it's the last movement of the last symphony of brahms.ys said about the solo that it's all about the highs and lows of a life in music. it's really challenging. it doesn't sound like it, but it really is. good. very nice. i think we can work a little bit on having more character, more suffering, also, because this actually is the lowest point of a 45—minute symphony. and how we do that is by really having a big climax here to the f sharp. once more, from the solo. yes. and now to the b. now stay. yes. good. so we have this small building of the phrase, and then it's really like, "huh _ "i will never climb this mountain. "i don't have the strength." so really show us a little bit more of the... like big cry of despair. yes, at least. good. slowly relax. beautiful. don't hold back too much. we always think of brahms as very analytical. no, it's really emotional music. and the second thing is this change of colour in the beginning. i like imagining coming from freezing water into the hot tub. like big cry of despair. yes, at least. good. slo

uh israel, or be... deported, just imagine that, that's the climate in which we are currently in, brahm hannycom is in cape town, one of my favorite cities in the world, brand, what's on your mind, good evening and george, thank you for the great work and solidarity, it's it's great to hear a fear this voice, especially in the west where like you said things are even harder for... for activists and people to stand up for the palestinian people and of course the people and oppressed peoples of the world. my my my concern and i think maybe you could give some insight georges during the struggle for freedom in south africa uh our people adopted arms struggle as a necessary means to to resist the oppression and the land grabs and the colon colonial special special project of a partit um how does one explain and feed to the broader narrative that there's absolutely nothing wrong with an oppressed people raising arms to defend itself, that resistance is human right, and it isn't an act of terrorism, and and how does one expose against the western narrative and the highly funded narrative of w

allegiance to israel or be deported, just imagine that, that's the climate in which we are currently in, brahm hannycom is in cape town, one of my favorite cities in the world, brand, what's on your? good evening and george, thank you for the great work and solidarity, it's it's great to hear a fearless voice, especially in the west where like you said things are even harder for for activists and people to stand up for the palestinian people, and of course the people and oppressed peoples of the world, my my my concern and i think maybe you could give some insight georges, during the struggle for. freedom in south africa, our people adopted armed struggle as a necessary means to to resist the oppression and the land grabs and the colonial special special project of a partit, how does one explain and feed to the broader narrative that there's absolutely nothing wrong with an oppressed people raising arms to defend itself, that resistance is human right, and it isn't an act of terrorism, and and how does one? expose against the western narrative and the highly funded narrative of west is right t

actually, if you would conduct beethoven or mozart or brahms, it would make no sense to use a robot. my opinion. but if you if you commission a contemporary composer for writing a new piece for divided orchestra, you can use one robot in this direction, one in this and one in this direction. so each part of the orchestra has its own robot and can follow it. and these robots, these three arms are capable of moving movements completely independent. and one arm, for example, can get faster and one can get slower and slower. this this can be done by by a human. and how did the musicians respond to this? yeah, it was actually quite hard because the robots cannot hear. they cannot listen to the orchestra. so the challenge for the musicians was to follow exactly the movements, because if they would get slower and slower, the robot wouldn't correct this. so it would break the performance. but it was fantastic. the audience liked it very much and it looked great. you can see actually the video on the home page of the dresdner sinfoniker there. sinfoniker there you will find a video of this pe

by the way, and brahms. cesar cervantes, cervantes, chekhov, chopin and copland. i even i know those are all white men. yes, absolutely. yeah. and it's it is the problem with the conventions is that in order for a real person's name to be used, that person has to have had 50 years of fame. they must be deceased for at least three years. so we're looking at a historical pool, but also they have to have demonstrable fame or recognition. and when we look at the type of people who were allowed to achieve fame and recognition and status, that's not a diverse pool. and that's because these metrics are very much set by and set to benefit the patriarchy. and so while our rules are consistent with that structural imbalance, we're not going to have good representation. so what is it you're asking the iau to do? because you did send them an open letter? i did, yes, the open letter really wanted to point out that we do have this imbalance. like i said at the time, i focused on a gender imbalance, but i did allude to there being other sorts of diversity that are underrepresent

, longer and longer longer, this is really the issue, is that becomes a domino effect that sort of brahmh our light you know, the generator here are acting out being apart part of the story unfortunately. but as, as i was saying, as this goes on, longer and longer, people's food to spoil, you cannot get water in your house if they're not pumps bring it to your house. and so this is already gone on too long. but as we go into perhaps day three or longer, you wonder how people are gonna be able to feed themselves or others it will that have water and it just becomes more and more complicated. people have kept cobb up until now, the government has told them asked him to keep calm, but that can only last for so long obviously, people neither have power as soon as possible, and it's worrying to see in hotels, in hospitals at the airport, power disruptions there as some of the generators beginning to run out of fuel. >> all right. patrick oppmann there. thank you so much for bringing that to us. we really appreciate it american foreign policy could of course, take starkly different directions

if you'd ask, you know, who's your favorite composer, you'd be offered a passage about, you know, brahms or about beethoven. and then you could sort of like read what fred had to say about those composers. so ultimately my father and i knew that the more examples of my grandfather's writing we had the more dynamic this chop bar would be. so the role that i played in all of this was to collect and digitize my grandfather, his writing. so in some cases that was challenging, like that manic handwriting scrawl that you saw and but that challenge of sort spending time with this language that was sort of like somewhere in between language and image, which again is really interesting for me as a cartoonist right like the sort of struggle to decode what was left behind and then translate it into a digital space was really instructive for me because it reminded me something i'm really interested as a memoirist, which is that the human hand plays a significant role in constructing history and something hope. my book communicates in a really visceral way. like if there's anything i have to contribu