's broader views on property. His influence is visible in early American legal thought, including the U.S. Constitution's provision empowering Congress to secure authors' and inventors' exclusive rights.Locke's work also fueled the American Revolution and the drafting of the Declaration of Independence, with Thomas Jefferson borrowing heavily from Locke's formulations on natural rights. Likewise, his theories permeated the French Revolution and the Declaration of the Rights of Man and of the Citizen. Beyond constitutional law, his legacy persists in modern debates about the balance between public access and private rights in intellectual property regimes. Locke's vision of a just legal order grounded in individual rights, voluntary association, and property remains central to contemporary legal theory.A federal judge will hold a hearing on whether to temporarily block President Donald Trump from firing Federal Reserve Governor Lisa Cook, who is challenging her removal in court. Cook argues that Trump lacks legal grounds for firing her, alleging that the justification—claims of past mortgage fraud—is a pretext tied to her refusal to lower interest rates. The Federal Reserve Act permits governors to be removed only “for cause,” though that term is undefined and has never been tested in court. Cook denies the fraud allegations and says even if true, the conduct occurred before she took office and should not qualify as cause for removal.Trump's administration argues that the allegations are sufficient to justify her dismissal and may also claim that legal limits on removing Fed governors infringe on the president's executive authority. The outcome of this case could significantly impact the perceived independence of the Fed and may ultimately be decided by the U.S. Supreme Court. A Biden-appointed judge, Jia Cobb, will first determine if Cook is likely to succeed on the merits and if her removal would cause irreparable harm. The decision could lead to a preliminary injunction, subject to appeal.Trump has already clashed with the Fed, particularly with Chair Jerome Powell, over interest rate policies and management decisions. Removing Cook would allow Trump to install a fourth member on the seven-seat board, potentially shifting its direction.Trump's firing of Fed Governor Cook could be blocked by US judge | ReutersThe national average score on the July 2025 Multistate Bar Exam (MBE) was the highest in over a decade, reaching 142.4—the best performance since 2013, excluding pandemic-altered years. The MBE, which accounts for half of a bar taker's score in most states, is a key component of the U.S. bar exam. The National Conference of Bar Examiners expects the slight uptick in scores to translate into modestly higher pass rates across jurisdictions.This marks the third consecutive year of improvement for July test-takers, in contrast to the February bar exam, which continues to show declining performance. February 2025 saw a record low MBE average of 130.8, partly due to California's decision to use its own bar exam for that session—a move that backfired due to widespread logistical issues. The California Supreme Court has since ordered the state to resume using the MBE starting in July.As states begin releasing July results, optimism is growing among recent law graduates. However, the disparity between February and July results highlights persistent challenges for repeat test-takers and bar exam policy shifts across jurisdictions.US national bar exam scores hit 12-year high | ReutersMajor U.S. law firms saw strong revenue and profit growth in the first half of 2025, fueled by a sharp rise in billing rates—up 9.2% on average. This surge helped offset rapidly increasing expenses, particularly those tied to attorney compensation and the adoption of artificial intelligence tools. Overhead costs excluding lawyer pay rose by 8.6%, while total expenses, including compensation, were up 9.5%. Despite heavy investment in generative AI, firms haven't realized cost savings yet, as they're still maintaining full legal staffing alongside the new technology.Top partners at elite firms, such as Milbank and Quinn Emanuel, are now charging more than $3,000 per hour, with Milbank's Neal Katyal commanding $3,250. Experts note that while AI may one day disrupt the traditional billable hour model, that shift hasn't materialized yet—echoing past predictions during earlier tech changes that never fully played out. Still, some consultants believe AI may eventually push firms toward flat-fee or project-based pricing, especially as AI becomes capable of completing tasks in minutes that previously took hours.Meanwhile, law firm expenses are also climbing due to higher real estate costs and professional liability insurance. The legal talent pipeline remains strong, with law school applicants up 18% year-over-year and recent graduates enjoying a record-high 93.4% employment rate.Law firm rates, revenues soar but costs pile up in AI era | ReutersA federal judge has dismissed University of Pennsylvania law professor Amy Wax's lawsuit claiming racial discrimination in response to university sanctions against her. Wax, who is white, alleged that UPenn treated her unfairly based on race when it suspended her for a year with half pay over a pattern of controversial public comments about minority groups. Judge Timothy Savage ruled that her claims were “implausible,” noting that she failed to show how her race influenced the disciplinary process or the charges brought against her.Wax argued the university disproportionately disciplines white faculty for speech-related conduct while overlooking similar actions by faculty of color. However, the court found her comparisons to other UPenn speakers flawed, as those individuals had not repeatedly made derogatory remarks about minorities. The ruling follows an earlier denial of Wax's request for a preliminary injunction, where the court found she hadn't proven that the suspension would cause her lasting professional harm.Wax has long been a polarizing figure at Penn Law. Her 2017 op-ed favoring Anglo-Protestant cultural norms and later remarks about Black and Asian students drew widespread criticism. In 2018, she was barred from teaching required first-year courses, and in 2022, a faculty complaint sought a major sanction after she suggested the U.S. would be better off with fewer Asian immigrants.Judge tosses law professor Amy Wax's bias lawsuit over UPenn sanctions | ReutersThis week's closing theme is by Wolfgang Amadeus Mozart, a composer of some note.This week's closing theme is Mozart's Piano Sonata No. 11 in A major, K. 331 – I. Andante grazioso, a work that showcases the clarity, grace, and inventiveness that define Mozart's style. Composed around 1783, likely in Vienna or Salzburg, this sonata is one of Mozart's most beloved keyboard pieces, notable for its departure from traditional sonata form. Instead of the expected fast-paced opening movement, Mozart begins with a theme and variations—a gentle, lilting Andante grazioso that unfolds with elegance and wit.Each variation adds a new layer of texture and character, giving performers the opportunity to explore contrasting articulations, ornamentation, and moods. The charm of the movement lies in its simplicity and restraint, traits Mozart uses not as limitations but as a foundation for subtle playfulness and sophistication. The theme itself is dance-like, with a lightly flowing triple meter that invites the listener in rather than demanding attention.While the final movement of this sonata—the famous "Rondo alla Turca"—often steals the spotlight, the opening movement contains just as much ingenuity and expressive depth. It's a window into Mozart's ability to transform formal conventions into personal, lyrical statements. This sonata was likely intended for his students or amateur musicians, yet it retains the masterful balance of accessibility and complexity that only Mozart could achieve.As we close this week, the Andante grazioso reminds us that refinement doesn't require grandeur, and that musical beauty often lies in the quiet unfolding of a well-turned phrase.Without further ado, Mozart's Piano Sonata No. 11 in A major, K. 331 – I. 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

In this episode, we talk about the upward and downward social interactions taking place, what the implications are behind the Dalrymples being Irish aristocracy, the introductions of Mrs Smith and Nurse Rooke, the comedy of Mary's letter and Admiral Croft's meeting with Anne, and the fact that in the book's timeline it is only a month before Napoleon Bonaparte will escape from Elba.The characters we discuss are Admiral and Mrs Croft. In the historical section, Ellen talks about nurses, and for popular culture Harriet discusses the 2020 television movie Modern Persuasion.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Maria Edgeworth, Castle Rackrent (1800)Character discussion:Walter Scott, Waverley (1814)Patrick O'Brien, Master and Commander (1969) and sequels in the Aubrey and Maturin seriesHistorical discussion:Charles Dickens, Martin Chuzzlewit (1844)Elizabeth Fry (19th century English prison reformer, social reformer, philanthropist and Quaker)Wellcome Collection in LondonPopular culture discussion:Modern Persuasion (2020, Tangerine Entertainment) – starring Alicia Witt and Shane McRaeCreative 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.

On this week's episode, Derek explores Mozart's late masterworks, the Clarinet Quintet and Symphony No. 40. He delves into live CRC performances by clarinetist Todd Palmer and friends and the Camerata Ireland.Clarinet Quintet in A Major, K. 581LarghettoMenuettoAllegretto con VariazioniTodd Palmer, clarinet; Catherine Cho & Ruggero Allifranchini, violins; Daniel Panner, viola; Alexis Pia Gerlach, cello [2/25/2001 performance]Symphony No. 40 in G Minor, K. 550Molto allegroAndanteMenuettoFinale: Allegro assaiCamerata IrelandBarry Douglas, conductor [10/27/2001 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Con Mario Mora y 'IA Alex' | Llegamos al top 3 de la lista de compositores con uno de los grandes titanes de la historia de la música: Wolfgang Amadeus Mozart. Y es muy, muy difícil reunir su música en catálogos e ir descartándolos, porque todos están llenos de obras maestras. ¿Conseguirá la IA dar con esa obra que se salve del resto de su repertorio? No te pierdas su elección en uno de los mayores retos hasta ahora.

Send us a textSPECIAL NOTE: SEASON 15 OF THE GOOD, THE POD AND THE UGLY CELEBRATES THE USE OF THE PRACTICAL AND DIGITAL EFFECT KNOWN AS THE SQUIB. IRL GUN VIOLENCE IS INTOLERABLE AND RENOUNCED BUT... CINEMATIC VIOLENCE WILL BE CELEBRATED IN A WAY WHICH WILL DISTURB SOME LISTENERS.  TGTPTU returns to its regularly scheduled Squib Games (S15) with the earlier of its latest temporal pincer movement pairing, TO LIVE AND DIE IN LA (1985).  Directed by William Friedkin, this is another Big Willie movie but not a Wyler: the second William has the credited surname of Peterson and this is his first film. William Peterson was so new to film acting that he called his fellow Chicagoan thespian buddy John Malkovich to see what he should quote as his asking price to play the lead character of Richard Chance, a thrill-seeking Secret Service agent who'll lose his partner only days from retirement (red-shirted partner's, not Chance's) and will get a new partner in John Pankow's Agent John Vukovich to pervert in his (Chance's) vengeful pursuit of a counterfeiter played by Willem Dafoe. (Next year Peterson would play another officer of the law in Manhunter as covered during TGTPTU's Mann Aged Season {S5,E5}; as an EPISODE CORRECTION Pankow did not portray Wolfgang Amadeus Mozart in Miloš Forman's film Amadeus but had done so at the Broadhurst Theatre, replacing Tim Curry.)  Because it's a Friedkin flick, there's an epic car chase meant to top The French Connection; because it's shot from a Friedkin script (adapted from a novel by former Secret Service agent Gerald Petievich, who receives a cowriting credit), there was a lot of improvisation on set driven by the actors, with both the ending and opening scenes re/written during shooting. Mentioning actors, the film is stacked with supporting roles by Dean Stockwell, John Turturro (who'll get more mention later in Season 15), and the Michael Mann-created film noir for television Crime Story's very own Darlanne Fluegel (listen back to S5,E6 for insights on this TV series).   TGTPTU hosts become split on the merits of the film. Thomas describes the movie as The Friends of Eddie Coyle (1973) on neon cocaine, but—no spoilers—you'll have to listen to the ep for whether he believes this is a good thing. Also, Jack lets out the three-legged dog and Ryan, while finding it impossible to resist singing the title, has issue with William Pederson. Ken convinces everyone to Wang Chung tonight.  THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Bluesky: @goodpodugly.bsky.socialYouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gLetterboxd (follow us!):Podcast: goodpoduglyKen: Ken KoralRyan: Ryan Tobias

Wolfgang Amadeus Mozart (1756-1791) - Divertimento n. 1 in re maggiore, K. 136 (K. 125a)1.       Allegro2.       Andante [5:34]3.       Presto [10:44]Kurpfälzisches Kammerorchester Mannheim Florian Heyerick, conductor

Jan Swafford is a distinguished American author and composer, known for his insightful biographies of great composers like Charles Ives, Ludwig van Beethoven, and Wolfgang Amadeus Mozart. With degrees from Harvard and Yale, he's made significant contributions to classical music literature. His works, including the Vintage Guide to Classical Music and "Language of the Spirit," reveal the rich narratives behind the music we love. His unique insights and deep understanding of these composers illuminate their artistic journeys in a way that resonates with both music lovers and scholars alike.In our conversation, we explore the fascinating lives of Haydn and Mozart, delving into their prolific output and the support systems that fueled their creativity. Jan highlights how Haydn composed to commission, leading to his astonishing catalog of works, while debunking myths about Mozart's talent and lifestyle. “He worked himself to death because his body couldn't handle it anymore,” Jan reflects on Mozart's relentless pursuit of excellence.[Subscriber Content] In the subscriber section, Jan shares his thoughts on Tchaikovsky and Brahms, revealing personal preferences and insights about their contrasting styles. He also reflects on the evolution of music through the lens of history, discussing how composers like Schoenberg and Stravinsky marked a shift in musical innovation. Jan emphasizes the importance of authenticity in composition, stating, "It has to come from your core; otherwise, it's no good." Prepare for a warm exploration of music's profound connections to the human experience, as Jan shares his unique perspective on these influential figures.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

GATEWAY CINEMA is a multi-part series of conversations centered on key ideas in film studies. In these conversations, we interpret and celebrate a set of eclectic feature films from across generations and from around the world, including “La Haine”, “Drum”, “Alien 3 (Assembly Cut)”, “Come and See”, “Perfect Days”, “Sweet Smell of Success”, “The Swimmer”, “Amadeus (Director's Cut)”, “Bring Me the Head of Alfredo Garcia”, “Friday”, “Marie Antoinette”, “The Night of the Hunter”, “Crank” and “Crank 2: High Voltage”, “Portrait of a Lady Fire”, “The Fabulous Baron Munchausen”, “Joker: Folie a Deux”, “Welcome to the Dollhouse”, “Heathers”, and “The Death of Stalin”.***Referenced media in GATEWAY CINEMA, Episode 8:"Alien 3 (Assembly Cut)” (David Fincher, 1992/2003)“Indiana Jones and the Temple of Doom” (Steven Spielberg, 1984)“Ghostbusters” (Ivan Reitman, 1984)“Gremlins” (Joe Dante, 1984)“The Karate Kid” (John G. Avildsen)“Purple Rain” (Albert Magnoli, 1984)“Silver Spoons” (Martin Cohan, Howard Leeds, and Ben Starr, 1982-1987)“Red Dawn” (John Milius, 1984)“Stop Making Sense” (Jonathan Demme, 1984)“The Terminator” (James Cameron, 1984)“At the Movies” (Gene Siskel and Roger Ebert, 1982-1986)“Conan the Barbarian” (John Milius, 1982)“Body Double” (Brian De Palma, 1984)“The Killing Fields” (Roland Joffé, 1984)“A Nightmare on Elm Street” (Wes Craven, 1984)“Beverly Hills Cop” (Martin Brest, 1984)“Dune” (David Lynch, 1984)“The Cotton Club” (Francis Ford Coppola, 1984)“The Cotton Club: Encore” (Francis Ford Coppola, 2017)“Starman” (John Carpenter, 1984)“E.T.” (Steven Spielberg, 1982)“The Thing” (John Carpenter, 1982)“Come and See” (Elen Klimov, 1985)“Star Wars” (George Lucas, 1977)“Time Bandits” (Terry Gilliam, 1981)“The Smurfs and the Magic Flute” (José Dutillieu, 1975)“Style Wars” (Tony Silver, 1983)“Mary Poppins” (Robert Stevenson, 1964)Audio quotation in GATEWAY CINEMA, Episode 8:“Amadeus (Director's Cut)” (Miloš Forman, 1984/2002), including “Piano Concerto In E Flat, K. 482; 3rd Movement” (1785), “Die Entfuhrung Aus Dem Serail: Finale” (1781), “Symphony 29 in A Major, 1st Movement” (1774), https://www.youtube.com/playlist?list=PLq6-EneBMiNHmdqqE_5TmkJ9neViFMvTL“Rock Me Amadeus” by Falco (1985), https://www.youtube.com/watch?v=cVikZ8Oe_XA&list=RDcVikZ8Oe_XA&start_radio=1“Purple Rain” (Albert Magnoli, 1984)“Come and See” (Elem Klimov, 1985), including “Requiem in D minor, K. 626: Sequentia, Lacrimosa” by Wolfgang Amadeus Mozart (1791)

On this week's episode, Derek continues to explore the works of Mozart, this time the set of string quartets dedicated to Haydn, through live CRC performances by the Dover, Takács, and Ebène quartets.Quartet in B‐flat Major, K. 458 HuntAllegro vivace assaiMenuettoDover Quartet [2/28/2016 performance]Quartet in D Minor, K. 421MenuettoAllegretto ma non troppoTakács Quartet [1/28/2001 performance]Quartet in E‐flat Major, K. 428Andante con motoMenuettoAllegro vivaceEbène Quartet [11/13/2014 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Merriam-Webster's Word of the Day for August 5, 2025 is: contentious • kun-TEN-shuss • adjective Contentious describes something that is likely to cause people to argue or disagree or that involves a lot of arguing. When used of a person, contentious describes someone likely or willing to argue. // I think it's wise to avoid such a contentious topic at a dinner party. // After a contentious debate, members of the committee finally voted to approve the funding. // The dispute involves one of the region's most contentious leaders. See the entry > Examples: “Next up will be Peter Shaffer's ‘Amadeus,' which opened in 1979 and won the Tony for best play in 1981 with Ian McKellen winning lead actor honors. ... The story is a fictional account of the contentious relationship between Wolfgang Amadeus Mozart and his rival, Antonio Salieri, the court composer of the Austrian emperor.” — Jessica Gelt, The Los Angeles Times, 12 June 2025 Did you know? If everyone has a bone to pick now and then, contentious types have entire skeletons. While English has plenty of words for people prone to fighting—combative and belligerent among them—contentious implies a fondness for arguing that others find particularly tedious or wearying. Thankfully, even the most contentious cranks and crabs among us have no cause to quibble over the history of the word contentious, as its origins are very clear: contentious comes (by way of Middle French) from the Latin adjective contentiōsus, meaning “persistent, obstinate, argumentative, or quarrelsome.”

São diversas as histórias e lendas ao redor da figura de Wolfgang Amadeus Mozart. Mas se algo é certo, é que a beleza das mulheres e o sabor do vinho foram alguns motivos para suas composições. Conhece essa história?

This Day in Legal History: Switzerland's Federal CharterOn August 1, 1291, the seeds of what would become modern Switzerland were planted with the signing of the Federal Charter, or Bundesbrief, by the cantons of Uri, Schwyz, and Unterwalden. This wasn't the dramatic formation of a nation-state as we think of it today—it was three rural Alpine communities making a legal pact for mutual defense and cooperation in the face of growing Habsburg pressure. The document itself is barely over 300 words long, written in Latin, and mostly focuses on conflict resolution and how not to stab each other in the back (literally and figuratively). But make no mistake, this was a radical assertion of local legal autonomy during a time when imperial rule was the norm.The Federal Charter stands as an early example of federalism—three small political entities entering into a horizontal, legally binding agreement without ceding total sovereignty to a monarch or emperor. In legal terms, it was more covenant than constitution, but its emphasis on mutual aid, lawful arbitration, and collective security laid the groundwork for Switzerland's famously decentralized structure. The signatories agreed to resist foreign judges and unlawful acts of violence, a precursor to ideas we now enshrine in due process and the rule of law.This wasn't a flashy revolution. There were no declarations of independence or fiery speeches. Just some pragmatic legalese scratched onto parchment that said, in effect, “Let's have each other's backs, settle disputes fairly, and not get bossed around by some distant duke.” Over time, this unassuming agreement evolved into the Swiss model of federalism and neutrality that still defines the nation today. It's not just legal history—it's a reminder that even minimalist governance structures can have maximal staying power.Federal judges who issued rulings against Donald Trump's policies have come forward with disturbing accounts of harassment, threats, and violent intimidation. At a “Speak Up For Justice” event, five judges—including Chief U.S. District Judge John McConnell—described receiving death threats, being targets of “swatting” incidents, and even having pizzas delivered to their homes under the name of a murdered judge's son. McConnell, who blocked a major White House funding freeze earlier this year, disclosed that he received six credible death threats and over 400 hostile voicemails. One threat involved someone searching the dark web for his address, saying they wanted "Smith & Wesson to pay him a visit."Judge John Coughenour, who ruled against Trump's effort to limit birthright citizenship, recounted a terrifying police raid on his home due to a false murder report. The FBI later alerted him to a bomb threat. Despite being appointed by Republican President Reagan, Coughenour criticized political attacks on the judiciary as damaging to democratic institutions. The White House called the threats unacceptable and emphasized the importance of judicial safety. On the same day as the event, the Senate confirmed Trump's nominee Gadyaces Serralta to lead the U.S. Marshals Service, who pledged to prioritize judge protection.By mid-June, 408 threats against 297 judges had been logged in the fiscal year. Judge Esther Salas, whose son was murdered in 2020, praised the speaking judges for breaking their silence in defense of judicial independence.US judges recount death threats, 'swatting' after rulings against Trump | ReutersAccording to exclusive reporting done by Reuters, the U.S. State Department plans to allocate up to $7.85 million to support deportation operations in Costa Rica, marking a significant expansion of American-backed regional immigration enforcement. The funds, redirected from an economic development account, will be transferred to the Department of Homeland Security, which will coordinate with Costa Rican authorities to carry out deportations of migrants—especially those transiting through the country en route to the U.S.This arrangement resembles a 2024 Biden-era agreement with Panama, where the U.S. financed detention and deportation of migrants moving northward. The new Costa Rica program is framed as a capacity-building effort that will fund deportation logistics and training on asylum screening. Still, critics warn it could deny vulnerable populations fair access to asylum protections.The plan follows a Trump administration request earlier in the year for Costa Rica to accept 200 migrants from Africa, Asia, and Europe previously detained in the U.S. Many of them remain in Costa Rica, raising questions about long-term outcomes. Details on when deportations will begin or the final destination countries remain unclear.Officials have also acknowledged that some migrants are now traveling south through Costa Rica, fleeing northward crackdowns and the end of Biden's humanitarian parole options. The agreement does not require a direct connection between the migrant and the country to which they may be deported, a detail likely to fuel ongoing human rights concerns.Homeland Security Secretary Kristi Noem has been visiting countries throughout Latin America to explore similar arrangements, suggesting this may be part of a broader regional deportation strategy under Trump's immigration policy.Exclusive: US plans to fund deportations from Costa Rica, document shows | ReutersThe U.S. Court of Appeals for the Federal Circuit closely examined whether President Donald Trump overstepped his authority by using emergency powers to impose sweeping tariffs on foreign imports. The legal challenge, brought by 12 Democratic-led states and five small businesses, centers on Trump's use of the International Emergency Economic Powers Act (IEEPA)—a 1977 law typically used for financial sanctions—to justify tariffs against countries like China, Canada, and Mexico. Judges on the panel, many of whom were appointed by Democratic presidents, expressed skepticism, with one noting the law “doesn't even say tariffs.”This is the first major appellate test of Trump's tariff authority, and it comes just as a deadline approaches for new tariff hikes. Trump has used tariffs aggressively in his second term as both an economic and geopolitical tool, citing trade imbalances and foreign inaction on fentanyl as justifications. The challengers argue that only Congress has the constitutional power to impose tariffs, not the president.While the court has allowed the tariffs to remain in place during the litigation, a final ruling could have major implications. A previous lower court decision had already questioned whether IEEPA allows for tariffs tied to longstanding trade deficits. Meanwhile, tariffs have become a significant revenue source, generating over $100 billion so far this fiscal year—money the administration may need after passing new tax cuts.The case won't affect tariffs enacted under other legal provisions, like those on steel and aluminum. Trump's legal team argues that restricting presidential tariff power would hinder trade negotiations. The president has recently secured agreements with the EU and Japan, and is currently working on deals with Mexico and others to avoid further tariff hikes.US appeals court scrutinizes Trump's use of tariffs as trade deadline looms | ReutersThis week's closing theme is by Wolfgang Amadeus Mozart, a composer of some note.This week's closing theme is a bright and confident slice of Mozart at his most charming: the Piano Concerto No. 19 in F major, K. 459, first movement, Allegro. Written in 1784 during a period of remarkable productivity, this concerto is one of the six that Mozart composed that year alone—each one displaying a different facet of his evolving style. No. 19 stands out for its buoyancy and rhythmic vitality; it's elegant without being self-serious, energetic but never frantic.Mozart, still in his late twenties, was performing regularly in Vienna, dazzling audiences with works that showcased both his pianistic skill and his compositional inventiveness. This piece was likely written for one of his own concerts, tailored to suit both his technical flair and his subtle wit. The Allegro opens with a playful orchestral theme, crisp and sunny, which soon gives way to the piano's entrance—graceful, witty, and full of character.There's a conversational quality to the movement: the orchestra tosses out ideas, the piano responds, elaborates, jokes, and dances. But beneath its lightheartedness lies Mozart's usual sophistication: unexpected harmonic turns, rhythmic displacements, and crisp motivic development keep the listener alert. The movement doesn't strive for drama or tragedy—it's pure Mozartian joy, rendered in tight musical logic and unfailing charm.As a closer, it offers an ideal farewell note: upbeat, clean, and full of clarity. You leave the room a little taller, a little lighter, like the music has tidied your thoughts and restored your sense of order. Mozart's No. 19 may not be the flashiest of his concertos, but it radiates something rarer: calm confidence, musical humor, and the sense that everything—at least for a few minutes—is exactly where it should be.Without further ado, Wolfgang Amadeus Mozart's Piano Concerto No. 19 in F major, K. 459, first movement, the Allegro. 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

In this week's episode, Derek delves into the enduring keyboard works of Mozart with live CRC performances by pianists Jonathan Biss, Rafał Blechacz, and Barry Douglas with the Camerata Ireland. Adagio in B Minor, K. 540Menuet in D Major, K. 355Jonathan Biss [12/9/2018 performance]Rondo in A Minor, K. 511Rafał Blechacz [4/8/2018 performance]Piano Concerto No. 27 in B‐flat Major, K. 595LarghettoAllegroCamerata Ireland; Barry Douglas, piano/conductor [10/27/2001 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

GATEWAY CINEMA is a multi-part series of conversations centered on key ideas in film studies. In these conversations, we interpret and celebrate a set of eclectic feature films from across generations and from around the world, including “La Haine”, “Drum”, “Alien 3 (Assembly Cut)”, “Come and See”, “Perfect Days”, “Sweet Smell of Success”, “The Swimmer”, “Amadeus (Director's Cut)”, “Bring Me the Head of Alfredo Garcia”, “Friday”, “Marie Antoinette”, “The Night of the Hunter”, “Crank” and “Crank 2: High Voltage”, “Portrait of a Lady Fire”, “The Fabulous Baron Munchausen”, “Joker: Folie a Deux”, “Welcome to the Dollhouse”, “Heathers”, and “The Death of Stalin”.***Referenced media in GATEWAY CINEMA, Episode 4:“Drum” (Steve Carver, 1976)“Shoah” (Claude Lanzmann, 1985)“Paths of Glory” (Stanely Kubrick, 1957)“Platoon” (Oliver Stone, 1986)“Ran” (Akira Kurosawa, 1985)“Solaris” (Andrei Tarkovsky, 1972)“Full Metal Jacket” (Stanley Kubrick, 1987)“Hamburger Hill” (John Irvin, 1987)“Casualties of War” (Brian De Palma, 1989)“Atonement” (Joe Wright, 2007)“Dunkirk” (Christopher Nolan, 2017)Audio quotation in GATEWAY CINEMA, Episode 4:“The Sacred War” by Alexander Vasilyevich Alexandrov and Vasily Lebedev-Kumach (1941), https://www.youtube.com/watch?v=maYCStVzjDs&list=RDmaYCStVzjDs&start_radio=1“Circus” (Grigori Aleksandrov and Isidor Simkov, 1936), including the song “Trip to the Stratosphere”, https://www.youtube.com/watch?v=SCEWd_zDYmc“Drum” (Steve Carver, 1976), including the song “Tell My Story” by Charlie Smalls“Moments in Love” by Art of Noise (1983), https://www.youtube.com/watch?v=cen22TBHo9M&list=RDcen22TBHo9M&start_radio=1“Come and See” (Elem Klimov, 1985), including “Requiem in D minor, K. 626: Sequentia, Lacrimosa” by Wolfgang Amadeus Mozart (1791)

On this episode of Inside the Music, Derek explores works of Mozart following his departure from his home of Salzburg in favor of Vienna. Join us for live CRC performances by the Artemis Quartet and pianist Jonathan Biss.Quartet in G Major, K. 387Allegro vivace assaiMenuettoArtemis Quartet [3/3/2002 performance]Piano Sonata in C Major, K. 545AndanteJonathan Biss [4/15/2009 performance]Piano Sonata in C Minor, K. 457Molto allegroAdagioAllegro assaiJonathan Biss [4/15/2009 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

durée : 00:25:01 - Requiem de Mozart - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur les conditions d'écritures de l'ultime "Requiem" de Wolfgang Amadeus Mozart (1756-1791). - réalisé par : Philippe Petit Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Inside the Music continues exploring the music of Mozart, this time his compositions for wind instruments. Join Derek Delaney, Artistic Director of Capital Region Classical, and live CRC performances by the Nash Ensemble, wind soloists of the Chamber Orchestra of Europe, and horn player Richard Watkins.Oboe Quartet in F Major, K. 370AllegroAdagioRondeau: AllegroThe Nash Ensemble of London; Gareth Hulse, oboe [5/10/2001 performance]Horn Quintet in E‐flat Major, K. 407AllegroThe Nash Ensemble of London; Richard Watkins, horn [4/11/2003 performance]Wind Serenade in C Minor, K. 388AllegroAndanteMenuetAllegroWind Soloists of the Chamber Orchestra of Europe [3/1/1997 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

durée : 01:28:38 - Une heure et plus, un compositeur : Wolfgang Amadeus Mozart - par : Aurélie Moreau - Né à Salzbourg en 1756, enfant prodige révélé dans les cours d'Europe, Mozart compose sa première symphonie à 8 ans, son premier opéra à 12. Mais ce génie précoce est un homme libre. À Vienne, il s'émancipe des puissants, refuse les contraintes et choisit d'écrire pour lui-même. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In this episode, we talk about these transitional chapters between the events at Lyme and the move to Bath. We consider the position of the old nurse in the Musgrove household, how Anne is feeling a bit sorry for herself, the delightful scenes with the Crofts and with Charles and Mary, how Mr Elliot is described as ‘underhung', and the way Anne and Mr Elliot get on well with each other.The characters we discuss are Mr and Mrs Musgrove. In the historical section, Ellen talks about Bath, and for popular culture Harriet discusses the 2019 YouTube series Rational Creatures.Things we mention:General discussion:Janet Todd and Antje Blank [Editors], The Cambridge Edition of the Works of Jane Austen: Persuasion (2006)Noel Streatfeild, Gran-Nannie (1976) and Ballet Shoes (1936)Novels of Charlotte M. YongeEvelyn Waugh, Brideshead Revisited (1945)Alexander Pope, ‘The Rape of the Lock‘ (1712)Historical discussion:The Venerable Bede (c.672-735)Nennius (9th century Welsh monk)Google map of locations in Persuasion, zoomed in on BathPopular culture discussion:Rational Creatures (2019, YouTube) – starring Kristina Pupo and Peter GiesslHarriet's interview with the creators of Rational CreaturesCreative 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.

Inside the Music begins its exploration of the music of Mozart, starting with the composer's earlier works as he matured from being a child prodigy. Join Derek, Artistic Director of Capital Region Classical, as he delves into live CRC performances by the Ensemble Haydn-Berlin, Budapest Strings, and pianist Rafal Blechacz.Symphony No. 28 in C Major, K. 200Allegro spiritosoAndanteMenuetPrestoEnsemble Haydn‐BerlinHansjörg Schellenberger, conductor [10/14/2000 performance]Divertimento in F Major, K. 138AllegroAndantePrestoBudapest Strings [11/13/2002 performance]Piano Sonata in A Minor, K. 310Allegro maestosoAndante cantabile con espressionePrestoRafal Blechacz [4/8/2018 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Die Motette "Exsultate, jubilate": eine Melodie des Himmels, komponiert von einer jugendlichen, unbeschwerten Seele: dem gerade mal 17-jährigen Wolfgang Amadeus Mozart. BR-KLASSIK hat mit der Sopranistin Edith Wiens über dieses Starke Stück gesprochen.

Wolfgang Amadeus Mozart - Requiem: BenedictusMagdelena Hajossyova, sopranoJaroslava Horska, contralto Jozef Kundlak, tenor Peter Mikulaslk, bass Slovak Philharmonic Orchestra Zdenek Kosler, conductorMore info about today's track: Naxos 8.573562Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.

Matthew Bannister onHannah Deacon who ran a successful campaign to allow her son – and many others – to be treated with cannabis after he was diagnosed with a rare form of epilepsy. Andrew Norfolk, the journalist who exposed the Rotherham grooming gang scandal.Dame June Clark, the President of the Royal College of Nursing who argued for more education to increase the skills of the nursing profession.Martin Graham the businessman who built his own opera house in the Cotswolds so he could stage Wagner's Ring Cycle. Producer: Ed PrendevilleArchive used: No More Nightingale, BBC, 1991; One O'Clock News, BBC, 03/04/1989; Open Country, BBC Radio 4, 27/06/2019; The Longborough Ring 2024: Wagner – Der Ring des Nibelungen, Longborough Festival Opera, Music Director Anthony Negus, Director Amy Lane; Today, BBC Radio 4, 2013; Utopia: In Search of the Dream, BBC Four, 05/05/2020; Sportsday, BBC News 24, 15/09/2016; BBC Breakfast, BBC, 19/02/2018; This Morning: Should Medical Cannabis Be More Accessible, ITV, Uploaded to YouTube, 29/10/2018; Morning Live, BBC, 07/11/2022; The Today Programme, BBC Radio 4, 19/06/2018; ITV News, ITV, 19/06/2018; Wogan, BBC, 19/01/1990; Raising a Glass to Cheers, BBC Radio 4, 26/07/2012; Cheers, TV Programme, Produced by Charles/Burrows/Charles Productions; Groomed for Sex, BBC Three, 06/12/2011; The Media Show, BBC Radio 4, 27/08/2014; Frontlines of Journalism, BBC Radio 4, 04/07/2023; Symphony No. 39 in E-flat major, KV 543: Adagio. Allegro, Performed by Bruno Walter, BBC Symphony Orchestra, Composed by Wolfgang Amadeus Mozart; Siegfried, Act II Scene 3: Willkommen, Siegfried, Performed by Manfred Jung, Heinz Zednik, Bayreuther Festspielorchester, Conductor Pierre Boulez, Composed by Richard Wagner; Le nozze di Figaro, K.492, Act 3: Ricevete, o padroncina, Performed by Radio-Symphonie-Orchester Berlin, RIAS Kammerchor, Conductor Ferenc Fricsay, Composed by Wolfgang Amadeus Mozart; Das Rheingold, Scene 1: Lugt, Schwestern! Die Weckerin lacht in den Grund, Performed by Norma Sharp, Ilse Gramatzki, Marga Schiml, Hermann Becht, Bayreuther Festspielorchester, Conductor Pierre Boulez, Composed by Richard Wagner