{"id":8665,"date":"2021-12-17T08:53:15","date_gmt":"2021-12-17T07:53:15","guid":{"rendered":"http:\/\/countermelodypodcast.com\/?p=8665"},"modified":"2024-02-16T10:48:29","modified_gmt":"2024-02-16T09:48:29","slug":"episode-120-bethany-beardslee","status":"publish","type":"post","link":"https:\/\/countermelodypodcast.com\/index.php\/2021\/12\/17\/episode-120-bethany-beardslee\/","title":{"rendered":"Episode 120. Bethany Beardslee"},"content":{"rendered":"<div id=\"mega-menu-wrap-primary\" class=\"mega-menu-wrap\"><div class=\"mega-menu-toggle\"><div class=\"mega-toggle-blocks-left\"><\/div><div class=\"mega-toggle-blocks-center\"><\/div><div class=\"mega-toggle-blocks-right\"><div class='mega-toggle-block mega-menu-toggle-animated-block mega-toggle-block-1' id='mega-toggle-block-1'><button aria-controls=\"mega-menu-primary\" aria-expanded=\"false\" aria-haspopup=\"true\" aria-label=\"Menu\" class=\"mega-toggle-animated mega-toggle-animated-slider\" type=\"button\">\n                  <span class=\"mega-toggle-animated-box\">\n                    <span class=\"mega-toggle-animated-inner\"><\/span>\n                  <\/span>\n                <\/button><\/div><\/div><\/div><ul id=\"mega-menu-primary\" class=\"mega-menu max-mega-menu mega-menu-horizontal mega-no-js\" data-event=\"hover_intent\" data-effect=\"slide\" data-effect-speed=\"200\" data-effect-mobile=\"slide\" data-effect-speed-mobile=\"200\" data-mobile-force-width=\"body\" data-second-click=\"go\" data-document-click=\"collapse\" data-vertical-behaviour=\"standard\" data-breakpoint=\"600\" data-unbind=\"true\" data-mobile-state=\"collapse_all\" data-mobile-direction=\"vertical\"><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-home mega-menu-item-19160\" id=\"mega-menu-item-19160\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/\">Home<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-19161\" id=\"mega-menu-item-19161\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/about-daniel\/\">About Daniel<\/a><\/li><li class=\"mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-current_page_parent mega-menu-item-19171\" id=\"mega-menu-item-19171\"><a class=\"mega-menu-link\" href=\"https:\/\/countermelodypodcast.com\/index.php\/all-episodes\/\">All Episodes<\/a><\/li><\/ul><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Episode 120.  Bethany Beardslee<\/h2>\n\n\n\n<iframe loading=\"lazy\" width=\"340\" height=\"50\" src=\"https:\/\/countermelody.blubrry.net\/?powerpress_embed=469-podcast&amp;powerpress_player=mediaelement-audio\" title=\"Blubrry Podcast Player\" frameborder=\"0\" scrolling=\"no\"><\/iframe>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"wp-block-paragraph\"><strong>SOCIAL SHARE<\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-text-align-right wp-block-paragraph\"><strong>SUBSCRIPTION PLATFORM<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<ul 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c-1.404,1.1-3.174,1.756-5.096,1.756c-0.331,0-0.658-0.019-0.979-0.057c1.816,1.164,3.973,1.843,6.29,1.843 c7.547,0,11.675-6.252,11.675-11.675c0-0.178-0.004-0.355-0.012-0.531C20.985,7.47,21.68,6.747,22.23,5.924z\"><\/path><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Share on Twitter<\/span><\/a><\/li>\n\n<li class=\"wp-social-link wp-social-link-pinterest wp-block-social-link\"><a rel=\"noopener nofollow\" target=\"_blank\" href=\"https:\/\/pinterest.com\/pin\/create\/button\/?url=http%3A%2F%2Fcountermelodypodcast.com%2F%3Fp%3D8665&#038;description=Episode%20120.%20Bethany%20Beardslee\" class=\"wp-block-social-link-anchor\"><svg width=\"24\" height=\"24\" viewBox=\"0 0 24 24\" version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" aria-hidden=\"true\" focusable=\"false\"><path d=\"M12.289,2C6.617,2,3.606,5.648,3.606,9.622c0,1.846,1.025,4.146,2.666,4.878c0.25,0.111,0.381,0.063,0.439-0.169 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1.151 0 0 1 .843.379 1.951 1.951 0 0 1 .481 1.441 1.276 1.276 0 0 1-1.403 1.373Z\"><\/path><\/svg><span class=\"wp-block-social-link-label screen-reader-text\">Share on Reddit<\/span><\/a><\/li><\/ul>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div class=\"wp-block-buttons is-horizontal is-content-justification-left is-layout-flex wp-container-core-buttons-is-layout-39697d9b wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link no-border-radius wp-element-button\" href=\"https:\/\/countermelody.blubrry.net\/\">SUBSCRIBE VIA YOUR FAVORITE PODCAST PLATFORM<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"820\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beautiful-Photo-820x1024.jpg\" alt=\"\" class=\"wp-image-8809\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beautiful-Photo-820x1024.jpg 820w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beautiful-Photo-240x300.jpg 240w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beautiful-Photo-768x959.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beautiful-Photo-1230x1536.jpg 1230w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beautiful-Photo.jpg 1318w\" sizes=\"auto, (max-width: 820px) 100vw, 820px\" \/><\/figure>\n<\/div>\n\n\n<div style=\"height:38px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Today\u2019s episode celebrates a pioneer in the performance of twentieth century vocal music in anticipation of her 96th birthday on 25 December. Bethany Beardslee was a titan who set standards in the performance of the music of Arnold Schoenberg and Milton Babbitt in particular, but who also acted as muse to a host of mid-twentieth century avant garde composers whose work she premiered and often recorded. But she was also a member of the pioneering early music ensemble New York Pro Musica in the late 1950s and was an innovator in programming daring and diverse recital repertoire which combined Lieder and melodies with the contemporary music for which she was best known. This episode samples her recordings over the course of more than thirty years, and includes composers such as John Dowland, Robert Schumann, Claude Debussy, Giovanni Battista Pergolesi, and Johannes Brahms alongside such twentieth century giants as Anton Webern, Ernst Krenek, Igor Stravinsky, Ben Weber, Mel Powell, Robert Helps, Fred Lerdahl, and Godfrey Winham, her second husband. Throughout the course of a career devoted to, to paraphrase the title of her autobiography, \u201csinging the unsingable,\u201d Bethany Beardslee combined rock solid-technique and silvery tone with peerless musicianship and interpretive acuity to set standards that have yet to be surpassed. Please join me in celebrating this great artist.<\/p>\n\n\n\n<div style=\"height:47px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-custom-size wp-block-paragraph\" style=\"font-size:30px\"><strong> RECORDINGS HEARD IN THIS EPISODE<\/strong><\/p>\n\n\n\n<div style=\"height:55px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"896\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lehmann-on-sled-1-1024x896.jpg\" alt=\"\" class=\"wp-image-8810\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lehmann-on-sled-1-1024x896.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lehmann-on-sled-1-300x263.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lehmann-on-sled-1-768x672.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lehmann-on-sled-1-1536x1344.jpg 1536w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lehmann-on-sled-1-2048x1792.jpg 2048w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lehmann-on-sled-1-1600x1400.jpg 1600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Traditional German: O du fr\u00f6hliche. Lotte Lehmann, Hermann Weigert, Mitglieder der Berliner Staatsopernorchester [1925]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"759\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beardslee-Monod-759x1024.jpg\" alt=\"\" class=\"wp-image-8811\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beardslee-Monod-759x1024.jpg 759w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beardslee-Monod-222x300.jpg 222w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beardslee-Monod-768x1036.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beardslee-Monod-1139x1536.jpg 1139w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Beardslee-Monod.jpg 1319w\" sizes=\"auto, (max-width: 759px) 100vw, 759px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Alban Berg, Theodor Storm: Schlie\u00dfe mir die Augen beide [two versions, 1900, 1925]. Bethany Beardslee, Jacques Monod [1951]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"450\" height=\"614\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schumann.jpg\" alt=\"\" class=\"wp-image-8818\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schumann.jpg 450w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schumann-220x300.jpg 220w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Robert Schumann<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:11px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Robert Schumann, Friedrich R\u00fcckert: Aus den \u00f6stlichen Rosen, Op. 25\/25. Bethany Beardslee, Lois Shapiro [1984]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"701\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Ben-Weber-by-Roger-Trefousse-1024x701.jpg\" alt=\"\" class=\"wp-image-8812\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Ben-Weber-by-Roger-Trefousse-1024x701.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Ben-Weber-by-Roger-Trefousse-300x205.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Ben-Weber-by-Roger-Trefousse-768x525.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Ben-Weber-by-Roger-Trefousse-1536x1051.jpg 1536w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Ben-Weber-by-Roger-Trefousse-1600x1095.jpg 1600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Ben-Weber-by-Roger-Trefousse.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Ben Weber<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Ben Weber: Concert Aria after Solomon, Op. 29 (excerpt). Bethany Beardslee, Chamber orchestra conducted by Frank Brieff [1950]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"719\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Webern.jpg\" alt=\"\" class=\"wp-image-8813\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Webern.jpg 719w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Webern-211x300.jpg 211w\" sizes=\"auto, (max-width: 719px) 100vw, 719px\" \/><figcaption class=\"wp-element-caption\">Anton Webern<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Anton Webern, August Strindberg: Schien mir\u2019s, als ich sah die Sonne, Op. 12\/3. Bethany Beardslee, Jacques Monod [1951]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"671\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Milton-Babbitt-671x1024.jpg\" alt=\"\" class=\"wp-image-8814\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Milton-Babbitt-671x1024.jpg 671w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Milton-Babbitt-197x300.jpg 197w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Milton-Babbitt-768x1172.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Milton-Babbitt-1006x1536.jpg 1006w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Milton-Babbitt.jpg 1320w\" sizes=\"auto, (max-width: 671px) 100vw, 671px\" \/><figcaption class=\"wp-element-caption\">Milton Babbitt<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:11px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Milton Babbitt, August Stramm: Verzweifelt; Allmacht (<em>Du<\/em> [song cycle], Nos. 4 and 5). Bethany Beardslee, Robert Helps [1961]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"780\" height=\"780\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Igor-Strafagsky.jpg\" alt=\"\" class=\"wp-image-8817\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Igor-Strafagsky.jpg 780w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Igor-Strafagsky-300x300.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Igor-Strafagsky-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Igor-Strafagsky-768x768.jpg 768w\" sizes=\"auto, (max-width: 780px) 100vw, 780px\" \/><figcaption class=\"wp-element-caption\">Igor Stravinsky<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:13px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Igor Stravinsky, text from the Book of Lamentations: Excerpt from <em>Threni<\/em>. Bethany Beardslee, Beatrice Krebs, Igor Stravinsky, Columbia Symphony Orchestra, Schola Cantorum [1959]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Krenek-1024x1024.jpg\" alt=\"\" class=\"wp-image-8816\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Krenek.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Krenek-300x300.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Krenek-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Krenek-768x768.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Ernst Krenek<\/figcaption><\/figure>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Ernst Krenek: In Schritten vorgeorgenet (excerpt from <em>Sestina<\/em>). Bethany Beardslee, Instrumental ensemble conducted by Ernst Krenek [1958]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"792\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/With-Synthesizer-1024x792.jpg\" alt=\"\" class=\"wp-image-8815\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/With-Synthesizer-1024x792.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/With-Synthesizer-300x232.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/With-Synthesizer-768x594.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/With-Synthesizer.jpg 1333w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Milton Babbitt, Dylan Thomas: Forever falling night (excerpt from <em>Vision and Prayer<\/em>). Bethany Beardslee [1971]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"696\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Recording-Session-696x1024.jpg\" alt=\"\" class=\"wp-image-8819\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Recording-Session-696x1024.jpg 696w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Recording-Session-204x300.jpg 204w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Recording-Session-768x1131.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Recording-Session-1043x1536.jpg 1043w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Recording-Session.jpg 1324w\" sizes=\"auto, (max-width: 696px) 100vw, 696px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">John Dowland: Lady, If You So Spight Mee. Bethany Beardslee, Paul Maynard [1959]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"454\" height=\"457\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Greenberg.jpg\" alt=\"\" class=\"wp-image-8820\" style=\"width:532px;height:536px\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Greenberg.jpg 454w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Greenberg-298x300.jpg 298w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Greenberg-150x150.jpg 150w\" sizes=\"auto, (max-width: 454px) 100vw, 454px\" \/><figcaption class=\"wp-element-caption\">Noah Greenberg<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Anonymous Villancico: Ay de mi qu\u2019en terra agena. Bethany Beardslee, Robert White, Gordon Myers, Noah Greenberg, New York Pro Musica [1960]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"346\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Craft-and-Stravinsky.jpg\" alt=\"\" class=\"wp-image-8821\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Craft-and-Stravinsky.jpg 500w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Craft-and-Stravinsky-300x208.jpg 300w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption class=\"wp-element-caption\">Robert Craft and Igor Stravinsky<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Alban Berg, Peter Altenberg [n\u00e9 Richard Engl\u00e4nder]: Sahst du nach dem Gewitterregen den Wald (<em>Altenberg-Lieder<\/em>, Op. 4\/2). Bethany Beardslee, Robert Craft, Columbia Symphony Orchestra [1959]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Berg-1024x1024.jpg\" alt=\"\" class=\"wp-image-8822\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Berg-1024x1024.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Berg-300x300.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Berg-150x150.jpg 150w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Berg-768x768.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Berg.jpg 1400w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Alban Berg, Charles Baudelaire (German translation by Stefan George): Der Wein der Liebenden (excerpt from <em>Der Wein<\/em>). Bethany Beardslee, Robert Craft, Columbia Symphony Orchestra [1960]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"380\" height=\"518\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/George.png\" alt=\"\" class=\"wp-image-8824\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/George.png 380w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/George-220x300.png 220w\" sizes=\"auto, (max-width: 380px) 100vw, 380px\" \/><figcaption class=\"wp-element-caption\">Stefan George<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:11px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Arnold Schoenberg, Stefan George: Excerpts from <em>Das buch der h\u00e4ngenden g\u00e4rten<\/em>, Op. 15. II. Hain in diesen paradiesen; IV. Da meine lippen relos sind; VIII. Wenn ich heut nicht deinen leib ber\u00fchre; XIII. Du lehnest wieder eine silberweide. Bethany Beardslee, Robert Helps [1962]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"783\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schoenberg-783x1024.jpg\" alt=\"\" class=\"wp-image-8825\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schoenberg-783x1024.jpg 783w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schoenberg-230x300.jpg 230w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schoenberg-768x1004.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schoenberg-1175x1536.jpg 1175w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schoenberg-1567x2048.jpg 1567w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schoenberg-1600x2091.jpg 1600w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Schoenberg-scaled.jpg 1959w\" sizes=\"auto, (max-width: 783px) 100vw, 783px\" \/><figcaption class=\"wp-element-caption\">Arnold Schoenberg<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:11px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Arnold Schoenberg, Ernest Guiraud (German translation by Otto Erich Hartleben). Two excerpts from <em>Pierrot Lunaire<\/em>, Op. 21: VII. Der kranke Mond; XVII. Parodie. Bethany Beardslee, Robert Craft, Columbia Chamber Ensemble [Robert Helps, Isidore Cohen, Charles McCracken, Ernest Bright, Murray Panitz] [1962]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"789\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Wedding-Gown-Headshot-789x1024.jpg\" alt=\"\" class=\"wp-image-8827\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Wedding-Gown-Headshot-789x1024.jpg 789w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Wedding-Gown-Headshot-231x300.jpg 231w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Wedding-Gown-Headshot-768x996.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Wedding-Gown-Headshot-1184x1536.jpg 1184w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Wedding-Gown-Headshot.jpg 1326w\" sizes=\"auto, (max-width: 789px) 100vw, 789px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Giovanni Battista Pergolesi, Pietro Metastasio: Lieto cos\u00ec talvolta (<em>Adriano in Siria<\/em>). Bethany Beardslee, Basil Reeve, James Bolle, The Musica Viva Ensemble [1967]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"660\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Philomel-Premiere-660x1024.jpg\" alt=\"\" class=\"wp-image-8828\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Philomel-Premiere-660x1024.jpg 660w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Philomel-Premiere-193x300.jpg 193w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Philomel-Premiere-768x1192.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Philomel-Premiere-989x1536.jpg 989w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Philomel-Premiere.jpg 1307w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\"><em>Philomel<\/em> premiere, Amherst College, 1964<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:11px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Milton Babbitt, John Hollander: Pressed into one fell moment (excerpt from Part III of <em>Philomel<\/em>). Bethany Beardslee [1969]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"580\" height=\"385\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lerdahl.jpg\" alt=\"\" class=\"wp-image-8829\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lerdahl.jpg 580w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Lerdahl-300x199.jpg 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><figcaption class=\"wp-element-caption\">Fred Lerdahl<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Fred Lerdahl, James Joyce: She was a young thin pale soft shy (excerpt from <em>Wake<\/em>). Bethany Beardslee, David Epstein, Boston Symphony Chamber Players [Joseph Silverstein, Burton Fine, Jules Eskin, Ann Hobson Pilot, Everett Firth, Arthur Press, Charles Smith] [1970]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"559\" height=\"569\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Helps.jpg\" alt=\"\" class=\"wp-image-8830\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Helps.jpg 559w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Helps-295x300.jpg 295w\" sizes=\"auto, (max-width: 559px) 100vw, 559px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Robert Helps, James Purdy: And there is so much more (<em>The Running Sun<\/em>, song cycle, No. 5). Bethany Beardslee, Robert Helps [1977]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"823\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Winham-Beardslee-823x1024.jpg\" alt=\"\" class=\"wp-image-8831\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Winham-Beardslee-823x1024.jpg 823w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Winham-Beardslee-241x300.jpg 241w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Winham-Beardslee-768x956.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Winham-Beardslee-1234x1536.jpg 1234w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Winham-Beardslee.jpg 1330w\" sizes=\"auto, (max-width: 823px) 100vw, 823px\" \/><figcaption class=\"wp-element-caption\">Godfrey Winham and Bethany Beardslee<\/figcaption><\/figure>\n\n\n\n<div style=\"height:11px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Godfrey Winham, William Shakespeare: Let me not to the marriage (<em>To Prove My Love<\/em>, song cycle, No. 1). Bethany Beardslee, Robert Helps [live Westminster 26.06.74]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Milton Babbitt, Gerard Manley Hopkins: No worst, there is none (excerpt from <em>A Solo Requiem<\/em>). Bethany Beardslee, Continuum [Cheryl Seltzer, Joel Sachs] [1980]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"385\" height=\"586\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Mel-Powell.png\" alt=\"\" class=\"wp-image-8832\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Mel-Powell.png 385w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Mel-Powell-197x300.png 197w\" sizes=\"auto, (max-width: 385px) 100vw, 385px\" \/><figcaption class=\"wp-element-caption\">Mel Powell<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Mel Powell, Charles Baudelaire (English translation by Roy Campbell): excerpt from Lines from Baudelaire\u2019s \u201cMeditation\u201d (<em>Little Companion Pieces<\/em>, No. 4). Bethany Beardslee, Sequoia String Quartet [Yoko Matsuda, Miwako Watanabe, James Dunham, Robert Martin] [1980]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"721\" height=\"926\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Copland.jpg\" alt=\"\" class=\"wp-image-8833\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Copland.jpg 721w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Copland-234x300.jpg 234w\" sizes=\"auto, (max-width: 721px) 100vw, 721px\" \/><figcaption class=\"wp-element-caption\">Aaron Copland<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Aaron Copland, e.e. cummings: Song. Bethany Beardslee, Robert Helps [1977]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Claudula2-1024x768.jpg\" alt=\"\" class=\"wp-image-8838\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Claudula2-1024x768.jpg 1024w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Claudula2-300x225.jpg 300w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Claudula2-768x576.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Claudula2.jpg 1536w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Claude Debussy<\/figcaption><\/figure>\n<\/div>\n\n\n<div style=\"height:11px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Claude Debussy, Paul Verlaine: L\u2019ombre des arbres (<em>Ariettes oubli\u00e9es<\/em>, L.63b\/3). Bethany Beardslee, Robert Helps [1989]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"782\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Headshot-80s-782x1024.jpg\" alt=\"\" class=\"wp-image-8835\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Headshot-80s-782x1024.jpg 782w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Headshot-80s-229x300.jpg 229w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Headshot-80s-768x1006.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Headshot-80s-1173x1536.jpg 1173w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Headshot-80s.jpg 1346w\" sizes=\"auto, (max-width: 782px) 100vw, 782px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Johannes Brahms, Georg Friedrich Daumer: Wir wandelten, wir zwei zusammen, Op. 96\/2. Bethany Beardslee, Richard Goode [1986]<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"838\" height=\"1024\" src=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Seventies-Headshot-838x1024.jpg\" alt=\"\" class=\"wp-image-8808\" srcset=\"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Seventies-Headshot-838x1024.jpg 838w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Seventies-Headshot-246x300.jpg 246w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Seventies-Headshot-768x938.jpg 768w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Seventies-Headshot-1257x1536.jpg 1257w, https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/Seventies-Headshot.jpg 1313w\" sizes=\"auto, (max-width: 838px) 100vw, 838px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Arnold Schoenberg, Ernest Guiraud (German translation by Otto Erich Hartleben): O alter Duft aus M\u00e4rchenzeit (<em>Pierrot Lunaire<\/em>, Op. 21\/21). Bethany Beardslee, Robert Craft, Columbia Chamber Ensemble [Robert Helps, Isidore Cohen, Charles McCracken, Ernest Bright, Murray Panitz] [1962]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Episode 120. Bethany Beardslee SOCIAL SHARE SUBSCRIPTION PLATFORM Today\u2019s episode celebrates a pioneer in the performance of twentieth century vocal&hellip;<\/p>\n","protected":false},"author":1,"featured_media":8802,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"categories":[1075,5823,1074,1073,808,2806],"tags":[2684,1635,2940,786,3512,3516,2780,3498,3499,501,3513,3505,3496,3508,3504,1231,3501,3502,3514,2770,3503,3500,863,3506,3335,3495,87,3497,2851,3510,3509,550,3511,3507,2866,3494,2472,2781,548,3515,2600],"class_list":["post-8665","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-song","category-forgotten-divas","category-happy-birthday","category-holiday-music","category-needle-drop","category-twentieth-century-music","tag-aaron-copland","tag-alban-berg","tag-anton-webern","tag-arnold-schoenberg","tag-august-strindberg","tag-basil-reeve","tag-bethany-beardslee","tag-charles-baudelaire","tag-cheryl-seltzer","tag-claude-debussy","tag-das-buch-der-hangenden-garten","tag-david-epstein","tag-e-e-cummings","tag-ernest-guiraud","tag-fred-lerdahl","tag-friedrich-ruckert","tag-gerard-manley-hopkins","tag-godfrey-winham","tag-hermann-weigert","tag-james-joyce","tag-james-purdy","tag-joel-sachs","tag-johannes-brahms","tag-john-hollander","tag-joseph-von-eichendorff","tag-lois-shapiro","tag-lotte-lehmann","tag-mel-powell","tag-milton-babbitt","tag-murray-panitz","tag-otto-erich-hartleben","tag-paul-verlaine","tag-peter-altenberg","tag-philomel-babbitt","tag-pierrot-lunaire","tag-richard-goode","tag-robert-craft","tag-robert-helps","tag-robert-schumann","tag-theodor-storm","tag-william-shakespeare"],"author_meta":{"display_name":"admin","author_link":"https:\/\/countermelodypodcast.com\/index.php\/author\/admin\/"},"featured_img":"https:\/\/countermelodypodcast.com\/wp-content\/uploads\/2021\/12\/BBeardslee-TRIMMED-300x107.png","coauthors":[],"tax_additional":{"categories":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/art-song\/\" class=\"advgb-post-tax-term\">Art Song<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/forgotten-divas\/\" class=\"advgb-post-tax-term\">Forgotten Divas<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/happy-birthday\/\" class=\"advgb-post-tax-term\">Happy Birthday<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/holiday-music\/\" class=\"advgb-post-tax-term\">Holiday Music<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/needle-drop\/\" class=\"advgb-post-tax-term\">Needle Drop<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Twentieth Century Music<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">Art Song<\/span>","<span class=\"advgb-post-tax-term\">Forgotten Divas<\/span>","<span class=\"advgb-post-tax-term\">Happy Birthday<\/span>","<span class=\"advgb-post-tax-term\">Holiday Music<\/span>","<span class=\"advgb-post-tax-term\">Needle Drop<\/span>","<span class=\"advgb-post-tax-term\">Twentieth Century Music<\/span>"]},"tags":{"linked":["<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Aaron Copland<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Alban Berg<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Anton Webern<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Arnold Schoenberg<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">August Strindberg<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Basil Reeve<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Bethany Beardslee<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Charles Baudelaire<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Cheryl Seltzer<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Claude Debussy<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Das buch der h\u00e4ngenden g\u00e4rten<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">David Epstein<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">e.e. cummings<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Ernest Guiraud<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Fred Lerdahl<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Friedrich R\u00fcckert<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Gerard Manley Hopkins<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Godfrey Winham<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Hermann Weigert<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">James Joyce<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">James Purdy<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Joel Sachs<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Johannes Brahms<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">John Hollander<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Joseph von Eichendorff<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Lois Shapiro<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Lotte Lehmann<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Mel Powell<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Milton Babbitt<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Murray Panitz<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Otto Erich Hartleben<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Paul Verlaine<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Peter Altenberg<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Philomel (Babbitt)<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Pierrot lunaire<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Richard Goode<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Robert Craft<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Robert Helps<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Robert Schumann<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">Theodor Storm<\/a>","<a href=\"https:\/\/countermelodypodcast.com\/index.php\/category\/twentieth-century-music\/\" class=\"advgb-post-tax-term\">William Shakespeare<\/a>"],"unlinked":["<span class=\"advgb-post-tax-term\">Aaron Copland<\/span>","<span class=\"advgb-post-tax-term\">Alban Berg<\/span>","<span class=\"advgb-post-tax-term\">Anton Webern<\/span>","<span class=\"advgb-post-tax-term\">Arnold Schoenberg<\/span>","<span class=\"advgb-post-tax-term\">August Strindberg<\/span>","<span class=\"advgb-post-tax-term\">Basil Reeve<\/span>","<span class=\"advgb-post-tax-term\">Bethany Beardslee<\/span>","<span class=\"advgb-post-tax-term\">Charles Baudelaire<\/span>","<span class=\"advgb-post-tax-term\">Cheryl Seltzer<\/span>","<span class=\"advgb-post-tax-term\">Claude Debussy<\/span>","<span class=\"advgb-post-tax-term\">Das buch der h\u00e4ngenden g\u00e4rten<\/span>","<span class=\"advgb-post-tax-term\">David Epstein<\/span>","<span class=\"advgb-post-tax-term\">e.e. cummings<\/span>","<span class=\"advgb-post-tax-term\">Ernest Guiraud<\/span>","<span class=\"advgb-post-tax-term\">Fred Lerdahl<\/span>","<span class=\"advgb-post-tax-term\">Friedrich R\u00fcckert<\/span>","<span class=\"advgb-post-tax-term\">Gerard Manley Hopkins<\/span>","<span class=\"advgb-post-tax-term\">Godfrey Winham<\/span>","<span class=\"advgb-post-tax-term\">Hermann Weigert<\/span>","<span class=\"advgb-post-tax-term\">James Joyce<\/span>","<span class=\"advgb-post-tax-term\">James Purdy<\/span>","<span class=\"advgb-post-tax-term\">Joel Sachs<\/span>","<span class=\"advgb-post-tax-term\">Johannes Brahms<\/span>","<span class=\"advgb-post-tax-term\">John Hollander<\/span>","<span class=\"advgb-post-tax-term\">Joseph von Eichendorff<\/span>","<span class=\"advgb-post-tax-term\">Lois Shapiro<\/span>","<span class=\"advgb-post-tax-term\">Lotte Lehmann<\/span>","<span class=\"advgb-post-tax-term\">Mel Powell<\/span>","<span class=\"advgb-post-tax-term\">Milton Babbitt<\/span>","<span class=\"advgb-post-tax-term\">Murray Panitz<\/span>","<span class=\"advgb-post-tax-term\">Otto Erich Hartleben<\/span>","<span class=\"advgb-post-tax-term\">Paul Verlaine<\/span>","<span class=\"advgb-post-tax-term\">Peter Altenberg<\/span>","<span class=\"advgb-post-tax-term\">Philomel (Babbitt)<\/span>","<span class=\"advgb-post-tax-term\">Pierrot lunaire<\/span>","<span class=\"advgb-post-tax-term\">Richard Goode<\/span>","<span class=\"advgb-post-tax-term\">Robert Craft<\/span>","<span class=\"advgb-post-tax-term\">Robert Helps<\/span>","<span class=\"advgb-post-tax-term\">Robert Schumann<\/span>","<span class=\"advgb-post-tax-term\">Theodor Storm<\/span>","<span class=\"advgb-post-tax-term\">William Shakespeare<\/span>"]}},"comment_count":"0","relative_dates":{"created":"Posted 5 years ago","modified":"Updated 2 years ago"},"absolute_dates":{"created":"Posted on 17\/12\/2021","modified":"Updated on 16\/02\/2024"},"absolute_dates_time":{"created":"Posted on 17\/12\/2021 08:53","modified":"Updated on 16\/02\/2024 10:48"},"featured_img_caption":"","series_order":"","_links":{"self":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/8665","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/comments?post=8665"}],"version-history":[{"count":8,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/8665\/revisions"}],"predecessor-version":[{"id":13535,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/posts\/8665\/revisions\/13535"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media\/8802"}],"wp:attachment":[{"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/media?parent=8665"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/categories?post=8665"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/countermelodypodcast.com\/index.php\/wp-json\/wp\/v2\/tags?post=8665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}