Cauet janvier 2012

  • Litteraturåret 2012: fäder, fantasy och fullt fräs framåt

    · 00:43:34 · Lundströms Bokradio

    Lundströms Bokradio blickar tillbaka på litteraturutgivningen 2012 med kritikerna Anneli Dufva, Pia Huss och Nils Schwartz. Var fanns höjdpunkterna, överraskningarna, debatterna? Och vilken textrad i vilken bok är den absolut bästa från året som gått? Dessutom: många romaner med judiskt tema har kommit ut under året. Varför kommer de just nu - och varför fokuserar de flesta på pappor? Författarna Rose Lagercrantz och Leif Zern medverkar. Finlandssvenska poeten Lars Huldén, som fyller 86 i år, läser ur sin senaste diktsamling Inga stjärnor i natt, sir. Ofta handlar det om döden. Bokcirkeln separat! Nu finns alla avsnitt med bokcirklar (Gatsby, Processen...) som fristående avsnitt. Sök efter "Bokcirkeln" i vår app Sveriges Radio Play eller gå till poddflödet med . Tips! Se Maries och kritikernas boktips inför julen, scrolla ner för en lista på böcker som nämns i programmet: klicka på Läs mer... och scrolla nedåt. Böcker som nämns i programmet 15/12: Lars Huldén - Inga stjärnor i natt sir (2012) Rose Lagercrantz - Om man ännu finns (2012) Ricki Neuman - Ni är inte så märkvärdiga som ni tror (2012) Daniel Waluszewski - Med en blick över axeln (2012) Felicia Feldt - Felicia försvann (2012) Mats Strandberg och Sara Bergmark Elfgren - Cirkeln (2011) E L James - Femtio nyanser av honom (2012) övers: Jimmy Hofsö Kalevala - Finlands nationalepos Marie Lundström väljer: Julie Otsuka - Vi kom över havet, övers: Ulla Roseen Marie berättar: - Jag träffade Julie Otsuka i New York i våras. Hennes "Vi kom över havet" handlar om de över tio tusen japanska kvinnor som i början av 1900-talet giftes bort till amerikaner. Kvinnorna kom med båt från Japan och i USA väntade män de aldrig tidigare träffat. Det är en bok på 174 sidor där allt har täckning, allting bär. (Intervjun sändes i programmet Kosmo 2012-05-19.) Pia Huss väljer: Frida Nilsson - Apstjärnan (2012) Barbro Lindgren - Barbros bästa (2012) Instrument - (pekbok med ljud) (2012) Het (antologi) - Jern, Martin (förf.) / Jägerfeld, Jenny (förf.) / Ohlsson, Sara (förf.) / Olsson, Ingrid (förf.) / Schiefauer, Jessica (förf.)  (2012) Shoomannen - Douglas Foley (2012) Ensam mullvad på en scen - Ulf Nilsson (2012) Kejsarens nya kläder -  H.C. Andersen, nyillustrerad av Gunna Grähs (2012) Jag blundar och önskar mig något - Moa-Lina Croall (2012) Anneli Dufva väljer: Lars Norén - Filosofins natt (2012) Johannes Anyuru - Det kom en storm från paradiset (2012) Leif Zern - Kaddish på motorcykel (2012) Göran Rosenberg - Ett kort uppehåll på vägen från Auschwitz (2012) Susanna Alakoski - Oktober i Fattigsverige (2012) Monica Lauritzen - Sanningens vägar – om Anne-Charlotte Lefflers liv och dikt (2012) Agneta Pleijel - Litteratur för amatörer (2012) Karolina Ramqvist - Alltings början (2012) Vanja Hermele - In som ett lamm ut som en tigrinna (2012) Katarina Fägerskiöld - Åsen (2012) Marlene van Niekirk - Agaat övers: Niclas Hval (2012) Caitlin Moran - Konsten att vara kvinna Övers: Molle Kanmert Sjölander (2012) Karl Ove Knausgård - Min kamp del 5 Övers: Rebecca Alsberg (2012) Nina Lekander Hästar, män och andra djur (2012) Nils Schwartz väljer: Kristina Sandberg: Sörja för de sina (2012) Eija Hetikivi Olsson: Ingenbarnsland (2012) Göran Rosenberg: Ett kort uppehåll på vägen från Auschwitz (2012) Leif Zern: Kaddish på motorcykel (2012) Johannes Anyuru: En storm kom från paradiset (2012)

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  • Johann Sebastian Bach - Goldberg Variations #5

    · 00:02:25 · Classical Music Free

    JS Bach's - Goldberg Variations #5Our version of JS Bach's - Goldberg Variations #5blessings,Shiloh Worship MusicThe Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variationsare named after Johann Gottlieb Goldberg, who may have been the first performer.Johann Sebastian Bach from WikipediaJohann Sebastian Bach[1] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. He enriched many established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach wrote much music that was revered for its intellectual depth, technical command, and artistic beauty. Many of his works are still known today, such as the Brandenburg Concertos, the Mass in B minor, the Well-Tempered Clavier, and his cantatas, chorales, partitas, passions, and organ works.Bach was born in Eisenach, Saxe-Eisenach into a very musical family; his father, Johann Ambrosius Bach was the director of the town's musicians, and all of his uncles were professional musicians. His father taught him to play violin and harpsichord, and his brother, Johann Christoph Bach taught him the clavichord and exposed him to much contemporary music.[2][3] Bach also sang, and he went to the St Michael's School in Lüneburg because of his skill in voice. After graduating, he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of Thomasschule in Leipzig, and Royal Court Composer to August III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque period, and as one of the greatest composers of all time.[9]LifeChildhood (1685–1703)Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius; the eldest son in the family was 14 at the time of Bach's birth.[11] His father taught him violin and harpsichord.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]Bach's mother died in 1694, and his father died eight months later.[5] Bach, 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at the Michaeliskirche in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied)[2] and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]At the age of 14, Bach, along with his older school friend George Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.Although little supporting historical evidence exists at this time, it is almost certain that while in Lüneburg, Bach visited the Johanniskirche (Church of St. John) and heard (and possibly played) the church's famous organ (built in 1549 by Jasper Johannsen, and played by Georg Böhm). Given his musical talent, Bach had significant contact with prominent organists of the day in Lüneburg, most notably Böhm, but also including organists in nearby Hamburg, such as Johann Adam Reincken.[19]Weimar, Arnstadt, and Mühlhausen (1703–08)In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[20] Bach was appointed court musician in the chapel of Duke Johann Ernst in Weimar. His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about 40 km southwest of Weimar.[21] In August 1703, he became the organist at St Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at the Marienkirche in the northern city of Lübeck. The visit to Buxtehude involved a 400 kilometre (250 mi) journey on foot each way. The trip reinforced Buxtehude's style as a foundation for Bach's earlier works. Bach wanted to become amanuensis (assistant and successor) to Buxtehude, but did not want to marry his daughter, which was a condition for his appointment.[22]In 1706, Bach was offered a post as organist at St. Blasius's in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and city government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König, BWV 71—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]Return to Weimar (1708–17)In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and concertmaster at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor-rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still played in concert often. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[24]In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work Das Wohltemperierte Clavier ("The Well-Tempered Clavier"—Clavier meaning clavichord or harpsichord),[25] consisting of two books, compiled in 1722 and 1744,[26] each containing a prelude and fugue in every major and minor key.Also in Weimar Bach started work on the Little Organ Book for his eldest son, Wilhelm Friedemann, containing traditional Lutheran chorales (hymn tunes) set in complex textures to train organists. In 1713 Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Marktkirche Unser Lieben Frauen. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[27][28] Musicologists debate whether his first Christmas cantata Christen, ätzet diesen Tag, BWV 63, was premiered here in 1713[29], or if it was performed for the bicentennial of the Reformation in 1717.[30] Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed:“On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge.[31]”Köthen (1717–23)Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[32] including the Orchestral Suites, the Six Suites for Unaccompanied Cello, the Sonatas and Partitas for Solo Violin, and the Brandenburg Concertos.[33] Bach also composed secular cantatas for the court such as the Die Zeit, die Tag und Jahre macht, BWV 134a.Despite being born in the same year and only about 80 miles apart, Bach and Handel never met. In 1719 Bach made the 20 mile journey from Köthen to Halle with the intention of meeting Handel, however Handel had recently departed the city.[34] In 1730, Bach's son Friedmann travelled to Halle to invite Handel to visit the Bach family in Leipzig, however the visit did not eventuate.[35]On 7 July 1720, while Bach was abroad with Prince Leopold, Bach's first wife suddenly died. The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano 17 years younger than he was who performed at the court in Köthen; they married on 3 December 1721.[36] Together they had 13 more children, six of whom survived into adulthood: Gottfried Heinrich, Johann Christoph Friedrich, and Johann Christian, all of whom became significant musicians; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnikol; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[37]Leipzig (1723–50)In 1723, Bach was appointed Cantor of the Thomasschule at Thomaskirche in Leipzig, and Director of Music in the principal churches in the town, namely the Nikolaikirche and the Paulinerkirche, the church of the University of Leipzig.[38] This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for 27 years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church service on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[39] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only Chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 61, and Wie schön leuchtet der Morgenstern, BWV 1.Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets, at least five of which are for double choir.[40] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[17]Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[41] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Zimmermannsches Caffeehaus, a Coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and harpsichord concertos.[17]In 1733, Bach composed the Kyrie and Gloria of the Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, August III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full Mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was almost wholly taken from his own cantatas. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig Council. Although the complete mass was probably never performed during the composer's lifetime,[42] it is considered to be among the greatest choral works of all time. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.In 1747, Bach visited the court of the King of Prussia in Potsdam. There the king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on Frederick's pianoforte, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration. Bach wrote another fugue, The Art of Fugue, shortly before his death, but never completed the final fugue. It consists of 18 complex fugues and canons based on a simple theme.[43] It was only published posthumously in 1751.[44]The final work Bach completed was a chorale prelude for organ, entitled Vor deinen Thron tret ich hiermit (Before thy throne I now appear, BWV 668a) which he dictated to his son-in-law, Johann Altnikol, from his deathbed. When the notes on the three staves of the final cadence are counted and mapped onto the Roman alphabet, the initials "JSB" are found.[45]Death (1750)Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Gottlob Harrer, fill the Thomascantor and Director musices posts "upon the eventual ... decease of Mr. Bach."[29] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April of 1750.[46]On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[47] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[48]Bach's estate included five Clavecins, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and 52 "sacred books", including books by Martin Luther and Josephus.[49] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894 his coffin was finally found and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave at Leipzig's Church of St. Thomas.[17]LegacyA detailed obituary of Bach was published (without attribution) four years later in 1754 by Lorenz Christoph Mizler (a former student) in Musikalische Bibliothek, a music periodical. The obituary remains probably "the richest and most trustworthy"[50] early source document about Bach. After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging classical style.[51] Initially he was remembered more as a player and teacher.During the late eighteenth and early nineteenth century, Bach was widely recognised for his keyboard work. Mozart, Beethoven, Chopin, Robert Schumann, and Felix Mendelssohn were among his most prominent admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[52] Beethoven described him as the "Urvater der Harmonie", "original father of harmony".[53]Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of Bach.[54] Felix Mendelssohn significantly contributed to the revival of Bach's reputation with his 1829 Berlin performance of the St Matthew Passion.[55] In 1850, the Bach Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the Cello Suites by Pablo Casals, the first major performer to record these suites.[56] Another development has been the growth of the "authentic" or "period performance" movement, which attempts to present music as the composer intended it. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[57]Bach's music is frequently bracketed with the literature of William Shakespeare and the teachings of Isaac Newton.[58] In Germany, during the twentieth century, many streets were named and statues were erected in honour of Bach. His music features three times - more than any other composer - on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[59]WorksIn 1950, a thematic catalogue called Bach Werke Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[60] Schmieder largely followed the Bach Gesellschaft Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1905: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[61]Organ worksBach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed several pairs of preludes and fugues and toccatas and fugues, and the Orgelbüchlein ("Little organ book"), an unfinished collection of 46 short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although his best-known works (the six trio sonatas, the "German Organ Mass" in Clavier-Übung III from 1739, and the "Great Eighteen" chorales, revised late in his life) were all composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[62][63]Other keyboard worksBach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion. • The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as 'the 48'). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[64] • The 15 Inventions and 15 Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as the Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[65] • Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[66] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[67] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[68] • The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the 30 variations, one every three variations between variations 3 and 27.[69] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. • Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831), Chromatic Fantasia and Fugue (BWV 903), and the Italian Concerto (BWV 971).Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).Orchestral and chamber musicBach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012) and Partita for solo flute (BWV 1013), are among the most profound works in the repertoire.[70] Bach composed a suite and several other works for solo lute. He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercare, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a Concerto for Two Violins in D Minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[71] A number of violin, oboe and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[72]Vocal and choral worksCantatasAs the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than 300 sacred cantatas, of which approximately 200 survive.[73]His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, or grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are: • Christ lag in Todes Banden, BWV 4 • Ich hatte viel Bekümmernis, BWV 21 • Ein feste Burg ist unser Gott, BWV 80 • Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus) • Wachet auf, ruft uns die Stimme, BWV 140 • Herz und Mund und Tat und Leben, BWV 147In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata and the Coffee Cantata.[74]PassionsBach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vespers services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the Liturgical season of Christmas).[75][76][77] The two versions of the Magnificat (one in E-flat major, with four interpolated Christmas-related movements, and the later and better-known version in D major), the Easter Oratorio, and the Ascension Oratorio are smaller and simpler than the Passions and the Christmas Oratorio.Mass in B minorMain article: Mass in B minorBach assembled his other large work, the Mass in B minor, near the end of his life, mostly from pieces composed earlier (such as the cantatas Gloria in excelsis Deo, BWV 191 and Weinen, Klagen, Sorgen, Zagen, BWV 12). The mass was never performed in full during Bach's lifetime.[78] All of these movements, unlike the six motets (Singet dem Herrn ein neues Lied; Der Geist hilft unser Schwachheit auf; Jesu, meine Freude; Fürchte dich nicht; Komm, Jesu, komm!; and Lobet den Herrn alle Heiden), have substantial solo parts as well as choruses.Musical styleBach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the Period 1713-14 onward he learned much from the style of the Italians.[79]During the Baroque Period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[80] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[81]Bach's devout relationship with the Christian God in the Lutheran tradition[82] and the high demand for religious music of his times placed sacred music at the centre of his repertory. He taught Luther's Small Catechism as the Thomascantor in Leipzig,[83] and some of his pieces represent it;[84] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[85] The structure of the Easter Oratorio, BWV 249, resembles The Crucifixion.[86]Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[87] Virtuosity is a key element in other pieces, such as the Prelude and Fugue in E minor, BWV 548 for organ in which virtuosic passages are mapped onto alternating flute and reed solos within the fugal development.[88]Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is the Well Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[89]PerformancesPresent-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, allows a greater variety of ensemble.Easy listening realisations of Bach's music and their use in advertising contributed greatly to Bach's popularisation in the second half of the twentieth century. Among these were the Swingle Singers' versions of Bach pieces that are now well-known (for instance, the Air on the G string, or the Wachet Auf chorale prelude) and Wendy Carlos's 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine and the Modern Jazz Quartet among those creating jazz versions of Bach works.[90]See also • List of fugal works by Johann Sebastian Bach • List of transcriptions of compositions by Johann Sebastian Bach • List of students of Johann Sebastian BachReferences 1. German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax] 1. ^ a b Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton and Company, Inc., 2000), 19. 2. ^ a b Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 46. ISBN 0-393-04825-X. 3. ^ a b "BACH Mass in B Minor BWV 232" 
. www.baroquemusic.org. Retrieved 21 February 2012. 4. ^ a b Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 86–87. 5. ^ a b Breitenfeld, Tomislav; Solter, Vesna Vargek; Breitenfeld, Darko; Zavoreo, Iris; Demarin, Vida (3 Jan. 2006). "Johann Sebastian Bach's Strokes" 
(PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1). Retrieved 20 May 2008. 6. ^ a b Baer, Ka. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (206). 7. ^ a b Breitenfeld, D.; Thaller V, Breitenfeld T, Golik-Gruber V, Pogorevc T, Zoričić Z, Grubišić F (2000). "The pathography of Bach's family". Alcoholism 36: 161–64. 8. Blanning, T. C. W.The triumph of music: the rise of composers, musicians and their art 
, 272: "And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music' 9. Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford University Press. p. 3. ISBN 0-19-816440-8. 1. "Lesson Plans" 
. Bach to School. The Bach Choir of Bethlehem. Retrieved 8 March 2012. 1. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 6 2. Printed in translation in The Bach Reader (ISBN 0-393-00259-4) 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 7–8. 4. Mendel et al (1998), 299 5. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. p. 45. ISBN 0-393-04825-X. 1. ^ a b c d e f g h i j k l m "Johann Sebastian Bach: a detailed informative biography" 
. baroquemusic.org. Retrieved 19 February 2012. 1. Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. W. W. Norton & Company. pp. 41–43. ISBN 0-393-04825-X. 2. Karl Geiringer, Johann Sebastian Bach: The Culmination of an Era (New York: Oxford University Press, 1966), 13. 3. Rich, Alan (1995). Johann Sebastian Bach: Play by Play. Harper Collins. p. 27. ISBN 0-06-263547-6. 4. Jan Chiapusso, Bach’s World (Scarborough, Ontario: Indiana University Press, 1968), 62. 1. "Classical Net – Basic Repertoire List – Buxtehude" 
. Classical.net. Retrieved 20 September 2008. 1. Teri Noel Towe, The Portrait in Erfurt Alleged to Depict Bach, the Weimar Concertmeister, August 10 2001, published on The Face of Bach website, now defunct, but available at the Internet Archive at this 
link (from July 2011) 1. "Baroque Music – Part One" 
. San Diego State University. Retrieved 19 February 2012. 1. Jan Chiapusso, Bach’s World (Scarborough, Ontario: Indiana University Press, 1968), 168. 2. Albert Schweitzer, J. S. Bach: Volume I (New York: The Macmillan Company, 1950), 331. 1. Weimar (II) 1708-1717 
let.rug.nl 1. Door Julie Anne Sadie: Companion to Baroque Music  1. ^ a b Christoph Wolff (1995). From konzertmeister to thomaskantor: Bach's cantata production 1713–1723 
. p. 17. Retrieved 21 June 2011. 1. John Eliot Gardiner (2010). "Cantatas for Christmas Day / Herderkirche, Weimar" 
. bach-cantatas.com. p. 1. Retrieved 9 December 2011. 1. Mendel 1999, p. 80 2. Russell H. Miles, Johann Sebastian Bach: An Introduction to His Life and Works (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1962), 57. 3. Malcolm Boyd, Bach (New York: Oxford University Press, 2000), 74. 1. Van Til, Marian (2007). George Frideric Handel: A Music Lover's Guide 
. New York, US: WordPower. p. 69. ISBN 978-0-9794785-0-5. Retrieved 24 May 2012. 2. Spaeth, Sigmund (1937).

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  • みんなのダイエット #129

    · 00:58:26 · みんなのダイエット

    賀正!初日の出!迎春!「みんなのダイエット」 子曰、「謹んで新年の歓びを申し上げるダイエットバラエティ」新年事情・ダウンロード大賞はまだなのか?・各国の諜報機関にお勤めの皆様・リスナー様確認調査開催のお知らせ・次の絶滅に向けて行き急ぐハンスケ・暴肉会から忘年会・表面がくるんと地球滅亡計画・ハンスケの2013年度所信表明演説1.スタミナをつける2.記録を取る3.エンゲル係数を下げるハンスケ忘年会宴の後の千鳥足ツイート電車はクリア。でも、このバスで目的地につくのかすげー不安…(^^;; twitter.com/ekusnah/status…— ハンスケさん (@ekusnah) 12月 28, 2012@ekusnah 今日はハンスケさんが無事に帰ってこれるかが一番の目玉イベント— たろ@謎っ子さん (@talotework) 12月 28, 2012か、帰りたい… twitter.com/ekusnah/status…— ハンスケさん (@ekusnah) 12月 28, 2012@auchi_ @talotework こんなに味のわからないハーゲンダッツは初めてでした~— ハンスケさん (@ekusnah) 12月 28, 2012ようやく解放。まっすぐ歩いているかは微妙だけど、前には進んでいるみたい…— ハンスケさん (@ekusnah) 12月 28, 2012おっと…終バス?(^^;;っつかこのバスでいいのかどうかも怪しいんだけど、待つしかない twitter.com/ekusnah/status…— ハンスケさん (@ekusnah) 12月 28, 2012押してみたい… twitter.com/ekusnah/status…— ハンスケさん (@ekusnah) 12月 28, 2012@ekusnah ハンスケ君、何やっとるの?(´ω ` )— anさん (@andayo) 12月 28, 2012@andayo @ekusnah 酔っ払いは放っておこー— もぅもぅさん (@nishiku) 12月 28, 2012@nishiku @andayo 頭イタイの…— ハンスケさん (@ekusnah) 12月 28, 2012@nishiku @andayo でも、なんか食べたいの… はらへーもうこういう忘年会はいいや(^^;;— ハンスケさん (@ekusnah) 12月 28, 2012歩いて帰る~#37diet twitter.com/ekusnah/status…— ハンスケさん (@ekusnah) 12月 28, 2012@ekusnah Wow! Be careful going home!!! #37diet— megusuke さん (@megusuke37) 12月 28, 2012たいていお家の電気は消えてるのね…— ハンスケさん (@ekusnah) 12月 28, 2012歩けど歩けど、到着する気がしないのはなぜ? ってかここはどこ?— ハンスケさん (@ekusnah) 12月 28, 2012電信柱に激突などしていない。— ハンスケさん (@ekusnah) 12月 28, 2012目が回ってきたかも。— ハンスケさん (@ekusnah) 12月 28, 2012ので、フリック練習ウォーキングはこの辺で— ハンスケさん (@ekusnah) 12月 28, 2012@ekusnah なんだかみんな不安になっていると思うので、無事帰宅された時には寝る前にツイートお願いします~。— hanakoさん (@bomuhanako) 12月 28, 2012Just completed a 2.27 km walk - タクシー使うよりかはマシという程度。 でもつけとく>#37diet. rnkpr.com/a2abih2 #RunKeeper— ハンスケさん (@ekusnah) 12月 28, 2012@ekusnah By the way, are you home now? A little worry about you! (^^;)— megusuke さん (@megusuke37) 12月 28, 2012シャワー浴びたら目が覚めてしまって、頭痛いのが加速… 寝れん…— ハンスケさん (@ekusnah) 12月 28, 2012@megusuke37 ご心配おかけしてしまったようですみません(^^;;途中見知らぬ袋小路に入ってしまったりしましたが、無事に帰えれました。— ハンスケさん (@ekusnah) 12月 30, 2012@bomuhanako ご心配いただきありがとうございました。無事帰っておりました(^^;;— ハンスケさん (@ekusnah) 12月 30, 2012@talotework 今回は優秀だったよ!乗り過ごしはゼロ。— ハンスケさん (@ekusnah) 12月 30, 2012@ryisakurao @talotework さぶかったです〜あ!、あれで風邪引いたのかも…いまゲホゲホで頭イタイ。でも、これだけ咳してたら腹筋鍛えられるかも⁉風邪っぴきダイエット!— ハンスケさん (@ekusnah) 12月 30, 2012@ekusnah @ryisakurao ……ハンスケさん。全く成長してないんですね。— たろ@謎っ子さん (@talotework) 12月 30, 2012リスナー様確認調査開催のお知らせテキスト最下部にアンケートフォームを用意しております。御協力お願いいたします。m(_ _)m今週の成果発表!【ハンスケ】・運動 : 1回 (自転車 0回、ウオーキング 1回、プール 出入禁止中、MOVAREX 0回) / 7日・体重 : 74.7kg (+0.9kg)・体脂肪率 : 21.2% (+2.9%)・ウエスト : 87.0cm (+0.7cm)【2012年の目標】 = 12/31までにウエスト80.0cm残り 7.0cm を48時間で!【鐵尾】・運動 : 1回 (ウオーキング 1回、MOVAREX 0回) / 7日・体重 : 74.3kg (+0.2kg)・体脂肪率 : 27.2% (+1.0%) ← 自己ベスト・ウエスト : 90.3cm (-0.2cm)[credit]【放送楽曲】・曲名:愛しい人へ(Inis Oirr , In Inis Oirr) / alpaca・配信先:CD 「キミノウタ」( http://www.whats-new.ne.jp/alpaca )・著作権:Copyright (C) 2011 alpaca・アルパカのポッドキャスト番組「アルパカ通信」 ( http://c-radio.net/link/alpaca.html )【番組中BGM】・曲名:みんなのダイエットのタイトル / 鐵尾芸術製作所・曲名:たった4小節のループ / 鐵尾芸術製作所・配信:まだですのん・著作権:Copyright (C) 2010 Ichiro Tetsuo

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  • Cécile McLorin Salvant est l'invitée de Musique Matin

    · 00:47:57 · L'invité du jour

    durée : 00:47:57 - L'invité du jour - ## L'invitée du jour Cécile McLorin Salvant est née et a grandi à **Miami**, en Floride. Elle a commencé ses études de piano classique à 5 ans, de chant en chorale à 8 ans. Elle s'est très vite intéressée au chant lyrique et a commencé à étudier avec des professeurs privés, puis plus tard avec Edward Walker, enseignant à l'Université de Miami. En 2007, Cécile est partie à Aix\-en\-Provence pour étudier le droit, le chant lyrique et baroque au Conservatoire Darius Milhaud. C'est à Aix, avec le professeur et musicien **Jean\-François Bonnel**, qu'elle a découvert l'improvisation, ainsi que le jazz instrumental et vocal. En 2009, après une série de concerts à Paris, elle a enregistré son premier album, **"Cécile"**, avec le Jean\-François Bonnel Paris Quintet. Un an plus tard, elle remportait le **Concours Thelonious Monk** à Washington DC. Elle a suivi des études musicales à la New School de Manhattan, avec **Jane Ira Bloom,** **Bill Kirchner**, **Hugo Goldenzweig**, et **Amy Burton**. Cécile interprète des chansons peu jouées et rarement enregistrées en essayant de mettre en valeur leur aspect théâtral. Elle commence à chanter en français et en espagnol et à composer des pièces instrumentales et vocales. Elle jouit d'une popularité croissante en Europe et aux États\-Unis, où elle se produit dans des clubs, salles de spectacles, et festivals avec des musiciens de renommée comme Jean\-François Bonnel, Aaron Diehl, Rodney Whitaker, Dan Nimmer, Jonathan Batiste, **Jacky Terrasson**, **Archie Shepp**... Elle chante pour la 2ème année consécutive pour la champagne publicitaire de « Chance» de Chanel. Cécile a été l’invitée de **Wynton Marsalis** et son Orchestre Jazz at Lincoln Center. Elle a renregistré l'album **"WomanChild"** pour le label Mack Avenue avec Aaron Diehl, Rodney Whitaker, Herlin Riley et James Chirillo. Cécile a été nominée pour le **Grammy 2014** dans la catégorie du Meilleur Album de Jazz Vocal pour son album "WomanChild". Elle a été l’invitée des festivals de Vienne, Ascona, Whitley Bay, Montauban, Foix...et de Wynton Marsalis au **Lincoln Center de New York** et au **Symphony Center de Chicago** ainsi qu’avec sa propre formation au Kennedy Center, Festival de Jazz Spoleto USA, Edinburgh Jazz and Blues, Festival de Jazz de Detroit, etc. En 2016, elle se voit décernée le **Grammy du meilleur album de jazz vocal** avec "For One To Love" (Mack Avenue Records). ## Nouveau disque {% image 373887c8-6786-440c-8ea4-66341daabb87 %} ["Dreams and Daggers"](http://www.mackavenue.com/store/mac1120) Cécile McLorin Salvant Mack Avenue Records 2017 ## Prochains concerts en France * jeudi 11 janvier 2018 à 21h au Lobis à **Blois (41)** dans le cadre du festival [All That Jazz](http://www.allthatjazz.fr/?concerts=cecile-mclorin-salvant-blois) * vendredi 12 janvier 2018 à 21h au Cap Cinéma à **Périgueux (24)** dans le cadre du festival [All That Jazz](http://www.allthatjazz.fr/?concerts=cecile-mclorin-salvant-perigueux) * samedi 13 janvier 2018 à 21h au Cap Cinéma à **Agen (47)** dans le cadre du festival [All That Jazz](http://www.allthatjazz.fr/?concerts=cecile-mclorin-salvant-agen) * dimanche 14 janvier 2018 à 18h au Cap Cinéma à **Rodez (12)** dans le cadre du festival [All That Jazz](http://www.allthatjazz.fr/?concerts=cecile-mclorin-salvant-rodez) * vendredi 19 janvier 2018 à 20h au [Théâtre de Caen](http://theatre.caen.fr/Spectacles/c%C3%A9cile-mclorin-salvant-et-aaron-diehl-trio) à **Caen (14)** * mardi 23 janvier 2018 à 20h30 au [Parvis](http://www.parvis.net/le-programme/spectacle-vivant/cecile-mclorin-salvant) à **Ibos (65)** * mercredi 24 janvier 2018 à 20h au [Théâtre Christian Liger](http://en-ville.orange.fr/30_nimes/sortir/cecile-mclorin-salvant_FBIEG00000000000143556311) à **Nîmes (30)** ## Programmation musicale de l'invitée **♫ Paul SIKIVIE / Cécile MC LORIN SALVANT** _And yet_ Cécile Mc Lorin, Aaron Diehl (piano), Paul Sikivie (contrebasse), Lawrence Leathers (batterie) et Catalyst Quartet MACK AVENUE 2017 **♫ Bob DOROUGH** _Devil may care_ Cécile Mc Lorin, Aaron Diehl (piano), Paul Sikivie (contrebasse), Lawrence Leathers (batterie) MACK AVENUE 2017 **♫ Cécile MC LORIN SALVANT** _You’ve got to give me some_ Cécile Mc Lorin, Aaron Diehl (piano), Paul Sikivie (contrebasse), Lawrence Leathers (batterie) MACK AVENUE 2017

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  • 2012 GATEWAY TO THE gODS, TIME AND THE RAGE OF 2012 part 1

    · THE RAGGED EDGE RADIO ....with Russ Dizdar

    SHATTER THE DARKNESS LIVE RADIO SEMINAR 2012 GATEWAY OF THE gODS? 31 BLAZING DAYS THEME FOR JANUARY 2 TO 6 2012 TIME & THE RAGE OF 2012 HOW TO NUMBER THE…YOUR DAYS & HELLS BULGING SEAMS THEME FOR JANUARY 9 TO 13 2012 THE SUPERNATURALISM OF 2012 THE POWERS PAST, PRESENT AND FUTURE WHAT WILL YOU EXPERIENCE? THEME FOR JANUARY 16 TO 20 2012 2012 THE GLOBAL BRAIN LAYERING THE LUCIFERIC FOUNDATIONS BULIDING A GLOBAL PLATFORM THEME FOR JANUARY 23 TO 27 2012 2012 LET DOWN BREAK DOWN EXPECTIONS, BROKEN PROMISES, LIES AND BETRAYAL….FINITE SPIRITUALITY FAILS For he says, "In the time of my favor I heard you, and in the day of salvation I helped you." I tell you, now is the time of God's favor, now is the day of salvation. 2 Corinthians 6 THEME FOR JANUARY 2 TO 6 2012 TIME & THE RAGE OF 2012 HOW TO NUMBER THE…YOUR DAYS & HELLS BULGING SEAMS Each day is important, we live daily, some days are great some not so great. We have time but how much, how much time do you have? How much time does the world have? How long before the chaos, the antichrist the opening of the abyss??? Time is slipping away, some are carless concerning the gift of days others are running so fast that time seems to be speeding up. How can you number your days, measure time or calculate the future. What will happen, more importantly what will do get the most……….or do you like some want it all to end? MONDAY JAN 2 LIVE RADIO BROADCAST AT 6PM TIME: YESTERDAY, how to evaluate the past; learn from it and launch into the present and future. Redeeming time and making your life count TUESDAY JAN 3 LIVE RADIO BROADCAST AT 6PM TIME: TODAY how to seize the day and make the most of it. What are the things we need to get the most out of a day? How each day counts? Today is the day! The Lord has made….. WEDNESDAY JAN 4 LIVE RADIO BROADCAST AT 6PM TIME: TOMORROW…. THE FUTURE: How to launch into the future. What you know can help you. Breaking fears and marching forward. THURSDAY JAN 5 LIVE RADIO BROADCAST AT 6PM TIME: WHY 2012? WHAT IS 2012? Who pointed to 2012, what’s planned for 2012…a peak into the devils day timer. The source of the focus on 2012…2012 FRIDAY JAN 6 LIVE RADIO BROADCAST AT 6PM TIME: DOES IS RUN OUT? IS IT TIME? TIME FOR WHAT? Who is in control, running the agenda? What are the big plans for 2012…is it the gateway of the gods?

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  • December 26th 2012 - Best Of 2012 - With Sweedish House Mafia, Gotye, Avicii, Deadmau5, Alesso, Maceo Plex, Julio Bashmore, Todd Terje, Joris Voorn, Hot Since 82, Lana Del Rey, Ben Pearce, Sasha, Technasia and many more!!

    · DAVID GAUSA presents SUTIL SENSATIONS PODCAST

    DAVID GAUSA presents SUTIL SENSATIONS PLAYLIST DECEMBER 26th 2012 / 26 DICIEMBRE 2012 BEST OF 2012, OUR PERSONAL SELECTION... - LO MEJOR DEL 2012, NUESTRA SELECCION PERSONAL... 1st HOUR/1a HORA THE MAINSTREAM TUNES OF THE YEAR (1) - LOS TEMAS MAINSTREAM DEL AÑO (1) Swedish House Mafia feat. John Martin 'Don't You Worry Child' Virgin Avicii 'Silhouettes' LE7ELS Deadmau5 ft. Chris James 'The Veldt' (8min Edit Vocal) Ultra Elton John vs Pnau 'Good Morning To The Night' (Siege 'To The Night' Remix) Mercury Burns 'Lies' (Otto Knows Remix) Deconstruction (Sony) --- MORE 2012 WINNERS / MÁS IMPRESCINDIBLES DE 2012 (1) Candi Staton 'Hallelujah Anyway' (Larse Vocal) Defected Audiowhores 'Sometimes' (Original Mix) Mjuzieek Digital Daddys Groove & Little Nancy 'It's Not Right But Its Okay' Strictly Rhythm Mark Knight 'Alright' (taken from 'Bullets Vol.2') Toolroom Madeon 'Icarus' (Extended Mix) popcultur Chocolate Puma & Firebeatz 'Just One More Time Baby' Spinnin --- IBIZA 2012 BIG ONE Gotye feat. Kimbra 'Somebody That I Used To Know' - Tribute To Gotye (Marco Farone Re-edit) - --- Florence & The Machine 'Spectrum (Say My Name)' (Maya Jane Coles Remix) Island Ben Pearce 'What I Might Do' (Club Edit) MTA Flashmob 'Need In Me' Defected Infinity Ink 'Infinity' (Remixes - Claude VonStroke Remix) Crosstown Rebels Julio Bashmore 'Au Seve' Broadwalk Stefano Noferini 'Flash' (Mihalis Safras Remix) Deep Perfect Mulder (Nl) 'Natural High' (Joris Voorn Edit) Rejected Eric Prydz 'Everyday' Pryda --- THE DEEP ZONE & INDIE DANCE 2012 WINNERS - LOS GANADORES DE LA ZONA PROFUNDA & INDIE DANCE DE 2012 Amirali 'Beautiful World' Crosstown Rebels HNQO 'Point Of View' Hot Creations Klankarbeit feat. Nina Kinert 'Art Is Hard' EC (N.E.W.S.) Todd Terje 'Inspector Norse' Smalltown Supersound (Phonofile) --- David Morales & Roisin Murphy 'Golden Era' (David Morales Disco Mix) Ultra ----2nd Hour/2aHora---- THE WEEKEND FLOORKILLERS 2012 [THE MAINSTREAM TUNES OF 2012 (2)] - LOS WEEKEND FLOORKILLERS 2012 [LOS TEMAS MAINSTREAM DE 2012 (2)] Alesso ft. Matthew Koma 'Years' Refune Keane 'Silenced By The Night' (Alesso Remix) Island Ivan Gough & Feenixpawl feat. Georgi Kay 'In My Mind' (Axwell Mix) Axtone Sweedish House Mafia 'Greyhound' (Original Mix) Virgin UK Nari & Milani 'Atom' (Original Mix) Size M83 'Midnight City' (Eric Prydz Remix) Naive --- SUTIL RECORDS & SUTIL VOX SELECTION - SPECIAL 2012 BEST RELEASES AGM & Quintrix 'Hello Fresh' (David Granha Sutil Remix) Sutil Dub Makers 'Crazy Pjano' (AGM & Quintrix Sutil Remix // taken from 'Two Ways/Crazy Pjano' EP) Dub Makers 'Two Ways' (David Gausa 'The Family' Remix // taken from 'Two Ways/Crazy Pjano' EP)) Sutil Robert Morr & Alex Tojar 'Everybody F*CK!!' (Aggresivnes -Sutil Vox- Remix) Sutil Vox --- MORE 2012 WINNERS / MÁS IMPRESCINDIBLES DE 2012 (2) Chopstick & Johnjon 'Listen' Suol Lana Del Rey 'Video Games' (Rainer Weichhold & Nick Olivetti Clubmix) Vertigo Nick Curly 'Underground' (Dennis Ferrer Remix) Defected Hot Chip 'Flutes' (Sasha Remix) Last Night On Earth Mark Fanciulli 'Sacrifice' Saved Joris Voorn 'Goodbye Fly' (taken from 'Dusty House / Room 6') Rejected Deetron ft. Hercules & Love Affair 'Crave' (Deetron cRAVE Dub) Music Man Rudimental ft. John Newman 'Feel The Love' Asylum/Black Butter --- THE TRACK OF THE WEEK OF THE YEAR EL TEMA DE LA SEMANA DEL AÑO Technasia 'Heart Of Flesh' Cadenza --- DAVID GAUSA LAST SUTIL SENSATIONS 2012 MINI MIX Pete Tong feat. S.Y.F. 'Dawn' Defected Maetrik 'Walk Alone' (Maceo Plex Revenge) Ellum Audio Yousef 'Beg' (Hot Since 82 Future Mix) Defected Umek & Mike Vale 'My House' Great Stuff Jay Lumen 'Get Ready' 100% Pure Paperclip People 'Throw' (Slam's RTM Remix) Planet E Christian Smith 'Carambola' Bedrock Anil Chawla 'Bells' (Kaiserdisco Remix) KD --- HAPPY CHRISTMAS & 2013!! - '¡¡FELIZ NAVIDAD y 2013!! Hot Natured feat. Ali Love 'Benediction' Hot Creations

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  • Pocketnow Weekly Episode 020: Samsung ATIV S, Nexus 4 vs Droid DNA, & A Big Giveaway!

    · 01:27:36 · Pocketnow Weekly Podcast

    You know what happens when you get a bunch of geeks swapping hot new gadgets and talkin' tech? The Pocketnow Weekly podcast, that's what. We just hit our twentieth episode, and to celebrate, we decided to tie the podcast into our latest giveaway contest. So in addition to in-depth discussion on the Nexus 4 versus the world, the Lumia 920's camera ups and downs, and the Android-to-Windows Phone learning curve, there's something special for your ears only. Somewhere in today's episode of the Pocketnow Weekly is the special hint word you need to email us at contest [AT] pocketnow [DOT] com for your chance to win a $300 wireless HiFi stereo system from Sonos! Click here for full contest rules. Plus, there's iOS discussion, in-depth exploration and debate on Google's entire Nexus family, and listener mail from two familiar faces. Also appearing, for the first time in episode 020: a short outtake reel easter egg, which we hope you'll enjoy. Enough rambling. It's time you put the podcast in your ears. Plug in, kick back, and treat your listening holes to episode 020 of the Pocketnow Weekly. Send feedback, questions, and requests to podcast [AT] pocketnow [DOT] com. Follow us on Twitter, Facebook, and Google Plus to stay apprised of the latest episodes. And thanks for listening! Pocketnow Weekly Episode 020   Recording Date 11/28/2012   Hosts Michael Fisher Brandon Miniman Anton D. Nagy   Topic List   Special Announcement (00:01:28) Giveaway: Blow Our Your Eardrums with this Sonos Wireless HiFi System (Giveaway)   Podcast Preshow / Thought Thread (00:05:09) 1) Samsung ATIV S Not Arriving Until 2013 In Some Markets? 2) Brandon Miniman riffs on Google Play Store's new "Keep Shopping" button   Windows 8/Windows Phone 8 (00:15:50) OTA Update Coming In December To Fix Windows Phone 8 Reboot Problems Microsoft Working on WP8 "Apollo+" Update Five Solutions To Windows Phone Frustrations Nokia Loses Damian Dinning; What Will It Mean For PureView? Three Features The Nokia Lumia 920's Camera Needs Right Now Microsoft Will Support The Surface RT Until 2017   Android (00:39:49) Nexus 4 Review Nexus 4 vs Droid DNA LG's 1080p Optimus G2 Rumored For Spring Launch Samsung Reveals Dual-Screen, Quad Core Flip Phone   iOS (01:04:00) iOS Once Again Number One in US Apple Continues With Firings Following iOS6 Maps Fiasco AT&T Offering Cheap iPhone Refurbs   Listener Mail (01:14:16) TheWim from The Netherlands asks about the future of BlackBerry vs. other platforms in the enterprise space Ryan Field from California asks for our buying advice on the Nexus 10 as he searches for an HP TouchPad replacement  ___ Thanks for listening! Tune in next week for more!  

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  • Pocketnow Weekly 024: Motorola X, Nokia Windows Tablet, Apple Smart Watch, and More

    · 01:30:08 · Pocketnow Weekly Podcast

    Only seven billion remain following the Great Mayan Apocalypse of 2012, and three of them have joined forces in this new dystopian future-world to talk technology. Closing out 2012 is a tough endeavor, but thankfully the pre-holiday news explosion quickly gave way to a post-holiday news respite, and the resulting abbreviated topic list gives us a little breathing room at the tail end of this year. In this episode, we talk about the future of Windows RT tablets, the rumored Apple iOS-running smart watch, Motorola's mysterious "X" project, first impressions from a week with the Galaxy Camera, and of course our impressions of 2012 and our projections for 2013. All that, plus listener mail, jokes about parallel ports, and a quick slice of pre-show bloopers, after the break. Plug in, kick back, and treat those beautiful ears of yours to episode 024 of the Pocketnow Weekly. Send feedback, questions, and requests to podcast [AT] pocketnow [DOT] com. Follow us on Twitter, Facebook, and Google Plus to stay apprised of the latest episodes. Thanks for listening, and happy 2013! Pocketnow Weekly Episode 024 Recording Date 12/28/2012   Hosts Michael Fisher Brandon Miniman Anton D Nagy   Topic List   Podcast Preshow / Thought Thread (00:04:02) What company or product shaped your perspective the most in 2012? 2012 wrap-up thoughts from the team   Misc (00:15:29) Brandon Miniman on the archaic state of television in 2012 More Tablets Activated on Christmas Day Than Smartphones   Android (00:31:53) Samsung Galaxy Camera Software Tour AT&T Enhanced PTT: Guided Tour Motorola "X" Phone Rumored as 2013 Android Heavyweight   Windows 8/Windows Phone 8 (00:46:48) Windows RT Squeezes Its Way Onto HD2 New Details Emerge On Rumored Nokia Windows RT Tablet HTC Planning Not One, but Two Windows RT Tablets For Next Year?   iOS (01:00:00) Apple Rumored To Be Developing 1.5-Inch Smart Watch with Intel Got A New iPad Mini for Christmas? Colorize It!   Listener Mail (01:19:36) Steve Rodrigue asks about the prospects for non-iOS dock/accessory standardization in the future. ___ Thanks for listening! Tune in next week for more!  

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  • Avsnitt 11: DMC och spelåret 2012 som helhet

    · Svamppod

    Denna vecka är det inte jättemycket som har hunnit med att spela, men vi har däremot gett oss på att summera spelåret 2012 med toppar dalar, förväntningar och resultat. Vi utropar också slutligen vinnaren i LEVELUP 2013-tävlingen. The post Avsnitt 11: DMC och spelåret 2012 som helhet appeared first on Svampriket.

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  • Avsnitt 11: DMC och spelåret 2012 som helhet

    · Svamppod

    Denna vecka är det inte jättemycket som har hunnit med att spela, men vi har däremot gett oss på att summera spelåret 2012 med toppar dalar, förväntningar och resultat. Vi utropar också slutligen vinnaren i LEVELUP 2013-tävlingen. The post Avsnitt 11: DMC och spelåret 2012 som helhet appeared first on Svampriket.

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  • Pocketnow Weekly Episode 016: The Surface RT & Windows 8's future, Windows Phone's next generation, & Google's new Nexus family

    · 01:31:32 · Pocketnow Weekly Podcast

    The holiday period is always a busy one, but when you've got industry-defining products launching from literally every major manufacturer and platform-maker, it's a special Q4 indeed. That's what we're looking at with this episode of the Pocketnow Weekly: from Microsoft's new Surface RT and Windows Phones, to Google's new Nexus family, to Apple's iPad Mini, there's a lot to cover. Throw in a lot of Windows 8 and Android commentary, the typically awesome helping of listener mail, and the fact that two-thirds of the podcast team have bad head colds, and you get a sweet -if stuffy- hour and a half of internet-radio goodness. You know you want it. Plug in, kick back, and treat your listening holes to episode 016 of the Pocketnow Weekly. Send feedback, questions, and requests to podcast [AT] pocketnow [DOT] com. Follow us on Twitter, Facebook, and Google Plus to stay apprised of the latest episodes. And thanks for listening! Pocketnow Weekly Episode 016 Recording Date 11/2/2012   Hosts Michael Fisher Anton D. Nagy Brandon Miniman   Topic List   Podcast Preshow / Thought Thread (00:01:39) Surface RT Review   Windows 8/Windows Phone 8 (00:08:53) Windows 8 and Windows RT Review Windows Phone 8 Review Windows Phone 8 Commercial By Steve Ballmer Samsung Outs Commercial for ATIV Smart PC Pro, ATIV S, and ATIV Tab   Android (00:50:53) Google Announces Nexus 4, Nexus 10, new Nexus 7 With the Nexus 10, Google Looks To Turn Mobile Upside-Down ... Again What's New in Android 4.2 Hands-On with Photo Sphere in Android 4.2 Google Has Sold Almost 3 Million Nexus 7s to Date Samsung Has Sold 3 Million Galaxy Note IIs Mid-Sized Galaxy Note Tablet Now In The Works? Droid DNA on Verizon Looking Confirmed   iOS (01:12:43) UK Court Orders Apple To Apologize Better Apple Announced Major Changes in Management As Scott Forstall, John Browett Leave Company     Listener Mail (1:18:46) Kire asks why Windows Phone apps are so expensive Tom Huffmaster asks if he should be concerned about the Nexus 4 on T-Mobile Myron Gunn asks for our thoughts on RIM and BBM TheWim wants to know where our Mirasol phones are at ___ Thanks for listening!  Tune in next week for more!    

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  • Augusti 2012

    · Skitsnack

    Vi gör skäl för vårt namn och inleder månadens avsnitt med över en timmes snack om precis allt och ingenting, innan vi hoppar till huvudsegmentet för månaden. Där har vi valt att lista våra favoriter bland fiktiva artister eller band, som ni givetvis också får höra musiken från. Utöver det erbjuds dessutom ett 50-tal nya flickchart-val som leder till ganska utförande diskussioner. Alltsammans checkar in på strax under fem timmar, så vi hoppas att det var värt all väntan. The post Augusti 2012 appeared first on Svampriket.

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  • 043 The Clitoris: Things You Probably Don't Know

    · 00:29:41 · Ending The Sexual Dark Age

    We talk in-depth about the clitoris, including some great info revealed by recent research. Show Links: After Dinner Party: A Two-Pronged, Art Centered Clitoris Education Project Sponsored By: AdamAndEve.com, enter the code "DARKAGE" at checkout to get HALF OFF just about any item, FREE shipping, three FREE porn DVDs and a FREE sexy surprise. Show website: SexualDarkAge.com All images re-posted with permission from After Dinner Party. For the original post plus lots of educational material on the clitoris, you can go straight to the Clitoris page, but I recommend starting with the Intro.              

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  • Benjamin Britten à Londres en 1962 (4/5)

    · 00:25:17 · Musicopolis

    durée : 00:25:17 - Musicopolis - par : Anne-Charlotte Rémond - ## ♫ Programmation musicale **Benjamin Britten (1913\-1976)** _War Requiem (1962) I. Requiem aeternam_ Choeur symphonique de Londres, Orchestre Symphonique de Londres, direction Benjamin Britten (enregistré en janvier 1963) Decca 414383\-2 **Benjamin Britten (1913\-1976)** _Sinfonia da Requiem (1940) II. Dies irae_ New Philharmonia Orchestra, direction Benjamin Britten Decca 4785538 **Benjamin Britten (1913\-1976)** _Sinfonia da Requiem (1940) I. Lacrymosa_ New Philharmonia Orchestra, direction Benjamin Britten Decca 4785538 **Benjamin Britten (1913\-1976)** _Nocturne op 60 pour ténor et 7 instruments obligés (1958) VI. She sleeps on soft, last breaths (Wilfred Owen, 1893\-1918)_ Peter Pears, ténor, Membres de l'Orchestre symphonique de Londres, direction Benjamin Britten Decca 417153\-2 **Benjamin Britten (1913\-1976)** _War Requiem (1962) I. Requiem aeternam "What passing bells for these who die like cattle" (Wilfred Owen)_ Peter Pears, ténor, Ensemble Melos, direction Benjamin Britten (enregistré en janvier 1963) Decca 414383\-2 **Benjamin Britten (1913\-1976)** _War Requiem (1962) IV. Sanctus "After the blast of lightning from the East" (Wilfred Owen)_ Dietrich Fischer\-Dieskau, baryton, Ensemble Melos, direction Benjamin Britten (enregistré en janvier 1963) Decca 414383\-2 **Benjamin Britten (1913\-1976)** _War Requiem (1962) II. Dies irae "Be slowly lifted up" (Wilfred Owen)_ Dietrich Fischer\-Dieskau, baryton, Ensemble Melos, direction Benjamin Britten (enregistré en janvier 1963) Decca 414383\-2 **Benjamin Britten (1913\-1976)** _War Requiem (1962) IV. Sanctus_ Galina Vishnevskaya, soprano, London Symphony Orchestra and Chorus, direction Benjamin Britten (enregistré en janvier 1963) Decca 414383\-2 {% embed youtube 41uBCBzsz2U %} Entretien de Benjamin Britten pour la télévision canadienne CBC, 1968 ## Bibliographie **Xavier de Gaulle**, _Benjamin Britten ou l’impossible quiétude_ (Actes Sud 1996) **Humphrey Carpenter**, _Benjamin Britten, a biography_ (Faber and Faber 1992) **Mildred Clary**, _Benjamin Britten ou le mythe de l'enfance_ (Buchet Chastel 2006) **J. Evans, P. Reed, P. Wilson**, _A Britten Source Book_ (The Britten\-Pears Library 1987) **John Bridcut**, _The Faber Pocket Guide to Britten_ (Faber and Faber 2010) _The Britten Companion_ Edited by **Christopher Palmer** (Faber and Faber 1984) **Lewis Foreman and Susan Foreman**, _London, a musical gazetteer_ (Yale University Press 2005) - réalisé par : Eric Lancien

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  • Le Miracle Mendelssohn ; hommage au Quatuor de Budapest

    · 02:03:27 · Plaisirs du Quatuor

    durée : 02:03:27 - Plaisirs du Quatuor - par : Stéphane Goldet - **Ismaël Margain, piano Amaury Coeytaux, Verena Chen, Perceval Gilles, David Petrlik, violons Adrien La Marca, Léa Hennino, altos Yan Levionnois, Victor Julien\-Laferrière, violoncelles**## Concert**_Enregistré le vendredi 27 janvier à l'Auditorium du Louvre, dans le cadre du cycle Premiers Feux_****Felix Mendelssohn _Quatuor pour piano et cordes n° 3 en si mineur op. 3 I. Allegro molto / II. Andante / III. Allegro molto / IV. Allegro vivace_ Ismaël Margain, Amaury Coeytaux, Adrien La Marca, Yan Levionnois****Felix Mendelssohn _Octuor à cordes en mi bémol majeur op. 20 I. Allegro moderato ma con fuoco / II. Andante / III. Scherzo / IV. Presto_ Amaury Coeytaux, Verena Chen, Perceval Gilles, David Petrlik, Adrien La Marca, Léa Hennino, Yan Levionnois, Victor Julien\-Laferrière**## Henry Louis de La Grange in memoriam**Gustav Mahler _Des Knaben Wunderhorn, extrait : XI. Lob des hohen Verstands (Eloge de la raison)_** Magdalena Kozena, mezzo\-soprano / Orchestre de Cleveland, dir. Pierre Boulez Deutsche Grammophon DGG 477 9060**Gustav Mahler _Symphonie n° 3 en ré mineur, extrait : IV. Sehr langsam. Misterioso. O Mensch !_** Christa Ludwig, contralto / Orchestre Philharmonique de New York, dir. Leonard Bernstein Deutsche Grammophon DGG 427328 2## Hommage au Quatuor de Budapest{% image d3beace8-0811-4986-a5eb-4c3ae88757f3 %}**Ludwig van Beethoven _Quatuor à cordes n° 12 en mi bémol majeur op. 127 I. Maestoso \- Allegro / II. Adagio ma non troppo e molto cantabile \- Andante con moto \- Adagio molto espressivo / III. Scherzando vivace / IV. Finale_** Quatuor de Budapest Joseph Roisman, violon / Alexander Schneider, violon / Boris Kroyt, alto / Mischa Schneider, violoncelle Sony 88697776782/1 Enregistrement 1960## Agenda**Romain Descharmes, piano / Pierre Fouchenneret, violon / Fine Arts Quartet** Beethoven : _Sonate pour piano et violon n° 7 en ut mineur op. 30 n° 2_ Ravel : _Quatuor à cordes en fa majeur_ Chausson : _Concert pour piano, violon et quatuor à cordes en ré majeur op. 21_ Un concert programmé dans le cadre de La Belle Saison, repris le 26 janvier à Coulommiers, le 27 janvier à Béziers et le 29 janvier à Arles **Lundi 30 janvier \- 20 h 30**[ Théâtre des Bouffes du Nord](http://www.bouffesdunord.com/fr/la-saison/quatuor-fine-arts-romain-descharmes-pierre-fouchenneret)## Sur la toile[Premiers Feux, à l'Auditorium du Louvre](http://www.louvre.fr/cycles/premiers-feux/au-programme)[ Mischa Schneider, violoncelle du Quatuor de Budapest : le site](http://www.sasha-schneider.com/) - réalisé par : Périne Menguy

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  • "Oh, boy!", "Fantasio"... La mezzo-soprano Marianne Crebassa transcende les rôles masculins

    · 02:00:20 · La Matinale

    durée : 02:00:20 - La Matinale - par : Saskia De Ville - ►**07h15** : Le mot du jour par Corinne Schneider : [Gruppetto](https://www.francemusique.fr/emissions/le-mot-du-jour/le-mot-du-jour-du-mardi-24-janvier-2017-31291) ►**07h40** : La chronique littérature de Christophe Bourseiller : [Reconnaissance de Pierre Péju (Gallimard)](https://www.francemusique.fr/emissions/la-chronique-litteraire/la-chronique-litteraire-du-mardi-24-janvier-2017-31292) ►**08h05** : L'invitée du jour : [Marianne Crebassa](https://www.francemusique.fr/emissions/l-invite-du-jour/l-invite-du-jour-du-mardi-24-janvier-2017-31294) ►**08h10** : La chronique Culture Eco, par Antoine Pecqueur : [Aux Etats\-Unis, les artistes se mobilisent contre Donald Trump](https://www.francemusique.fr/emissions/culture-eco/culture-eco-du-mardi-24-janvier-2017-31293) ►**08h55** : Eclats de Voix par Pauline Lambert : [La voix de la mère](https://www.francemusique.fr/emissions/eclats-de-voix/eclats-de-voix-du-mardi-24-janvier-2017-31295)## Programmation musicale**♫ Veljo TORMIS** _Lauliku lapsepoli_ Ensemble Calliope Régine Theodoresco, direction CALIOPE♫ **Manuel De Falla** _Le Tricorne : Las uvas_ Orchestre national d’Île\-de\-France Enrique Mazzola, direction ERATO♫ **Gabriel Fauré** _Les Djinns_ Chœur Monteverdi John Eliot Gardiner, direction PHILIPS♫ **Franz Schubert** _Quatuor à cordes n°15 en sol majeur : II. Andante un poco moto_ Quatuor Artemis VIRGIN CLASSICS♫ **Leonard Bernstein** _Candide : Ouverture_ Orchestre symphonique de Londres Leonard Bernstein DGG (DEUTSCHE GRAMMOPHON)♫ **Anton Dvorak** _Symphonie n°9 “du Nouveau Monde” op.95 : III. Scherzo. Molto vivace_ NDR Elbphilharmonie Orchestra Krzysztof Urbanski, direction ALPHA♫ **Jean\-Sébastien Bach** Invention n°6 en mi majeur BWV 777 Till Fellner, piano ECM♫ **Nicola Porpora** _Orfeo : Sente del mio martir_ Philippe Jaroussky, haute\-contre Orchestre baroque de Venise Andrea Marconn, direction ERATO♫ **Giacomo Meyerbeer** _Les Huguenots : Nobles seigneurs salut (Acte I) Air d'Urbain._ Marianne Crebassa, mezzo\-soprano Mozarteum Orchestra Salzburg Marc Minkowski, direction ERATO♫ **Ambroise Thomas** _Psyché : Non ne la suivons pas / Sommeil ami des Dieux (Acte II) Récitatif et air d'Eros_ Marianne Crebassa, mezzo\-soprano Mozarteum Orchestra Salzburg Marc Minkowski, direction ERATO♫ **Enrique Granados** _12 tonadillas en un estilo antiguo : Deaquel majo amante_ Montserrat Caballe, soprano DECCA**♫ Jacques Offenbach** _Fantasio : Voyez dans la nuit brune (Acte I) Air de Fantasio_ Marianne Crebassa, mezzo\-soprano Mozarteum Orchestra Salzburg Marc Minkowski, direction ERATO♫ **Wolfgang Amadeus Mozart** _Les Noces de Figaro : Non so più_ Marianne Crebassa, mezzo\-soprano Mozarteum Orchestra Salzburg Marc Minkowski, direction ERATO♫ **Georges Brassens** _L’orage_ EPM RECORDS - réalisé par : Béatrice Trichet

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  • Amaury Coeytaux et François Kieffer, du Quatuor Modigliani, invités de La Matinale du 04 janvier 2017

    · 00:48:00 · L'invité du jour

    durée : 00:48:00 - L'invité du jour - Les Concerts de Poche : vendredi 6 janvier à Saint Amand Les Eaux (Nord), samedi 7 janvier à Dourdan (Essonne) et dimanche 9 janvier à Rethel, (Ardennes). Le Quatuor Modigliani sera également en concert à Toulouse le 11 janvier aux Arts Renaissants, le 19 à l’église Saint\-Paul de la Plaine à Saint\-Denis et aux Folles Journées de Nantes du 1er au 5 février.

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  • Au Met! Pépites numériques (Scotto, Karajan, Gruberova...)/À l'affiche : L'amour de loin, de Kaija Saariaho

    · 00:58:48 · Lirico spinto

    durée : 00:58:48 - Lirico spinto - par : Stéphane Grant - ## **ARCHIVES NUMÉRIQUES DU MET !** {% embed youtube xk-6CnnmO6k %} **EN 1966, [LE MET quitte l'ancien bâtiment sur Broadway](https://fr.wikipedia.org/wiki/Metropolitan_Opera), pour une salle flambant neuve, au Lincoln Center...** **♫Wolfgang Amadeus Mozar**t _Così fan tutte_ Acte I \- "Un’aura amorosa" Jerry Hadley, ténor The Metropolitan Opera Orchestra, dir.James Levine CD The Metropolitan Opera ITUNES (Met, 20 janvier 1990) **♫Wolfgang Amadeus Mozart** _Così fan tutte_ Acte II \- "Donne mie la fate a tanti" Thomas Hampson, baryton The Metropolitan Opera Orchestra, dir.James Levine CD The Metropolitan Opera ITUNES (Met, 20 janvier 1990) {% embed youtube -ipb9xbXSAY %} **CAPTÉ AU MET, "Largo al factotum" extrait d'_Il Barbiere di Siviglia_ de Rossini avec l'excellent Peter Mattei.** **♫Giacomo Puccini** _Tosca_ Acte II \- "Vissi d’arte" Sondra Radvanovsky, soprano The Metropolitan Opera Orchestra, dir.Marco Armiliato CD The Metropolitan Opera ITUNES (Met, 29 janvier 2011) **\-> [Avec Sondra Radvanovsky, dans _Le Grand Journal de l'Opéra_ (juin 2016)](https://www.francemusique.fr/emissions/le-grand-journal-de-l-opera/ndeg38-sondra-radvanovsky-invitee-du-grand-journal-actualites-lyriques-phyllis-curtin-elsa-dreisig-christophe-grapperon-7415)** **♫Giacomo Puccini** _Madama Butterfly_ Acte I \- "Vogliatemi bene" John Alexander, ténor Renata Scotto, soprano The Metropolitan Opera Orchestra, dir.James Levine CD The Metropolitan Opera ITUNES (Met, 1er janvier 1966) {% embed youtube 1PCuH3hShP4 %} **DEUX STARS de la salle new\-yorkaise : [Renata Scotto](https://fr.wikipedia.org/wiki/Renata_Scotto) et [Plácido Domingo](https://fr.wikipedia.org/wiki/Pl%C3%A1cido_Domingo), dans une production filmée de _Francesca da Rimini_, de Zandonai \- [disponible aujourd'hui en son, sur les plateformes numériques](https://itunes.apple.com/gb/album/zandonai-francesca-da-rimini/id1055906065)...** **♫Richard Wagner** _Das Rheingold_ Scène 2 \- "Sanft schloss Schlaf dein Aug’… Was sagst du ?" Martti Talvela, basse Theo Adam, baryton\-basse Karl Ridderbusch, basse Simone Mangelsdorff, soprano Donald Grobe, ténor Sherrill Milnes, baryton Anna Reynolds, mezzo\-soprano The Metropolitan Opera Orchestra, dir.Herbert von Karajan CD The Metropolitan Opera ITUNES (Met, 22 février 1969) **♫Vincenzo Bellini** _I puritani_ Acte II \- "Ah ! tu sorridi… Vien, diletto, è in ciel la luna" Edita Gruberova, soprano Paul Plishka, basse Paolo Gavanelli, baryton The Metropolitan Opera Orchestra, dir.Richard Bonynge CD The Metropolitan Opera ITUNES (Met, 30 janvier 1991) {% embed youtube UodTKVdmrGQ %} **EN 2016, ANNA NETREBKO règne sur le Met et chante le rôle\-titre de [_Manon Lescaut_, de Puccini](https://www.metopera.org/Season/2016-17-Season/manon-lescaut-puccini-tickets/)...** ## **INTERVIEW : SUSANNA MÄLKKI, POUR _L'AMOUR DE LOIN_ AU MET** {% embed youtube LCTbTJz0XVs %} **♫Kaija Saariaho** _L’amour de loin_ Acte II \- "Clémence" Rundfunkchor Berlin Deustches Symphonie\-Orchester Berlin, dir.Kent Nagano Harmonia Mundi HMC 801937.38 (2006/2008) ♫_L’amour de loin_ Acte II \- "Ja mais d’amor" Ekaterina Lekhina, soprano Rundfunkchor Berlin Deustches Symphonie\-Orchester Berlin, dir.Kent Nagano Harmonia Mundi HMC 801937.38 (2006/2008) {% embed youtube CAY06AfL0A8 %} **[DANS LES SALLES DE CINÉMA LE 10 DÉCEMBRE](http://www.pathelive.com/lamour-de-loin), EN DIRECT DU MET, une nouvelle production de l'opéra de la compositrice finlandaise [Kaija Saariaho](http://saariaho.org/)...** ## **_CASSE\-NOISETTE_ AU CINÉMA ET EN DIRECT DEPUIS COVENT GARDEN !** {% embed youtube Rfk2v7GbEzc %} **[Le 8 décembre, le ballet chorégraphié par Peter Wright est à l'affiche des salles de cinéma](http://www.roh.org.uk/showings/the-nutcracker-live-2016), en direct depuis le Covent Garden à Londres \- il y a des places à gagner dans _Lirico Spinto_...** **♫Piotr Ilitch Tchaïkovski** _Casse\-noisette_ Acte II \- Pas de deux Kirov Orchestra, dir.Valery Gergiev Philips 462 114\-2 (1998) **Émission réalisée par Marie Grout** - réalisé par : Marie Grout

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  • Florent Nesles, chanteur musicien et organisateur des soirées musicales Walden

    · LES CARNETS DE LA CREATION

    durée : 00:05:23 - LES CARNETS DE LA CREATION - par : Aude Lavigne - Aujourd'hui au micro d'Aude Lavigne Florent Nesles, chanteur musicien et organisateur des soirées musicales Walden, tous les mercredis de janvier  à l’ACP Manufacture Chanson, Paris 11. Mercredi 6 janvier : avec Cloé du Trèfle ; Mercredi 13 janvier : avec Lou ; Mercredi 20 janvier : avec Anne Gouverneur ; Mercredi 27 janvier : avec Theo Hakola. - réalisé par : Laurent Paulré

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  • Tii - iTem 0246 - iOS 6.0.1 and 6.1 beta

    · Today in iOS Podcast - The Unofficial iOS, iPhone,

      Tii - iTem 0246 - iOS 6.0.1 and 6.1 beta   Links Mentioned in this Episode: Today's Sponsor is SquareTrade - www.squaretrade.com/tii   How to update the iPhone 5 to iOS 6.0.1  What’s new in iOS 6.1 beta Podcasts for iPhone Top 10 reasons why an iPad is a great Christmas gift for your kid Apple ran out of iPad minis iPad Mini Review Roundup - WSJ iPad mini review roundup Phil Schiller clarifies iPad mini has stereo speakers iPad Mini Teardown - iFixit Will Sprint iPad Get Unlimited Data?  Deciding On a 4G Operator for Your iPad Mini IPad Mini greeted by shorter lines - chicagotribune.com Sprint announces new no-contract data plans Buyer's remorse on 3rd-gen iPad? iOS Benchmarks - Geekbench Browser iPad 4th gen gets benchmarked AT&T: Our iPhone 5 did twice as well as Verizon Street Tweaks iPhone, iPad Numbers Apple Reports Fourth Quarter Results AT&T's Management Discusses Q3 2012 Results Sprint Nextel Management Discusses Q3 2012 Results iPhone 5 will go on sale in India Lawsuit Happy Apple May Not Be Able To Sell iPhone In Mexico GIZMODO - Siri vs Google Voice Search

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