Podcasts about Yehudi Menuhin

El 9 de junio de 1891 nació en una pequeña población del estado de Indiana uno de los mayores compositores de la historia de la música popular. Clásicos de Cole Porter en grabaciones de Stéphane Grappelli & Yehudi Menuhin ('I get a kick out of you'), Louis Armstrong ('Let´s do it'), Ella Fitzgerald ('Love for sale', I love Paris'), Frank Sinatra ('I´ve got you under my skin', 'Just one of those things'), Tony Bennett & Lady Gaga ('I concentrate on you'), João Gilberto ('You do something to me'), Bebel Gilberto ('Night and day'), Caetano Veloso ('So in love'), Melody Gardot ('Get out of town') y John Coltrane ('Everytime we say goodbye').Escuchar audio

David Singer is an internationally acclaimed musician whose performances include the White House for President Jimmy Carter and later for President Bill Clinton. He was a guest artist for many seasons with the Lincoln Center Chamber Music Society and performed chamber music concerts with Yehudi Menuhin, Yo-Yo Ma, Rudolf Serkin and members of the Guarneri and Emerson String Quartets. David Singer is an Emeritus co-Principal Clarinetist of the multi-Grammy Award-winning Orpheus Chamber Orchestra. His performances have been seen on the BBC and heard on Sirius XM. In this episode I ask how a young man fell in love with baseball, the beach, girls and a clarinet. On this journey I discover a rich life, all of which is laid out in his book from From Cab Driver to Carnegie Hall. David Singer https://singerclarinet.com/book/buy-t...

Londra'da genç bir piyanist konuğum var: Can Arısoy. Dünyanın en ünlü müzik okullarından Yehudi Menuhin'de tam burs alarak 14 yaşında Londra'ya taşınan Can, Londra'nın en prestjli müzik okullarından Guildhall School of Music'te yine tam burslu olarak lisans eğitimini bitirip şimdi orada master yapmaya devam ediyor. Zetland Vakfı, Talent Unlimited, Dr Nejat Eczacıbaşı Vakfı, Sevda Cenap Müzik Vakfı gibi çeşitli vakıflar tarafından da desteklenen genç bir sanatçı. Bir yandan eğitimine bir yandan sanat çalışmalarına devam eden Can, ayrıca yapımcılık ve film besteciliği de yapıyor. Geçtiğimiz sene kendi başvurusuyla İngiltere'de yeni başlayan Global Talent vizesine geçiş yapan Can ile hem bu vize türünü, hem aldığı bursları ve eğitimini hem de sanatçı yönünü konuştuk.Bu bölüm, İngiltere ve İrlanda'da öğrenci konaklaması için en iyi imkânları sunan GoBritanya'nın katkılarıyla sizlere buluşuyor. 2013'ten beri öğrencilere konaklama çözümleri sunan GoBritanya, özellikle uluslararası öğrencilerin ilk tercihi olmaya devam ediyor. Daha fazla bilgi için www.gobritanya.com'u ziyaret edebilirsiniz

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

Alain Lanceron est le Président de Warner Classics & Erato, seuls labels classiques d'une major du disque, poste qu'il occupe depuis 2014 suite au rachat d'EMI par le groupe Warner. Une multinationale au catalogue impressionnant : Maria Callas, Herbert Von Karajan, Nathalie Dessay, Martha Argerich, Gautier et Renaud Capuçon, Daniel Barenboim, Alexandre Tharaud, Laurence Equilbey, Elisabeth Schwarzkopg, Hélène Grimaud… Quand on l'interroge sur son enfance, on n'est pas surpris que ce Niçois d'origine de 75 ans ait fait une si longue carrière dans la musique classique. Musiques : Carmen “Habanera” Conchita Supervia “Overture” Verdi : Un Ballo In Maschera. Royal Opera House Covent Garden, Sir Colin Davis “Le Crépuscule des Dieux” de Richard Wagner, mis en scène par Patrice Chéreau et dirigé par Pierre Boulez à Bayreuth en 1980 Norma: Act I: Casta diva · Maria Callas, Orchestre National de l'Opéra de Paris dirigé par Georges Sebastian “Overture” d'Alcina de Handel, dirigé par William Christie avec les Arts Florissants Fauré: 3 mélodies, Op. 7, N°1, Après un rêve - Barbara Hendricks avec Michel Dalberto Grieg: Lyric Pieces, Book 2, Op. 38: N°1, Berceuse - Bertrand Chamayou Piano Concerto en ré majeur, Op. 61a. Allegro non troppo - Yehudi Menuhin, Sinfonia Varsovia, François-René Duchâble Musique originale : Léonie Pernet

I'm joined by Janusz Marynowski the director of Sinfonia Varsovia, Poland's biggest and most successful orchestra and one of Europe's finest. We talk about their upcoming tour, their past directors including Yehudi Menuhin and Nigel Kennedy and their future.Learn more about them at: Sinfonia Varsovia

durée : 00:25:12 - Daniel Hope, violoniste (5/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formaation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

durée : 00:25:05 - Daniel Hope, violoniste (1/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formaation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

durée : 00:25:13 - Daniel Hope, violoniste (2/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formaation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

durée : 00:25:19 - Daniel Hope, violoniste (3/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

durée : 00:25:06 - Daniel Hope, violoniste (4/5) - par : Judith Chaine - Musicien curieux, humaniste et engagé, le violoniste Daniel Hope est notre invité cette semaine. De sa relation privilégiée avec Yehudi Menuhin à ses années au Beaux-Arts Trio en passant par sa formaation auprès de Zarkhar Bron, il se livre sur sa vie musicale et sur sa vision de l'artiste. - réalisé par : Adrien Roch

Rodney Trudgeon's guest on People of Note this week is the South African born viola player, educator and philanthropist Louise Lansdown who is serving as Head of Strings at the Royal Northern College of Music in Manchester and Professor of Viola at the Yehudi Menuhin school. Louise also directs two major viola competitions in the UK and has been in Cape Town to play principal viola with the Mzanzi National Orchestra.

Hoy en la radio recibimos a Beatriz de nuevo, con el proyecto Xcelence. Esta vez nos hablan sobre una iniciativa que han hecho con alumnos, y sobre la ayuda a estduios de hotelería que está brindando la fundación Mahou. A demás, entrevistamos a Fernando Careaga, colaborador de la Fundación Yehudi Menuhin, que nos está ayudando mucho a preparar nuestra performance para el día de la Infancia en el CaixaForum. Disfrutad !!!

The Sixth Annual Elgin Thanksgiving Day Greeting To America, originally broadcast November 27, 1947, 77 years ago. Jimmy Durante and Garry Moore perform together for the first time "since getting shows of their own." "News Scoops From Hollywood," Candy Candido appears as "Mr. Ripple." Fifteen-year-old Mary Jane Smith sings. Sir Lancelot sings a calypso watch commercial!Larry Storch does impersonations. Margaret Whiting and Vera Vague join Jimmy Durante singing a clever original parody about a possible woman president. The Page Cavanaugh Trio sings a delightful Elgin commercial to the tune of, "The Lady From Twentynine Palms."Bob Sweeney and Hal March drive to the studio. The winners of the SPEBQSA competition sing barbershop harmonies. Yehudi Menuhin plays "Habanera" by Sarasate (accompanied by his sister on the violin). He then plays a duet with another violinist...Jack Benny! Artie Auerbach does an Elgin commercial as, "Mr. Kitzel.Cathy and Elliott Lewis are featured in a well-written story about a housewife's last day. Good radio! "A Child's Thanksgiving" features Red Skelton as, "Junior, The Mean Widdle Kid." After he says grace, Clem Kaddiddlehopper finds himself in one of the Elgin watch commercials!Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

Hector Berlioz (1803 – 1869) - Aroldo in Italia, op. 16Sinfonia in 4 parti per viola concertante e orchestra1. Harold aux montagnes. Scènes de mélancolie, de bonheur et de joie     [00:05]Adagio (sol maggiore). Allegro2. Marche de pèlerins chantant la prière du soir                                                  [16:30]Allegretto (mi maggiore)3. Sérénade d'un montagnard des Abruzzes à sa maîtresse                           [25:30]Allegro assai (do maggiore). Allegretto. Allegro assai. Allegretto4. Orgie de brigands. Souvenirs des scènes précédentes                                [32:02]  Allegro frenetico (sol minore)Philharmonia OrchestraYehudi Menuhin, violaSir Colin Davis, direttore

This episode features violinist Madeleine Mitchell introducing the return of the Red Violin Festival in Leeds, her connection with Yehudi Menuhin, and the career-long fascination with composer Herbert Howells whose In Gloucestershire Quartet forms part of a new release of recordings on the SOMM label of rarely heard works by the English composer. The Red Violin Festival runs from 14th to 19th October 2014. Madeleine Mitchell and the London Chamber Ensemble's recordings of works by Howells and Charles Wood is released on Friday 18 October.

On this latest Interplay, Conversations in Music, Michael Shapiro speaks to his longtime friend, composer Malcolm Singer about a lifetime spent in music, from the days of his study with Nadia Boulanger, to his work with Yehudi Menuhin as head of the Menuhin School, to his work with countless musicians, and his leadership in bringing along generations of young composers and players. A thrilling examination of a composer's life. Not to be missed! www.michaelshapiro.com

durée : 01:29:05 - Lord Yehudi Menuhin, violoniste légendaire et chef inspiré - par : Aurélie Moreau - Enfant prodige, Yehudi Menuhin avait débuté en concert à 14 ans dans la Symphonie espagnole de Lalo, avec l'Orchestre Symphonique de San Francisco. Il fut l'un des plus grands violonistes au monde par sa virtuosité, sa musicalité et son humanité.

It's been almost seventy years since the arrival of Indian classical music in Europe and the United States. Starting in 1956, English violinist YEHUDI MENUHIN's interest in Indian music led to collaborations and concert tours with two of the then hottest young musicians in India—sitar master RAVI SHANKAR and sarod master ALI AKBAR KHAN. It was the beginning of a period of cross-fertilization of Indian and Western classical music. And in the 1960's, the famous adoption of the Indian sitar by GEORGE HARRISON of THE BEATLES brought awareness of Indian music to the mainstream. Today, recordings, films, videos, and digital networks have led to a broadening of cultural communication, where influence and interaction occur across many genres simultaneously. Western musicians study Indian microtonal scales, play Indian instruments, and create new hybrid styles—while Indian musicians study western tempered scales, harmony, and orchestration, play electronic instruments, and extend the traditions of Indian music to an international audience. On this transmission of HEARTS of SPACE, contemporary, traditional, and sacred sounds of India, on a program called INDIA NAVIGATION 2. Music is by sitarists JASDEEP SINGH DEGUN, ANOUSHKA SHANKAR, and NILADRI KUMAR, bansuri flutists MARK SEELIG and VIRGINIA NICOLI, sarod and santur by CHINMAYA DUNSTER, and producer CRAIG PRUESS and the great devotional singer ANURADHA PAUDWAL. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

durée : 01:02:27 - Yehudi Menuhin et l'Inde - par : Françoise Degeorges - Yehudi Menuhin et l'Inde, vu par Marianne Poncelet et Kiran Vyas - réalisé par : Pierre Willer

Matt and Rob sit down with the legendary progressive rock guitarist, Steve Hackett formerly of GENESIS and GTR Steve talks about his current tour (recently winding down) called FOXTROT AT FIFTY, what the term progressive means, what John Lennon said about Genesis, his incredible new album "The Circus and the Nightwhale" and more. We had 30 minutes to talk to Steve which in itself is incredible since he was in the middle of a tour of the US. ******** JUST A LITTLE BIT ABOUT STEVE HACKETT: Steve Hackett is renowned as an immensely talented and innovative rock musician. He was lead guitarist with Genesis as part of their classic line up with Gabriel, Collins, Banks and Rutherford, that produced acclaimed albums such as Selling England by the Pound (a favourite of John Lennon). With Steve's extraordinary versatility in both his electric guitar playing and his composing, he involves influences from many genres, including Jazz, World Music and Blues. He is equally adept in his classical albums that include renditions of pieces by composers from Bach to Satie, his own acoustic guitar compositions that have gained the admiration of many, including Yehudi Menuhin, and ambitious guitar/ orchestra albums such as A Midsummer Night's Dream, recorded with the Royal Philharmonic.   With Genesis, Steve's guitar playing produced some of the most memorable moments, from the sensitivity of his acoustic sound on Horizons and Blood on the Rooftops to the dramatic rock guitar solos of Firth of Fifth and Fountain of Salmacis. As he embarked on his solo career he developed his exceptional range, pushing musical boundaries into exciting areas, inventing new sounds and also techniques such as 'tapping'. His solo career went from strength to strength and the mid eighties not only saw the hit single Cell 151, but also the Steve Hackett and Steve Howe super group GTR, highly successful in America. ************ You can find STEVE at hackettsongs.com, Facebook and Instagram (@stevehackettofficial)  Be sure to listen to his incredible new album THE CIRCUS AND THE NIGHTWHALE! ************ KNOW GOOD MUSIC can be found on Podbean (host site), Spotify, Apple Podcasts, Iheart Radio, Pandora and almost anywhere you listen to podcasts.     If you go to www.linktr.ee/knowgoodmusic you can find all the links to the podcast platforms we are on.    Visit our YouTube Channel where you can see video promos from some of our interviews.  Just search "know good music"."

A veces siguiendo la actualidad musical te encuentraS con la sorpresa de que un disco está confeccionado con un concepto tan didáctico que te soluciona, y bien solucionado, un programa radiofónico. Uno de los violinistas más cotizados de los último tiempos, el sudafricano DANIEL HOPE, DE 51 años y discípulo del gran Yehudi Menuhin, ha querido hacer un recorrido por la música bailable, desde la Edad Media hasta nuestros días. En total 42 composiciones que nosotros vamos a reducir a 14. Es un precioso viaje por el baile y algunas de sus piezas más famosas. De ahí el título del álbum: BAILE!

Grammy nominated Welsh cellist and conductor Paul Watkins has enjoyed an illustrious musical career. Whether performing as a chamber musician or music director, his talent for collaboration is unparalleled. Paul reflects on his early beginnings, why he saw professional classical musicians as untouchable in his youth, and how this perspective changed while he attended the Yehudi Menuhin school as a teenager. David asks what it was like to lead the cello section of the BBC Symphony Orchestra at age 20 without any professional experience (terrifying!) and how Paul found the courage to ultimately forge a path as a soloist and chamber musician. Paul discusses how he nearly turned down an audition for the famed Emerson String Quartet, which he ultimately joined thanks to his encouraging wife and a bottle of champagne! To close it out, Paul leaves listeners with invaluable advice.Check out Paul Watkins on Spotify, Apple Music, or the web.You can listen to and learn more about the Emerson String Quartet on YouTube, Twitter, Facebook, Instagram, Apple Music, Spotify, and the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Paul Watkins by Jurgen Frank.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2024 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:25:38 - Disques de légende du mardi 26 mars 2024 - Menuhin déclara à la fin de sa vie que Furtwängler était le chef d'orchestre qui l'avait le plus marqué.

Il y a 25 ans que nous a quittés celui qui est considéré comme un des plus grands violonistes du XXème siècle : Yehudi Menuhin. L'occasion pour nous de lui rendre hommage, au travers de sa musique, bien sûr, mais surtout en réécoutant ce qu'il disait de l'humain, du monde, de la société, et de lui-même. Des paroles de sage puisées dans les archives de la Sonuma. Sujets traités : Yehudi Menuhin, musique, violoniste,russe Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

12. März 1999. Der Geiger Yehudi Menuhin tritt seine letzte Reise an. Er stirbt in einem Berliner Krankenhaus an einer Lungenentzündung. Für einen Moment steht die Musikwelt still.

Part II Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   Transcript     Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories.  My name is Linda Lespets and my co host is Eric Wan. This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out. So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909. Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And  he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents.  Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest  version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin.  Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship.  She's an astounding player. And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it's quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the Halling Dance. And the Halling Dance is danced, it's danced by men at weddings or parties, and there's really no other way to describe it than breakdancing and it's like the ancestor of breakdancing. So what happens is the men, they show off their prowess to the ladies by doing this really cool sort of these acrobatics and the music for this hailing dance itself is quite tricky and you have to play it with like a rhythm to get the crowd moving and to give the dancer like the impetus to do his tricks and the men, they wear these like traditional costumes of like high waisted breeches and red waistcoats with long puffy sleeves and this little black hat. It's a bit like Mr. Darcy meets Run DMC.  You've got this man in this traditional dress doing this breakdancing, basically. And then they do they do backflips. They do that thing where you hold your foot and you jump through it with your other foot. They do like the caterpillar move. Even like spitting around on their heads. And what happens is they'll be, they'll be dancing to this music often played with, you know, the epinette and they'll be spinning around and then intermittently after spinning around, they'll do, you know, the backflip and the headspin or the, the caterpillar. And it's, I don't know how they do it. It's, they must be very dizzy. Anyway, it's incredible. And then sort of the climax of the dance is that there's a woman also, you know, dressed traditionally, and she's got this pole, this long pole. And on the end of the pole is a hat. And the idea is you have to kick the hat off, but the pole is three meters high.  So she's standing on like a ladder with the pole. And so the dancer, he'll do this kind of flying kick in the air. Either you can, you kick it off or you miss it. So in Johan Halvorsen's concerto at the end, there's this high harmonic and that you either have to hit on the G string. And like in the dance, you know, you're hitting that hat off. And so you're always there. You're always wondering if the soloist can pull it off. Can they, can they hit that high harmonic? And it's, it's the same sort of the equivalent of the spinning high kick from the dance. So, and if you were Norwegian, You would get this, I think, from the, from the music and you'd hear it. You hear that you do hear it in the music. So Kathleen Parlow, she plays this Halversen concerto and she plays it three times that year, and when she plays the piece in the National Theatre in September, there's sort of, there are mixed reviews with the critics saying that the piece was too unconventional. It's a little bit different and here's where Halvorsen, he like, he kicks up a stink a bit. This, because this concerto is like his baby and he's really protective and he's like, you know, he's quite fragile. He's, he's worked so much on this thing and people are just saying, you know, nasty things.  They don't understand the work that went into it. Yeah, you write a concerto.  So people, they flocked to hear Kathleen play Johan Halversen's concerto at the theatre. And it was full to bursting on several nights in a row. And if you consider on the same night in Oslo in another hall, Fritz Kreisler was playing and here you have Kathleen Parlow and people are just like cramming in to see her and Halvorsen's concerto. She was a huge name in her time. Only after a few performances and the negative critiques, Johan Halvorsen, he cancelled all the future performances of the work and, and when he retired, he burnt the manuscripts and asked for all the copies to be destroyed as well, it really, he was really hurt. Well, it was to be lost forever, except So a hundred years later, a copy of the concerto was serendipitously found in the University of Toronto's Faculty of Music, when one of the employees was looking through, not music, but personal documents of Kathleen's and it had been filed in there by mistake. And because it was with her personal files, it hadn't really, like her letters and things, it had been overlooked. So they found it and they resurrected it and they've re performed this concerto that had been lost for a hundred years.  And that's another role as a musician. You're also not managing, but you also have to deal with composers that could have quite be quite touchy and everything like a musician has to have, have on their plate. Well, I think being a musician, not only do you have to have an incredible skill level, you have to have an engaging personality. You have to be able to transmit a personality through the music itself. And you have to have incredible social grace to navigate charming not only your audience, but charming the people who create the concerts, the sponsors, the people who bankroll them. I think it's an incredibly difficult task. Because the skill level playing the violin is so difficult. That in itself would take up most people's energy. But on top of that, also have to be ingratiating and charming. I think it's an incredibly difficult life. Yeah, must be exhausting. And she does get exhausted. She'll have Breakdowns through, like her first one is when she's about 22. She has like almost like a nervous breakdown. And so it's kind of, she runs hot for a long time and then crashes.  And it might be like, you're saying like all these different things they have to, all the balls that they have in the air that they're juggling to keep it going. Kathleen Parlow, she's still in her teens. She's still a teenager. She has incredible success. She's performing in Germany and the Netherlands. And later that same year, she returns to Canada where she makes an extensive tour. She makes her debut in New York and Philadelphia.  I mean, she's just like, she's just all over. I mean, America's a big place and she's just all over the place.  And then in 1909, at the age of 19, she gets a recording contract with the gramophone company known as his master's voice. And that's the one with the dog listening into a recording trumpet.  And she was offered a 10 percent artist's royalty figure. So is that good? Getting 10 percent royalties? Yes. A 10 percent royalty at that time. is really quite unheard of. I believe the gramophone company gave that to their superstars. Louisa Tetrazzini, for example, was the great coloratura soprano of the day, and she received 10 percent of the sales royalty. So for Kathleen Parlow to be receiving that percentage really attests to her status. Yeah. And like you were saying before, it was, it's like amazing that we've forgotten about her. Oh, it's kind of astounding. She was an absolute star. The concert halls and one newspaper wrote an article and I quote one of the articles, the young woman could not mistake the furor she created. She was, so she was described as the greatest woman violinist in the world and the girl of the golden bow and Of course the obsession with her willowy figure and pale complexion and feminine wilds continues Which is sort of I mean even the case today I suppose will people will go into describing a woman and what she's wearing what she looks like a bit more than a guy, this thing that's just pervaded and then there was Einar Bjornsson, always there in the background. The communications between them, himself and Kathleen, was sort of constant. He was always visiting and in her diary she was, you know, just abbreviating his name because it was so his feelings for the young woman were extreme and the money he borrowed from his father, he would never be able to repay. So he was sort of indebted his whole life because of this. It must have been a little bit awkward explaining to his wife as well where the money has gone. Yeah, it's a big chunk of her dowry. I mean, even if he did tell her, maybe, you know, I don't know, maybe he didn't tell her. Maybe she, it was possible for him to do that. I'm not sure how the laws in Norway work. If, you know, sometimes in some countries, once you marry, your, your money becomes your husband's.  Basically, after the successful gramophone company recordings, she was really launched her career. She travelled all over. She travelled to, back to the United States, even though she's from Canada. She was regarded as a British artist, primarily because Canada was part of Britain, but then she made her success in the United States. And she was a very big success, so much so that the Columbia Record Company decided to offer her a recording contract. Now, there were two main companies in the United States. One of them was the Victor talking machine, which is essentially, that later became RCA Victor when it was bought by the Radio Corporation of America. But it originally started as the Victor talking machine. They had many, many big artists. They had people like Fritz Kreisler and Mischa Elman, and they also engaged a female violinist by the name of Maude Powell, who was an American born violinist. And so the Columbia Record Company decided that they should have their own roster of great instrumentalists, particularly violinists. And so they signed up Eugene Ysaie,  the great Belgian violinist, but at the same time they also signed up And I think, in a sense, that was to somehow put themselves in competition with the Victor Company. These two major record companies in the United States. So you had  the Victor Company with Mischa Elman and Fritz Kreisler and their female star, Maude Powell. And then you have Columbia answering back with Eugenie Ysaie and their female star, Kathleen Parlow.  Yeah. So you have like we were saying, like all the relationships that you have to keep juggling as a musician. And I think what Kathleen Parlow had on top of that was this. This complicated relationship with Einar, her, her patron, who was, who it was, it's all a bit ambiguous what was going on there, but she also had that in the equation. So it's not surprising that she had multiple breakdowns like she would just go for it and then, and crash. And she plays, I think Kreisler's tambourine chinois. And was that because there was sort of this, like this kind of fascination with the Orient at that time in the, in like the 1910s, 1920s? Well, the origin of tambourine chinois, apparently according to Kreisler, but Kreisler always spun tall tales. He said that he was in a Chinese restaurant in San Francisco when the idea, the musical ideas of tambourine chinois came to, to being. So, but Kreisler always. You know, invented stories all the time. I mean, the thing is, it's a very  playful, it's a very you know, fun piece of music. It's very bustling.  So, hence, that's why probably Fritz Kreisler is associated with a busy Chinese restaurant in San Francisco, because it's very, very bustling in its character. But the middle section of Tamborine Chinois It's Act Viennese,  so it's funny, because the middle section, when you hear it, it doesn't sound like anything  to do with the Orient, or if anything, it sounds like the cafe, coffeehouses  of Vienna. Yeah, it'd probably be cancelled anyway today. Well, if they heard that story, it certainly would. Then, she actually only does her first tour in America when she's 20. Kathleen, she continues with her endless touring and concert. Her money management was never great, although, you know, she's still, she's still earning quite a lot of money, and her mother and herself had, they had enough to live on, but never enough to be completely hassle free. And not that she wanted it, it seemed like she was sort of addicted to this life of the stage, and she once said when she was older that she thought maybe she had to get a job teaching, but she just couldn't do it.  She played more than 375 concerts between 1908 and 1915 and, and you can believe it to get an idea. So she's 19 year old's touring schedule. Here are the countries she played in in 1909. And you have to remember the concerts are nonstop every night, almost in different cities, but here are just, here are just some of the countries she travelled to in this year, in 1909. Germany, England, Poland, Netherlands, then she goes back to England, Ireland, Germany, England, the Netherlands, Norway, Wales, England again, Ireland again, England, Scotland, Poland. Man, I gave it, it was just, you know, huge. And in her diaries we can see that she's, like, she's just a young woman, like, about town when she's in London, she takes trips to the theatre, and she talks about going to see Madame Butterfly, and she goes shopping, and she goes to tea with people she has like, appointments at the dressmaker for fittings for new dresses, and, and all of this is in between lessons, and rehearsals, and concerts. And her diary is just jam, she has these day books and they're just jam packed. Then Auer when he comes to London, her diary, it's like she has lessons with him. And you can see she's sort of excited, she's like hours arriving and then she'll see him and then she'll often have lunch with him and lessons and sometimes the lessons are at eight o'clock at night or, or 10am on a Saturday or at the middle of the night on a Monday. And she'll skip from him to rehearsals with her pianist from Carlton Keith. And she's lots of tea. She's going to tea a lot with a lot of different people. She's still only 19 here. So her popularity, it's like, it's far reaching and she's not just playing like classical music. She'll also play just popular pieces of the day. There's Kreisler's Tambourine Chinoise. And then she'll play, there's some of the recordings. They're these Irish, little Irish. Songs. So it was to appeal to the general public as well, her repertoires and her recordings. And then in 1910, she turns 20 and she has her first tour in North America. And then in 1911, the New York Herald declares her as one of the phenomena of the musical world on par with Mischa Elman. That must have been frustrating because for years she's in the same class as him and she knows him. And everyone just keeps comparing her to, she's like, Oh, she's almost as good as this guy. But no, here they're saying she is as good as this guy. I could just, must've been a little bit frustrating. Then she makes an appearance with the Toronto Symphony in 1911 and she'll go back there many times. And in the next year, in 1912, she moved with her mother, who's still her mentor and manager and chaperone, to England, where they, they rent a house just out of Cambridge, you know, in the peaceful countryside away from the big cities. And in between her touring from here, she went, she goes to China, to the U. S., to Korea and Japan. And in Japan, she records with Nipponophone Company. She recorded quite just in a not much in a short space of time. She could have, she could have recorded more afterwards, because yeah, but she doesn't. Then the news of the tragic sinking of the Titanic in April had Kathleen jumping on a streamliner herself to play a benefit concert in New York for the survivors of the disaster. And I've seen that booklet, and that you open the booklet, and there's like, life insurance.  And then there's actually ads for another streamliner, and you're like, too soon, too soon, people don't want this. And then she plays, so on that same trip, she plays at the Met Opera. She plays Tchaikovsky's Serenade, Melancholique.  And in New York, she signed up by Columbia Record, by the Columbia Record Company. And her first records for the US label are brought out alongside those of Eugene Ysaye. So she's alongside these, they all, they must've all known each other. She was a contemporary and she just kind of slips off the radar. And as with all the recordings of the great violinists of the day, most of Paolow's recordings on American Columbia were of popular songs and that, that would attract the general public. But the fact that most of these recordings were accompanied by an orchestra and not just piano highlights her status as a star. So they had the, they got together an orchestra for her, so she's worthy of an orchestra.  Still in 1912, Kathleen, she's 22 now and she's been traveling so much, she's, now it's happening, it's hitting her, she's exhausted and she has a kind of breakdown it'd probably be like a burnout and, which, it's amazing she's lasted this long, since, you know, age 5, 6, up to 22. So she's both mentally and physically exhausted and her mother, acting as her agent, realizes that she needs to reduce some of her tours. She retreats to Meldreth, that's that house just outside of Cambridge that they have, that they've been renting. It's quite close to London, that little cottage that they have. They have easy access to London by train. And not only could they go easily to London, but traveling, traveling businessmen! From Norway! Could come to them! Easily. She continues with the concerts, one at Queen's Hall in London. So she has her little burnout, but then she's back again. Plays Schubert's Moment Musical around this time. After they've rented this home for four years, they end up buying it. So she does have enough money to buy a house, so she is you know, not frittering away all her money. So this gives her some sort of stability. And it, even though it's a, it's still a very unusual existence for a young lady of the day. So she's breaking a lot of stereotypes and this could end up being exhausting after a while. So it was nice for her to have a calm place to kick up her heels or fling off her corset. But no, she didn't, but willowy frame, she doesn't look like she's got a corset. I don't think you can play. Can you? Could you play that much? You know, you can't breathe. But, but, aren't there like old photos of, of lady violinists in corsets? I don't know how they do it. Like, you can't.  Well, you had to do everything else in the corset.  But you get kind of hot and sweaty and you're under the lights and it must have been exhausting. At least she was like lucky to have that pre Raphaelite fashion where she could be wearing, you know, the flowing sort of we're heading into the, the sort of the looser clothes in this era. But I think some people are still hanging on to corsets, but it's like the end of corsets and you're getting more loose clothing thankfully for her. And according to letters Kathleen wrote to friends her and her mother, and they fell in love with the village life in Mildreth. Kathleen was able to relax and lead a normal life in between tours. And then in 1915, you have World War I hits, and her tours are less frequent. Her, her patron Einar, must have been having some lively fun. Dinner conversations with his family on opposing sides.  So you've got, you know, with his, you know, fascist party, enthusiastic brother and his ex-prime minister brother in law and his theatre operating lefty brother and his Jewish wife and his Left wing satirical journalist sister, and her German husband, and then,  and then his patriot father. So Einar probably just wanted to run away to willowy Kathleen, and her stunning violin. But she remains in England for much of the war, and she does a few concerts locally.  And her diary is quite blank until about 1916. And she uses, like, so she uses this time to relax. So ironically, she needed a war. To have a rest. That was the only thing slowing her down. She could, because she couldn't travel and tour. Now she's 26, but I feel like she's just, she's lived so much already. It's incredible. So Meldreth was the happy place where she enjoyed their lovely garden and their croquet lawn and Miss Chamberlain from the Gables next door would come and play croquet and she could escape to another world, almost. She'll go through periods of having these sort of breakdowns. I think she just pushes, there are some people like that. They'll push themselves; they just keep pushing themselves until they collapse. And I feel like she was one of, she looks like she didn't really pace herself. She just went, just hurtling into it. She just catapults herself into life and concerts and playing.  In 1916, she returned to the US. She toured Norway and the Netherlands. For playing she was said to possess a sweet legato sound that made her seem to be playing with a nine foot and was admired for her effortless playing, hence her nickname, the girl with the nine foot bow. So yeah, so she must have had this really kind of, it's hard to tell, you want to be there in the concert hall to hear her. I feel like the recordings don't do her justice. A lot of Experiencing music and these pieces is actually going to a concert and it's the same today listening  on a you know, at home, it's not the same as being in a concert hall and having that energy of the musician and the energy of the orchestra and the and the audience,  it's very different dynamic. She recorded a few small pieces for Columbia records. And then that was, that was it. And we have no more recordings of her. And between 1917 and 1919, she wasn't able to tour outside England due to the war that was going on. And for the last 12 years, Einar Bjornsson had. He'd been this presence in her life, but now in the summer of 1920, he visited her one last time in London before sailing home for good. So that.  So it finishes at this time, so he was, he was married, he had children, he was also broke. Buying a horrendously expensive violin and giving it to a girl can do that to you. And Kathleen writes, Kathleen writes in her diary simply, E. B. Sailing home. Einar had to return to his family as soon as possible because he couldn't afford to divorce his wife. Elspeth Langdon, she was, she wasn't going to let him off that easily. And if he left, he would have had to repay the, the dowry, I imagine.  Thank you. Thank you very much.  As I said, there are just no letters of her correspondence. There's correspondence between her and everyone else, but not with them. So that still remains. But you can sort of see by circumstance what was kind of going on. And after the Great War, Kathleen Parlow, she resumed her career in full force. She gave several world tours traveling to the Middle East, to India, to China, to Korea and Japan. And she toured the States, Canada, Indonesia and the Philippines in that year and she played concerts in 56 different cities. It was just non stop and in, and when I say 56 different cities, that's not 56, you know, concerts. That's like multiple concerts in each.  City, night after night.  And then in 1926, Kathleen and her mother, they leave England and they move to San Francisco. She takes a year off due to her mental health. So again, she's like, she's overdone it. The stress and basically, you know, a nervous breakdown and she's now in her mid thirties. But after having this year off, she's back onto it. She's back touring again. It's like this addiction, like you were saying, this is what, it's kind of like her, what makes her run. It's what, You know, keeps her going. But at this point she begins to slow down slightly and she starts teaching a bit. Starts teaching more and in 1929 she tours Mexico and she travels without her mother for the first time. Because her mother, Minnie, she would have been getting quite old and then Kathleen she's 39 now. So despite playing many concerts and receiving very high praise financially, she's barely kind of breaking even and she later told an interviewer that when things were very hard she and her mother had talked about her getting a job to ensure their security for the future but she just couldn't do it. And then, but then she did end up teaching at Mills College, Oakland, California. For from 1929 to 1936, but then her world tours continued and this is like, this is how she thrived, even though she would, you know, she'd crash and burn and from the exhaustion and, but then, you know, then she would go back. She realized she had to teach to earn some money. And then she returned to Canada in 1941, where she remained until she remains there until she dies in 1963.  She's offered a job at the Toronto College of Music and she begins making appearances with orchestras. She has a pianist, she has the, she creates the Parlow String Quartet, which was active for 15 years. Even though this time was difficult financially for her, she would,  she would never give up her violin. You know, she was struggling, just scraping by, but she, she would never give up her violin and so, I mean, it was a tricky situation. It was, it was a gift. Yeah. I mean, could you imagine? Like, she must've realized what Einar went through to give this to her and she can't, you know, she can't just be like, I'm going to sell it. So there's this sort of, it's like she's holding on to a bit of him really, like, by keeping it, if she, she gives that up.  So she taught at the University of Toronto and on her wall was a large portrait of her teacher, Leopold Auer, whom she would always refer to as Papa Auer. Now that she'd given up her career as a soloist, but she still remains very active in chamber music, concerto appearance. October of 1959, she was made head of the string department at the London College of Music in West Ontario, Canada. She never marries, and she dies in Oakville, Ontario, in 1963 at the age of 72. She kept her Guarneri del Gesu until her dying day, and the instrument was sold with her estate. The Kathleen Parlow scholarship was set up with the proceeds from the sale of her violin and the money from her estate. So Kathleen Parlow was a somewhat extraordinary woman, ahead of her times in many ways, and her relationship with Einar, must have been pretty intense. And it was, there was obviously strong feelings there. And even though it's a very grey area, we don't know her love life contrasts with her, her brilliant career and her phenomenal touring and the, the energy that she had to do, it was.  Exceptional she just does these brief recordings and then she does no more. And maybe, maybe that's why we've forgotten her. Have the other, did the others go on to keep recording? Well, they did. They certainly did. I think I'm surprised that Kathleen Parlow didn't make more recordings. I really am. And I don't know what that's about. I can only speculate, but I think she also kind of retreated from concertizing, didn't she,  in her twenties? So, I mean, you know, she did play as far afield as the, you know, she went to China, she went to Japan. She even made recordings for the Niponophone Company in the early twenties. So she was obviously still a great celebrity. But it's sort of puzzling how somebody who had all their ducks in place to make a superstar career. You know, she had  talent, she had beauty, she had interest. You know, from the public, so support from her teacher, all those elements would guarantee a superstar career. But it's so mysterious that she kind of fell off the radar. So much so that her name is completely forgotten today. Yeah, it's one of the big mysteries, but it's really quite remarkable that she was such a terrific violinist, even at the end. It wasn't that she lost her nerve or lost her playing ability. She obviously had it. So there are definitely other factors. that made her withdraw from public concertizing.  And just her touring schedule is just exhausting. Like just the traveling. Yeah, it's crazy. I mean, I mean, this is truly an example of burnout. Yeah. But, but then she would, she would have the crisis and then she'd be back on, she'd be back touring.  Well, you know, she was pretty resilient. But I think just the sheer number of years, I think, must have taken its toll. I think she loved being in England, in Cambridgeshire. I think those were some really happy years for her, to have a home and in a beautiful setting. But it really, it's a very complicated life and a life that really, one would want to try to understand in a deeper way.  Yeah, and it seems a little nothing was ever very simple. Yeah, and she never, she never marries, she never has a family. It's Yes. Her life is really And you'd imagine she'd have suitors, you know, send them off because, you know, she was a talented, beautiful woman. So she's got Misha Elman. He could, like, if you were a man, you could easily get married and then your wife would have children. But at that time, if you married, like, she had to choose between getting married and her career. You couldn't work if, like and it often, like, you weren't allowed to work. Absolutely. Terrible. No, it's true. So she had this like, this threat, and that's all she could do. That was her life playing. And then if she married, that would be taken away from her. So she had to decide between, you know, a career and this. It's kind of, it's a bit sad, but yeah, it's a huge choice that she made and she  was married to life. Yeah. The sacrifice. One way or the other. Well, I think it's wonderful that she is being remembered  through this Buddulph recordings release.  And it's the first time there's ever been a recording completely devoted to her. So I'm really glad that. will be able to somehow restore her memory, just a little bit even. Well, thank you for listening to this podcast. And I hope you enjoyed this story about the incredible Kathleen Parlow.  If you liked the podcast, please rate it and review it wherever you listen to it. And I would really encourage you to keep listening to Kathleen Parlow's work. What you heard today were just excerpts from her songs. So if you would like to listen to. The whole piece, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version.  Goodbye.   ​ 

Jess Gillam meets Swedish-Norwegian violinist Johan Dalene to swap some of their favourite music.At 23 years old, Swedish-Norwegian violinist Johan Dalene is already the winner of several awards, including the prestigious Carl Nielsen Competition in 2019, the Gramophone Young Artist of the Year Award in 2022, and a Swedish Grammy in 2023. His music choices include a squelchy bassline from Thundercat, a Swedish Eurovision classic, and a virtuosic violin concerto that's close to his heart. Jess's choices include Bernstein conducting a favourite Mozart symphony, and music from the saxophonist Branford Marsalis.PLAYLIST:LUDWIG VAN BEETHOVEN – Sonata for Violin and Piano No 8 in G major, Op 30 No 3 (3rd mvt) [Gidon Kremer, Martha Argerich] BRANFORD MARSALIS – A Thousand Autumns [Branford Marsalis Quartet] TOMMY KÖRBERG - Stad i ljus (City in Light) WOLFGANG AMADEUS MOZART – Symphony No 40 in G minor, K 550 (1st mvt) [Vienna Philharmonic Orchestra, Leonard Bernstein] THUNDERCAT – Them Changes CARL NIELSEN – Violin Concerto Op 33 (IIb – Rondo: Allegretto Scherzando) [Arve Tellefsen, Yehudi Menuhin, Royal Philharmonic Orchestra] YEAH YEAH YEAHS FT. PERFUME GENIUS – Spitting Off the Edge of the World PYOTR ILYICH TCHAIKOVSKY – The Nutcracker, Op 71: Miniature Overture [Simon Rattle, Berlin Philharmonic Orchestra]

John Wilson's guest is the violinist Nigel Kennedy. A prodigy whose childhood talents were nurtured by Yehudi Menuhin, one of the greatest violinist of the 20th century, Kennedy himself became an international star in 1989 with his recording of Vivaldi's Four Seasons. It sold over three million copies, topping the UK classical charts for a year and went on to be listed as the biggest selling classical album of all time in the Guinness Book Of Records. An unconventional classical musician from the outset, it wasn't just his wardrobe, accent and attitude that set him apart. As well as recording all the major violin concertos, his repertoire includes jazz standards, folk tunes and Jimi Hendrix. He remains one of the world's greatest virtuosos. For This Cultural Life, Nigel chooses his two violinist mentors; Yehudi Menuhin and the French musician Stéphane Grappelli with whom he shared a love of jazz and improvisation. Going to New York to study at the prestigious Juilliard School also proved a turning point for Kennedy, not so much for the teaching he received there, but for the legendary jazz musicians like Jimmy Rowles and Ellis Larkins that he sought out in clubs downtown and in Harlem. Nigel also discusses how being a fan of Aston Villa football club has made him think about crowd dynamics in his concerts and reveals the influence of his dog Huxley on his approach to his career. Producer: Edwina Pitman

durée : 00:58:59 - Christian Ferras, l'instinct du violon - par : Aurélie Moreau - A la mort prématurée de Christian Ferras dont on a dit « qu'il jouait comme un ange », Yehudi Menuhin s'était exprimé sur ce grand violoniste : « un être possédé par la musique, immensément doué, et d'un tempérament à la fois généreux et intense ». - réalisé par : Laurent Lefrançois

durée : 00:57:06 - Affaires culturelles - par : Arnaud Laporte - À bientôt 80 ans, le cinéaste Bruno Monsaingeon se livre pour la première fois dans un récit "Filmer la musique". Il se confie sur 60 ans de carrière aux côtés des plus grands interprètes comme Yehudi Menuhin, Glenn Gould ou encore Nadia Boulanger. Rencontre. - invités : Bruno Monsaingeon Musicien, réalisateur, essayiste, ami de Yehudi Menuhin.

durée : 00:17:02 - Disques de légende du mardi 05 décembre 2023 - Yehudi Menuhin a 27 ans lorsqu'il va voir Béla Bartók aux Etats-Unis : une rencontre déterminante entre la star du violon et le compositeur en exil, dont témoigne cet enregistrement de la fin des années 50 avec un Menuhin au sommet de ses moyens

Saskia is the producer and presenter of her own programme ‘SaskiaUnreserved' for the Cyprus Broadcasting Corporation's Radio 4, which has been recently named RIK Classic.Saskia was born in Famagusta, Cyprus. Following the completion of her BMus(Hons) from the University of the Witwatersrand, she joined the National Symphony Orchestra of South Africa as a violinist where she played under conductors such as Zubin Mehta, Victor Yampolsky, Yehudi Menuhin, Enrique Batiz, Efrem Kurz and Carlo Franci. Her entrepreneurial spirit and love of travel led her to open a tour operating company with its own aircraft and a cargo department.Due to continuing violence in South Africa, Saskia moved to Cyprus in 2000, and joined the Cyprus Broadcasting Corporation, where she developed her own daily, classical music programme, PM Classics. Saskia also worked as a music critic in Cyprus, and had her own column in major English-language newspapers such as the Cyprus Mail and Cyprus Weekly. Interviews over the years have included personalities such as Nelson Mandela, Placido Domingo, Grigory Sokolov, Mahan Esfahani and Norman Lebrecht amongst others.Saskia furthered her qualifications by attaining an MBA from Aspen University, USA in 2011. She was awarded the accolade Cyprus Business Woman of the Year in 2010 for the launching of an online ticketing system and for initiating the children's gardening programme “Green Fingers”, which to date, has been attended by over 8,500 children. She has been CEO of Apollon International Connections, which developed into a multi-faceted company dedicated to the organisation and promotion of international concerts and festivals, in prestigious venues such New York's Carnegie Hall and London's Cadogan Hall, as well as launching the Cyprus International Food Festival.In 2018, the ‘no-holds-barred' programme – ‘SaskiaUnreserved' was launched on the newly formed Classic Channel of the Cyprus Broadcasting Corporation. As producer and presenter, she interviews high profile achievers across a broad spectrum of subjects interspersed with a selection of classical music.Saskia is passionate about gardening, basketball and travel, and takes every opportunity to do so with her daughter, Sandra.

Abbey Road Studios is the most famous recording studio in the world, renowned for its creativity and technological excellence. It is a global icon that for the last 90 years has been the musical home to The Beatles, Pink Floyd, Shirley Bassey, Cilla Black, Yehudi Menuhin, Jaqueline du Pre, Ella Fitzgerald, Fela Kuti, Kate Bush, Oasis and Radiohead to Sam Smith, Florence + The Machine, Ed Sheeran, Kanye West, Lady Gaga, Sheku Kanneh-Mason, Frank Ocean, Amy Winehouse, Brockhampton and Adele.   Check Abbey Road's website: https://www.abbeyroad.com/ Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

Abbey Road Studios is the most famous recording studio in the world, renowned for its creativity and technological excellence. It is a global icon that for the last 90 years has been the musical home to The Beatles, Pink Floyd, Shirley Bassey, Cilla Black, Yehudi Menuhin, Jaqueline du Pre, Ella Fitzgerald, Fela Kuti, Kate Bush, Oasis and Radiohead to Sam Smith, Florence + The Machine, Ed Sheeran, Kanye West, Lady Gaga, Sheku Kanneh-Mason, Frank Ocean, Amy Winehouse, Brockhampton and Adele.   Check Abbey Road's website: https://www.abbeyroad.com/ Subscribe to the email list and get yourself some free goodies: https://producelikeapro.com  Want to create radio ready mixes from the comfort of your home? Go check out https://promixacademy.com/courses/  Check out all other services here: https://linktr.ee/producelikeapro

durée : 01:25:00 - Les Nuits de France Culture - par : Albane Penaranda - En septembre 1998, le musicien et cinéaste Bruno Monsaingeon est l'invité de l'émission "Opus" sur France Culture. Au micro de Claude Kiejman, il raconte les coulisses de son film documentaire consacré au grand pianiste russe Sviatoslav Richter (1915-1997). Depuis le début des années 1970, Bruno Monsaingeon n'a cessé de filmer la musique et les plus grands interprètes de son temps : Yehudi Menuhin, Glenn Gould, Nadia Boulanger, Rostropovitch, Grigori Sokolov, Paul Tortelier et bien d'autres encore. Mais dans l'imposante filmographie de Bruno Monsaingeon (une centaine de documentaires), Richter l'Insoumis occupe une place particulière. "Richter est un homme sans désir, sans ambition, sans intention. Il joue." Achevé en 1997, récompensé d'un FIPA d'or, ce portrait de deux heures et demie a été le fruit d'un long travail de collaboration avec le légendaire pianiste russe Sviatoslav Richter, durant les dernières années de sa vie. Ce film restera un document d'autant plus exceptionnel que Richter n'aimait ni se montrer ni s'exprimer autrement qu'avec la musique. Un document musical, mais aussi historique sur l'existence d'un citoyen soviétique virtuose, né en 1915 en Ukraine et mort à Moscou en 1997. À écouter "La Nuit rêvée de Caroline Champetier" par Albane Penaranda. Par Claude Kiejman  Réalisation : François Viet Opus - Bruno Monsaingeon ou comment filmer la musique : autour du pianiste Sviatoslav Richter (1ère diffusion : 05/09/1998) Indexation web : Documentation Sonore de Radio France Archive Ina-Radio France

It's been almost seventy years since the arrival of Indian classical music in Europe and the United States. Starting in 1956, English violinist YEHUDI MENUHIN's interest in Indian music led to collaborations and concert tours with two of the then hottest young musicians in India—sitar master RAVI SHANKAR and sarod master ALI AKBAR KHAN. It was the beginning of a period of cross-fertilization of Indian and Western classical music. And in the 1960's, the famous adoption of the Indian sitar by GEORGE HARRISON of THE BEATLES brought awareness of Indian music to the mainstream. Today, recordings, films, videos, and digital networks have led to a broadening of cultural communication, where influence and interaction occur across many genres simultaneously. Western musicians study Indian microtonal scales, play Indian instruments, and create new hybrid styles—while Indian musicians study western tempered scales, harmony, and orchestration, play electronic instruments, and extend the traditions of Indian music to an international audience. On this transmission of HEARTS of SPACE, contemporary, traditional, and sacred sounds of India, on a program called INDIA NAVIGATION 2. Music is by sitarists JASDEEP SINGH DEGUN, ANOUSHKA SHANKAR, and NILADRI KUMAR, bansuri flutists MARK SEELIG and VIRGINIA NICOLI, sarod and santur by CHINMAYA DUNSTER, and producer CRAIG PRUESS and the great devotional singer ANURADHA PAUDWAL. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

شماره‌ یازدهم پادکست «صدای خیال» (به همت فیلم امروز) منتشر شد. در این شماره، درباره‌ جمشید اسماعیل‌خانی حرف می‌زنیم؛ نقش دومِ اول.این شماره را می‌توانید با جست‌وجوی عبارت «صدای خیال» در تمام پادگیرها گوش کنید. امیدواریم از شنیدنش لذت ببرید. نظرهای‌تان را با ما در میان بگذارید چون بی‌شک راه‌گشا خواهند بود.فهرست مهمان‌ها به ترتیب حضورگوهر خیراندیشامیرغفارمنشحبیب دهقان‌نسبابوالحسن داودیآناهیتا اسماعیل‌خانیآزاده اسماعیل‌خانیموسیقی‌های استفاده‌شده در این قسمت- تکنوازی سه‌تار احمد عبادی (آواز افشاری)- تقسیم در مقام حجاز- Bach, Yehudi Menuhinـ ترانه «یاد کودکی» با صدای دلکش؛ آهنگساز علی تجویدی؛ ترانه‌سرا رحیم معینی‌شیرازیـ دکلمه محلی شیرازی «کاکو سی کن » با صدا و شعر بیژن سمندرـ ترانه محلی شیرازی «جنگ جنگ ساز» با صدای محمد نوری؛ ترانه محمد توکلیـ ترانه محلی شیرازی «گل نرگس» با صدای سیما بینا؛ تنظیم منوچهر چشم‌آذرـ ترانه «فدات شم» با صدای مهستی؛ آهنگ‌ساز صادق نوجوکی؛ ترانه‌سرا بیژن سمندرـ ترانه «زندگی» با صدای هایده آهنگسار؛ آهنگ‌ساز صادق نوجوکی؛ ترانه‌سرا بیژن سمندرعواملمدیر پروژه: شاهین شجری‌کهنسردبیر، نویسنده و راوی: دامون قنبرزادهدبیر اجرایی: بهناز اقبالتدوین و صدا: احسان عابدی (استودیو رود)موزیک: علی زارعآرشیو: غزل گلمکانیپشتیبانی فنی: محمد مُشکیطراح پوستر و تیزر: سمانه نیک‌اخترمدیر روابط عمومی و تبلیغات: محمد محمدیان۰۹۱۲۵۰۴۳۸۰۸کاری از: «فیلم امروز» به همت عباس یاری/ هوشنگ گلمکانیحامیان مالی این شمارهسفر در خَمِ جاده‌ها و گردنه‌ها، در گذر از میان صخره‌های سخت و پشت سر گذاشتن تپه‌های بلند رخ می‌دهد. سفر در هوا، روی ریل‌ها آهنی، شناور بر روی آب‌ها و میان جاده‌ها رخ می‌دهد. سفر برای خودشناسی، برای کشف و برای دیدن آنچه ندیدیم رخ می‌دهد. مهم نیست که در پروازی به مقصد پاریس باشد یا سنگین‌سواری در راه ارمنستان. برای «فلایتیو» سفر اهمیت دارد. «فلایتیو» سرویسی برای رزرو پرواز و هتل در سرتاسر جهان است و با شعار «دنیات رو کشف کن» شما را به کشف، سفر و شنیدن قصه‌ها دعوت می‌کند.www.flightio.com@flightioموسسه فرهنگی هنری معتبر «کارنامه» به مدیریت نگار اسکندرفر، حامی دیگر این شماره «صدای خیال» است. این موسسه اولین و تنها موسسه آموزشی ایرانی عضو اتحادیه جهانی مدارس سینمایی «یوروآسیا» است که علاوه بر برگزاری دوره‌های بازیگری مقدماتی و حرفه‌ای، برگزارکننده کارگاه‌ها و دوره‌های آموزشی در زمینه‌های ادبیات، تئاتر و سینما نیز هست.www.karnameh.org@karnamehکانال تلگرام پادکستhttps://t.me/podcast_filmemroozدر صورت تمایل به حمایت از ما در سراسر جهان و با ارزهای ریال، یورو و غیره، می‌توانید از لینک زیر به صفحه‌ «صدای خیال» در سایت «حامی باش» بروید.http://hamibash.com/Filmemrooz1 Hosted on Acast. See acast.com/privacy for more information.

The task of nation-building did not end with our founders, and does not stop at our politicians. It's up to us to build the India we want to see. Nitin Pai joins Amit Varma in episode 318 of The Seen and the Unseen to talk about his life, his learnings and his liberal nationalism. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Nitin Pai on his own website, Mint & Mastodon . 2. The Nitopadesha -- Moral Tales for Good Citizens. 3. The archives of The Acorn, Nitin Pai's blog. And its current avatar. 4. Nitin Pai's ideas, notes and current research and teaching. 5. The Takshashila Institution. 6. Seven Tenets of Indian Nationalism -- Nitin Pai. 7. In support of a liberal nationalism -- Nitin Pai. 8. A republic - if we can keep it -- Nitin Pai. 9. Saving the Nation From Nationalists -- Nitin Pai. 10. The real problem is that we have too little republic -- Nitin Pai. 11. The operating system of liberal democracy needs a major upgrade -- Nitin Pai. 12. Social harmony is a matter of national interest -- Nitin Pai. 13. Liberal democracies must protect their citizens' minds from being hacked -- Nitin Pai. 14. Understanding Foreign Policy — Episode 63 of The Seen and the Unseen (w Nitin Pai). 15. Russia, Ukraine, Foreign Policy -- Episode 268 of The Seen and the Unseen (w Pranay Kotasthane and Nitin Pai). 16. The City and the City — China Miéville. 17. The State of Our Economy -- Episode 252 of The Seen and the Unseen (w Puja Mehra and Mohit Satyanand). 18. The Tragedy of Our Farm Bills — Episode 211 of The Seen and the Unseen (w Ajay Shah). 19. Who We Are and How We Got Here — David Reich. 20. Early Indians — Tony Joseph. 21. Early Indians — Episode 112 of The Seen and the Unseen (w Tony Joseph). 22. The Moral Arc: How Science Makes Us Better People — Michael Shermer. 23. History of European Morals — WEH Lecky. 24. The Expanding Circle: Ethics, Evolution, and Moral Progress — Peter Singer. 25. How the BJP Wins — Prashant Jha. 26. The BJP's Magic Formula — Episode 45 of The Seen and the Unseen (w Prashant Jha). 27. Caste, Capitalism and Chandra Bhan Prasad — Episode 296 of The Seen and the Unseen. 28. Episodes of The Seen and the Unseen w Pranay Kotasthane: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 29. Rohini Nilekani Pays It Forward -- Episode 317 of The Seen and the Unseen. 30. Samaaj, Sarkaar, Bazaar : A citizen-first approach — Rohini Nilekani. 31. The Crowd: A Study of the Popular Mind — Gustave le Bon. 32. Crowds and Power — Elias Canetti. 33. EO Wilson on Amazon, Wikipedia and Britannica. 34. Narendra Modi takes a Great Leap Backwards — Amit Varma (on Modi, Mao and locusts). 35. FAQ: Why Anna Hazare is wrong and Lok Pal a bad idea -- Nitin Pai. 36. Sadanand Dhume on Twitter -- and this podcast! 37. Social media is an existential threat to civilisation -- Nitin Pai. 38. Reframing the social media policy debate -- Nitin Pai. 39. The coming regulation of social media is an opportunity for India -- Nitin Pai. 40. The Double ‘Thank-You' Moment — John Stossel. 41. Thinking Fast and Slow — Daniel Kahneman. 42. Human — Michael S Gazzaniga. 43. The Interpreter — Amit Varma. 44. The Elephant in the Brain -- Kevin Simler and Robin Hanson. 45. Freedom to Think -- Susie Alegre. 46. Addiction by Design: Machine Gambling in Las Vegas — Natasha Dow Schüll. 47. The Importance of the 1991 Reforms — Episode 237 of The Seen and the Unseen (w Shruti Rajagopalan and Ajay Shah). 48. The Forgotten Greatness of PV Narasimha Rao — Episode 283 of The Seen and the Unseen (w Vinay Sitapati). 49. The Life and Times of Montek Singh Ahluwalia — Episode 285 of The Seen and the Unseen. 50. The original Takshashila. 51. Understanding Gandhi. Part 1: Mohandas — Episode 104 of The Seen and the Unseen (w Ram Guha). 52. Understanding Gandhi. Part 2: Mahatma — Episode 105 of The Seen and the Unseen (w Ram Guha). 53. Hind Swaraj — MK Gandhi. 54. Nikita -- Elton John. 55. The Importance of Cities — Episode 108 of The Seen and the Unseen (w Reuben Abraham & Pritika Hingorani). 56. The Gentle Wisdom of Pratap Bhanu Mehta -- Episode 300 of The Seen and the Unseen. 57. The Arthashastra -- Kautilya 58. On Exactitude in Science — Jorge Luis Borges. 59. Emergent Ventures. 60. Friedrich Hayek on Wikipedia, Britannica, Stanford Encyclopedia of Philosophy and Econlib. 61. Milton Friedman on Amazon, Wikipedia, Britannica and Econlib. 62. Arshia Sattar and the Complex Search for Dharma -- Episode 315 of The Seen and the Unseen. 63. Every Act of Government Is an Act of Violence — Amit Varma. 64. The Generation of Rage in Kashmir — David Devadas. 65. Counterinsurgency Warfare — David Galula. 66. We Won't Need To Fight A War If We Can Win The Peace — Amit Varma. 67. Kashmir and Article 370 -- Episode 134 of The Seen and the Unseen (w Srinath Raghavan). 68. Think the Unthinkable (2008) -- Vir Sanghvi. 69. Independence Day for Kashmir (2008) -- Swaminathan S Anklesaria Aiyar. 70. The Anti-Defection Law — Episode 13 of The Seen and the Unseen (w Barun Mitra). 71. Our Parliament and Our Democracy — Episode 253 of The Seen and the Unseen (w MR Madhavan). 72. Abby Philips Fights for Science and Medicine — Episode 310 of The Seen and the Unseen. 73. Why Read the Classics? — Italo Calvino. 74. History Of Western Philosophy -- Bertrand Russell. 75. Ideas: A History from Fire to Freud -- Peter Watson. 76. Arthashastra -- Kautilya (translated by Shama Shastri). 77. The Upanishads. 78. The Mahabharata -- translated by Bibek Debroy. 79. Brihatkatha, Kathasaritsagara, Panchatantra and Hitopadesha. 80. Charvaka and Jayarāśi Bhaṭṭa. 81. Tattvopaplavasiṃha -- Jayarāśi Bhaṭṭa. 82. The Hitchhiker's Guide to the Galaxy -- Douglas Adams. 83. Catch 22 -- Joseph Heller. 84. Commanding Hope -- Thomas Homer-Dixon. 85. Paul Auster, David Mitchell, Haruki Murakami, Ryu Murakami and Terry Pratchett on Amazon. 86. Piercing -- Ryu Murakami. 87. 2021 - The Year in Fiction -- Nitin Pai. 88. Bhimsen Joshi, Kishore Kumar, Hemant Kumar, Radiohead, Norah Jones, Louis Armstrong, Nina Simone, Himesh Reshammiya and Yehudi Menuhin on Spotify. 89. Take Five -- The Dave Brubeck Quartet. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘The Bigger Picture' by Simahina.

شماره‌ هفتم پادکست «صدای خیال» (به همت فیلم امروز) منتشر شد. در این شماره، درباره‌ فرزانه تاییدی حرف می‌زنیم؛ هنرمندی خروشان و زخم‌خوردهاین شماره را می‌توانید با جست‌وجوی عبارت «صدای خیال» در تمام پادگیرها گوش کنید. امیدواریم از شنیدنش لذت ببرید و نظرهای‌تان را با ما در میان بگذارید چون بی‌شک راه‌گشا خواهد بودفهرست مهمان‌ها به ترتیب حضورجلیل فرجادمسعود کیمیاییسیروس الوندمونا فرجادتقی مختارموسیقی‌های استفاده‌شده در این قسمت- Djindji Rindji Bubamara, Emir Kusturica & The No Smokin- Fado De Pessoa, Ana Moura- Toni, Making Music, Zakir Hussain- Bach Violin, Yehudi Menuhin- A'jibto, Bayna Bayn- Bach Violin, Yehudi Menuhin- «اون منم» از گوگوش- «طلاق» از گوگوش- «آهای مردم دنیا» از داریوش- «فریاد زیر آب» از داریوش- «اجازه» از داریوشـ «پیچک» از ابیـ «طلوع کن» از ابیعواملمدیر پروژه: شاهین شجری‌کهنسردبیر، نویسنده و راوی: دامون قنبرزادهدبیر اجرایی: بهناز اقبالتدوین و صدا: احسان عابدی (استودیو رود)موزیک: علی زارعآرشیو: غزل گلمکانیپشتیبانی فنی: محمد مُشکیطراح پوستر و تیزر: سمانه نیک‌اخترمدیر روابط عمومی و تبلیغات: محمد محمدیان ۰۹۱۲۵۰۴۳۸۰۸کاری از: «فیلم امروز» به همت عباس یاری/ هوشنگ گلمکانیحامیان مالی این شمارهآموت سیر؛ نامی باسابقه و خاطره‌انگیز در خدمات ایرانگردی و جهانگردی. بهترین و ارزان‌ترین قیمت‌های بلیت پروازهای خارجی و داخلی و همچنین رزرو هتل‌های خارجی و داخلی را با آموت سیر تجربه کنید. برای اطلاعات بیش‌تر، با شماره زیر تماس بگیرید.۰۲۱۲۶۳۵۲۰۹۱موسسه فرهنگی هنری معتبر «کارنامه» به مدیریت نگار اسکندرفر، حامی دیگر این شماره «صدای خیال» است. این موسسه اولین و تنها موسسه آموزشی ایرانی عضو اتحادیه جهانی مدارس سینمایی «یوروآسیا» است که علاوه بر برگزاری دوره‌های بازیگری مقدماتی و حرفه‌ای، برگزارکننده کارگاه‌ها و دوره‌های آموزشی در زمینه‌های ادبیات، تئاتر و سینما نیز هست.www.karnameh.orgکانال تلگرام «صدای خیال»https://t.me/podcast_filmemroozدر صورت تمایل به حمایت از ما در سراسر جهان و با ارزهای ریال، یورو و غیره، می‌توانید از لینک زیر به صفحه‌ «صدای خیال» در سایت «حامی باش» بروید.http://hamibash.com/Filmemrooz1 Hosted on Acast. See acast.com/privacy for more information.

Um aus der Sowjetunion auszureisen, braucht es eine Einladung aus Israel. Unmöglich für Mark Varshavsky, diese zu bekommen. Der Geigenvirtuose Yehudi Menuhin hilft. Leiden schwingt immer mit in Varshavskys Musik. Die Autorin Simone Müller hat bei vielen ihrer Porträtierten ähnliches gehört. Heute erzählt Mark Varshavsky anstelle des Tagesgesprächs seine Ausreise aus der Sowjetunion, seine zweite Flucht vor dem Antisemitismus. Ohne den Geigenvirtuose Yehudi Menuhin wäre dies undenkbar gewesen. Nur wenige Tage Zeit erhält Mark Varshavsky, um seinen russischen Pass abzugeben und das Land zu verlassen, Richtung Israel. Er spielt auf den wichtigen Konzertbühnen der Welt, und weiss: Leiden prägt seine Musik. Er würde anders spielen, wäre er nicht aus Charkiv geflüchtet, hätte nicht Jahre in Kasachstan ums Überleben gekämpft. Die Kunst, das ist ihm das Wichtigste seines Lebens. Die Autorin Simone Müller weiss, dass viele ihrer porträtierten Überlebenden des Holocaust etwas hatten, das sie am Leben erhalten hat. Sei es eine eiserne Disziplin oder das Spielen eines Musikinstruments. Mark Varshavsky hat über vieles gesprochen. Zum heutigen Krieg auch in seiner Herkunftsstadt Charkiv kann er nur sagen, dass es ihm unglaublich leidtut.

Dank des Studiums an den besten Musikhochschulen Moskaus wurde aus Mark Varshavsky ein berühmter Cellist. Gebrochen wird sein Erfolg durch den Antisemitismus Stalins. Weshalb es für Varshavsky wichtig war, der Autorin Simone Müller seine Geschichte zu anzuvertrauen, erzählt er Karoline Arn. Anstelle des Tagesgesprächs erzählt Mark Varshavsky seine Lebensgeschichte, die Autorin Simone Müller hat ihn und vierzehn andere Überlebende des Holocaust in ihrem neuen Buch porträtiert. Wir kennen sie bestens, die Gymnasien für musikalisch begabte Jugendliche. Bereits Mark Varshavsky, heute 89-jährig, hat eine solche in Kiew besucht. Yehudi Menuhin hat seine Schule in London nach dem sowjetischen Vorbild aufgebaut. Mark Varshavsky schaffte es, an den besten Hochschulen in Moskau zu studieren und wurde in der Sowjetunion ein berühmter Konzert-Cellist. Doch eine Welle von Antisemitismus unter Stalin bremste seinen Erfolg. Es gab Quoten für Jüdinnen und Juden in Orchester oder in anderen begehrten Positionen – er erhielt keine mehr aufgrund seines Glaubens. Weshalb er es wichtig findet, dass die Autorin Simone Müller seine und die Geschichte anderer Überlebender des Holocaust aufschreibt, erzählt er Karoline Arn im heutigen vierten Teil seiner Lebensgeschichte.

Violinist Nicola Benedetti reveals her most important cultural influences and experiences that have inspired her to become one of the world's greatest classical musicians. Having taken up the violin at the age of four, Nicola won the BBC Young Musician of the Year competition at 16. She's renowned for the passion of her live concerts, her recordings of the great violin concertos, and for her work with contemporary composers, including a Grammy-winning collaboration with composer Wynton Marsalis. She's also deeply involved in educational programmes that use classical music to transform the lives of young people. For This Cultural Life, Nicola Benedetti recalls her North Ayrshire upbringing and how her Italian parents encouraged her musicality from a young age. She remembers first listening to Brahms's Violin Concerto on the car journey to school, a piece that inspired her to seriously pursue her ambitions, becoming the leader of the National Children's Orchestra at the age of just eight. She discusses the influence of the great violinist Yehudi Menuhin, whose school she attended until she was 15, and at whose funeral she performed in 1999. Nicola also talks about her work with the Sistema Scotland project, and her own Benedetti Foundation, which promotes musical education. Determined to promote contemporary classical music as well as the traditional repertoire, she discusses her work with Wynton Marsalis and the young British composer Mark Simpson, both of whom have written violin concertos for her. Producer: Edwina Pitman

Ravi Shankar was born in India in 1920 and came to prominence just as India gained independence from Britain in 1947. He was initially a dancer and then a virtuoso sitarist and composer, and became famous internationally because of his collaborations with Yehudi Menuhin and George Harrison and the Beatles. Bobby Seagull's parents came from Kerala, and while Ravi Shankar's music came from the north, Bobby still remembers hearing him play growing up. There are early clips of Ravi Shankar explaining the sitar, plus George Harrison's account of their North American tour. Joining the conversation is biographer Oliver Craske, author of Indian Sun who knew Ravi well. He counts up in the programme how many relationships Ravi may have had. The producer in Bristol is Miles Warde.

Violinist Tatianna Berman introduces The Power of Sound and how music affects our emotions, behavior, and shapes our reality.Tatiana Berman is a violinist, artist, and cultural entrepreneur who finds fresh ways of connecting classical music and fine arts with a broader audience. Tatiana is the founder of Constella Arts, creator of The Power of Sound project, co-creator of Not So Classical, and star of the documentary Forte available internationally. During the 2020 pandemic, in partnership with Culturenet Tatiana became an online sensation generating hundreds of thousands of views for her virtual solo performances.Tatiana's unique projects brought her to venues such as Carnegie Hall, The Kennedy Center, Elbphilharmonie Hamburg, Chicago Contemporary Art Museum, Santa Fe Symphony, and the Lafon Performing Arts Center. The Not So Classical album is available on all digital platforms, and the accompanying visual experience is available on Culturenet. The original performance concept Not So Classical has been praised by Forbes, NPR, and Playbill for its innovative approach to presenting a classical music experience. As founder and artistic director of the Constella Arts, Tatiana facilitated the presentations of over 70 world premieres and brought music to schools where arts funding has been cut. Tatiana's music video Vitali Variations and other projects can be experienced on NRK, Culturenet, CmusicTV, Sky, and Apple TV. Tatiana is a producer of documentaries Maestro (maestromovie.com) and Nordic Pulse (nordicpulsefilm.com).Tatiana studied violin at the Yehudi Menuhin School, and the Royal College of Music in London, earning full scholarships and international awards along the way. Throughout her international career as a concert violinist, Tatiana has collaborated with renowned musicians including Ksenia Bashmet, Joshua Bell, Jeremy Denk, Bryce Dessner, Ivry Gitlis, Steven Isserlis, Elisabeth Leonskaja, Anthony McGill, Nico Muhly, and Simon Trpceski. She has worked with conductors Paavo Jarvi, Sarah Ioannides, Tito Muños, Jose Luis Gomez, François López-Ferrer, and the late Yehudi Menuhin, appearing with both European and U.S. orchestras. London's The Strad described Tatiana as “a violinist with a mature, compelling musical personality.” She is an ardent performer of new music, commissioning and collaborating with dancers and digital artists. Notable performances include world premieres of Violin Concertos by Charles Coleman and Michael Csányi-Wills. Tatiana was Arts Ambassador and a Tedx Talk speaker. Her paintings are sought after by collectors from around the world, to see her visual art, go to the Art Gallery.Currently, Tatiana is recording her next Not So Classical album, touring The Power of Sound project, and directing a documentary by the same name. She also leads various workshops and appears at a limited number of speaking engagements on topics including the power of music, music education, and culture.www.tatianaberman.comHost Bonnie Burkert melds the worlds of media and higher consciousness, sharing tools for transformation for wellbeing and spiritual awakening . www.instagram.com/yogi_bon

Synopsis To some it seemed an act of sheer madness for a String Quartet to announce in the 1970s that it would not perform the classic repertory of Haydn, Mozart, and Beethoven, but devote itself instead to music written after 1900, especially newly-composed works. But the Kronos Quartet has proved the skeptics wrong. Founded in Seattle in 1973, and reformed in San Francisco five years later, the Kronos Quartet has established itself as a major player on the international music scene, premiering hundreds of new works by living composers. On today's date in 1984, the Kronos Quartet was at the Kukmo Music Festival in Finland, where they gave the premiere performance of the 5th String Quartet of the Finnish composer, Aulis Sallinen, subtitled “Pieces of Mosaic.” This quartet is a string of 16 short fragments, and, as the composer explained, reflected a pessimistic view of world affairs, circa 1984, the ominously Orwellian year of its composition. “It seems somehow crazy,” said Sallinen, “that a composer should create extended symphonic forms for the world we live in. This quartet is the kind of work the world deserves: one which is smashed into fragments.” Sallinen is one of the best-known Finnish composers since Sibelius, and in addition to chamber works like his Fifth Quartet, he has written symphonic works and a number of successful operas. Music Played in Today's Program Wolfgang Amadeus Mozart (1756-1791) – String Quartet No. 17 in Bb (Quartetto Italiano) Philips 422 512 Aulis Sallinen (b. 1935) – String Quartet no. 5 (Pieces of Mosaic) (Sibelius Quartet) Ondine 831 On This Day Births 1670 - Italian opera composer Giovanni Bononcini, in Modena; In 1720 he joined the Royal Academy of Music in London, where one faction favored Bononcini's works over those by Handel 1821 - French mezzo-soprano PaulineViardot-Garcia; She arranged some of Chopin's mazurkas as songs and performed them with the composer in concert; She also wrote an opera, "La Derniére Sorcière," that was performed in Weimar in 1869, and a chamber opera version of "Cendrillon (Cinderella)" which was performed privately in 1904 1872 - Czech composer Julius Fucik, in Prague; A student of Dvorák's, he composed the famous "circus" march, "Entrance of the Gladiators"; 1894 - Dutch-born American composer Bernard Wagenaar, in Arnhem; He was the son of the Dutch composer Johan Wagenaar (1862-1941); He came to the U.S. in 1920, was a violinist with the New York Philharmonic from 1921-23, and in 1927 became a composition teacher at the Juilliard Graduate School 1933 - Canadian composer R. Murray Schafrer, in Sarnia, Ontario 1954 - American composer Tobias Picker, in New York Deaths 1949 - Czech composer Vitezslav Novák, age 78, in Skutec, Slovakia Premieres 1713 - Handel: "Utrecht Te Deum," in London (Julian date: July 7) 1791 - Cherubini: opera, "Lodoiska, in Paris 1920 - Miaskovsky: Symphony No. 5, in Moscow 1972 - Panufnik: Violin Concerto, in London, with Yehudi Menuhin as soloist 1976 - Stockhausen: multi-media work "Sirius," in Washington, D.C., at the Smithsonian Institute 1984 - Sallinen: String Quartet No. 5 ("Pieces of Mosaic"), at the Kuhmo Festival in Finland, by the Kronos Quartet Links and Resources On the Kronos Quartet On Aulis Sallinen

This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter.  While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might  sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko",  the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included  several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar,  and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --

Synopsis Temple Emanu-El in San Francisco is one of America's foremost reform congregations. For some 50 years its cantor was Reuben Rinder, who, in addition to his liturgical duties, was a composer, impresario, and musical mentor. Cantor Rinder influenced the careers of two of the 20th century's greatest violinists, Yehudi Menuhin and Isaac Stern, and also commissioned two of the 20th century's most famous concert versions of the Jewish liturgy, the Evening and Morning Sabbath Service settings of Ernst Bloch and Darius Milhaud. Milhaud's Sabbath Morning Service was first heard at Temple Emanu-El on today's date in 1949, with its composer conducting. Milhaud was born in Provence and wrote that the Provencal Jewish tradition evoked in his score differs somewhat from the more standard Ashkenazi liturgy prevalent in most American synagogues then and now. The composer's intention was to create a personal musical statement that could serve as both an actual liturgy for the faithful and as an ecumenical musical experience for any and all who hear the work, whether in temple or concert hall. In that respect, Milhaud's Sacred Service was a great success. Alongside Bloch's setting, written in the early 1930s, shortly before the onset of the Holocaust, Milhaud's setting, written in the years following the conclusion of World War II, remains a powerful and moving affirmation of religious faith. Music Played in Today's Program Darius Milhaud (1892 - 1974) — Sabbath Morning Service (Prague Philharmonic Choir; Czech Philharmonic; Gerard Schwarz, cond.) Naxos 8.559409

Qool DJ Marv Live at the première party for the HBO film The Survivor at the Grill and Pool Manhattan - April 11 2022 The Survivor airs at 8pm on April 27 2022 https://www.hbo.com/movies/the-survivor Thank you, HBO! Stardust - The Melachrino Strings & The Melachrino OrchestraCharmaine - Helmut ZachariasI Only Have Eyes for You - Hugo Winterhalter and His OrchestraThe Warmth of the Sun - Hollyridge StringsA Night In Tunisia - Charlie Parker & Miles DavisUnforgettable - The Ward Marston Piano TrioNight and Day - Stéphane Grappelli, Yehudi Menuhin & Max HarrisWave - Milt Jackson, Joe Pass & Ray BrownCheek to Cheek - Stéphane Grappelli, Yehudi Menuhin & Max HarrisFascinating Rhythm - Don RalkeRoute 66 - Roy GainesBlue Skies - Ella Fitzgerald & Harry "Sweets" EdisonI Only Have Eyes For You - Billie HolidayHappy Go Lucky Local - Duke EllingtonIn The Mood - Artie ShawDream a Little Dream of Me - The Don Ralke ChorusPerfidia - The George Shearing QuintetOld Devil Moon - The George Shearing QuintetOur Day Will Come - Percy FaithSweet Georgia Brown - Johnny MercerWhat Is This Thing Called Love? - Nat King ColeCome Fly With Me - Count Basie & His OrchestraLady Be Good - Count BasieIt Had To Be You - Paul Kuhn Combo(Get Your Kicks On) Route 66 - Bobby TroupSweet Georgia Brown - Charlie ParkerI'm in the Mood for Love - Charlie Parker QuartetCast Your Fate to the Wind - Sounds OrchestralBesame Mucho - Joe Holiday Ac-Cent-Tchu-Ate the Positive (feat. The Pied Pipers & Paul Weston and His Orchestra) - Johnny MercerPersonality - Johnny MercerToo Marvelous For Words - Frank Sinatra(Get Your Kicks On) Route 66 - Nat King ColeSally Go 'Round the Roses - The JaynettsSunshine - The JaynettsBlowin' In The Wind - Stevie WonderLet the Good Times Roll - Louis Jordan & His Tympany FiveThe Best Is Yet To Come [feat. Count Basie And His Orchestra] - Frank SinatraFascination - Percy FaithUnforgettable - Nat King ColeGeorgia On My Mind - Dinah ShoreSmile - The Melachrino Strings & The Melachrino OrchestraSomeone to Watch Over Me - Percy Faithhttps://www.hbo.com/movies/the-survivor + https://thepoolnewyork.com/  + https://linktr.ee/qooldjmarv The music in this video, Comforter, is by me @qooldjmarv because at my best, I uplift and comfort.

Synopsis In Bucharest on today's date in the year 1903, a 21-year-old Romanian composer named Georges Enescu conducted the premiere of two “Romanian Rhapsodies” he had written. These flashy orchestra showpieces quickly became his most popular works – a little to the composer's later chagrin. He came to feel – and quite rightly – that the huge success of these toe-tappers had come to overshadow all his other compositions and accomplishments. Enescu had good reason to be proud: In addition to being a fine composer and conductor, he was one of the great virtuoso violinists of his day. As both a conductor and violinist he appeared with most of the great orchestras of Europe and America. Enescu wrote impressive symphonies, chamber music, and even an opera based on the Greek legend of Oedipus. As a teacher and general musical mentor, Enescu could count the great violinist Yehudi Menuhin as one of his star pupils and most devoted admirers. Enescu died in Paris in 1955. Even though he had severed relations with his now Communist homeland, the Romanian government revered him as their great national composer: His native village, a street in Bucharest, and the State Philharmonic were all renamed in his honor. Music Played in Today's Program Georges Enescu (1881 - 1955) — Romanian Rhapsody No 1 (Dallas Symphony; Eduardo Mata, cond.) RCA/BMG 63586