Uploaded February 2022 | Updated September 2026, 6 hours ago
SOAP OPERA: My personal thoughts about Love, Relationships and the Soap Opera of Life lead to discussions of key philosophical issues and what they have to do with YOU.
Randolph Pitts holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California Berkeley, and a Masters Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationships dynamics. He is a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of Philosophy. He is also an associate member of the Los Angeles County Bar Association. Randolph has been a top executive at several entertainment companies, including a ten year stint as Chief Executive Officer of the company that produced Leaving Las Vegas for which Nicolas Cage won the Academy Award as best actor. The first volume of his eagerly anticipated tetralogy of novels will be published during 2022. Pitts' spellbinding novels deal at an unrelenting fever pitch with eroticism, mysticism, terrorism and crime on a global scale. And also… with women and men falling in love. He has a lifelong interest in the relationship between philosophy, psychology and history. He is the founder and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world.
Music: "Der Shatten eines Traumes" (R. Pitts)
SOAP OPERA: My personal thoughts about Love, Relationships and the Soap Opera of Life lead to discussions of key philosophical issues and what they have to do with YOU.
Randolph Pitts holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California Berkeley, and a Masters Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationships dynamics. He is a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of Philosophy. He is also an associate member of the Los Angeles County Bar Association. Randolph has been a top executive at several entertainment companies, including a ten year stint as Chief Executive Officer of the company that produced Leaving Las Vegas for which Nicolas Cage won the Academy Award as best actor. The first volume of his eagerly anticipated tetralogy of novels will be published during 2022. Pitts' spellbinding novels deal at an unrelenting fever pitch with eroticism, mysticism, terrorism and crime on a global scale. And also… with women and men falling in love. He has a lifelong interest in the relationship between philosophy, psychology and history. He is the founder and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world.
Music: "Der Shatten eines Traumes" (R. Pitts)

![Matthjis Vermeulen, Symphony No. 3 Thrène et Pèan part 1 of 2
Dutch composer Matthijs Vermeulen was born in Helmond in February, 1888. After primary school he initially wanted to follow in the footsteps of his father, who was a blacksmith. During a serious illness his inclination towards the spiritual gained the upper hand. Inspired by a thoroughly Catholic environment, he decided to become a priest. However, at the seminary, where he learned about the principles of counterpoint of the sixteenth-century polyphonic masters, his true calling music came to light. On his eighteenth he abandoned his initial ideas and left school. In the spring of 1907 he moved to Amsterdam, the countrys musical capital. There he approached Daniël de Lange, the director of the conservatory, who recognized his talent and gave him free lessons for two years. In 1909 Vermeulen began to write for the Catholic daily newspaper De Tijd, where he soon distinguished himself by a personal, resolute tone which stood out in stark contrast to the usually long-winded music journalism of the day. The quality of his reviews also struck Alphons Diepenbrock. He warmly recommended Vermeulen with the progressive weekly De Amsterdammer. There Vermeulen revealed himself as an advocate of the music of Claude Debussy, Gustav Mahler and Diepenbrock, whom he later used to call his maître spirituel.
In the years 1912-1914 Vermeulen composed his actual opus 1, the First Symphony, which he called Symphonia carminum. In this work, expressing the joys of summer and youth, he already employed the technique he would remain loyal to for the rest of his life: polymelodicism. The four songs Vermeulen wrote in 1917 display, each in its own special way, the composers preoccupation with war. In the reviews for De Telegraaf, a daily newspaper he worked for since 1915 as head of the Art and Literature department, he also showed just how much in his view politics and culture were inseparable.
Vermeulens polemic against the unidirectional German orientation of Dutch musical life got him into trouble. After having presented his First Symphony to Willem Mengelberg, whom he much admired, he was disdainfully rejected after a one-year period of keen anticipation. Consequently, Vermeulens orchestral work did not stand a chance in Amsterdam. The first performance, given by the Arnhem Orchestral Society in March 1919, took place under abominable circumstances and was a traumatic experience. Yet, Vermeulen started to work on his Second Symphony, Prélude à la nouvelle journée, shortly after that, and a year later he gave up journalism in order to fully dedicate himself to composing, while financially backed by some friends. After a last, fruitless appeal to Mengelberg, Vermeulen moved to France with his family in 1921 in the hope of finding a more favorable climate for his music. There he completed work on his Third Symphony Thrène et Péan, and composed the String Trio and the Violin Sonata.
However, Vermeulens symphonic works did not find their way into the French concert halls either. From sheer necessity Vermeulen returned to journalism. In 1926 he became the Paris correspondent for the Soerabaiasch Handelsblad, a daily paper in the Dutch East Indies (now Indonesia). For fourteen years he wrote two weekly extensive articles on every possible topic. The commission, in 1930, to compose the incidental music to the play De Vliegende Hollander [The flying Dutchman] by Martinus Nijhoff was encouraging. Nine years later he received a new impetus with the first performance of his Third Symphony by the Concertgebouw Orchestra conducted by Eduard van Beinum. The long-awaited confrontation with the resounding notes confirmed the effectiveness of his concepts. The vitality of his works is the result of the aim he had in mind: to compose as an ode to the beauty of the earth and in astonishment about life, creating music which appeals to the spirituality of man, bestowing feelings of happiness on him and making him acquainted with the source of life, the Creative Spirit. These ambitions, put into words in the book titled Princiepen der Europese muziek (Principles of European music) and numerous articles, were at right angles to the mainstream movements. Consequently, Vermeulen did not have followers or disciples.
Apart from the aesthetic-ethical message, which is also the subject of most of his songs, Vermeulens symphonies and chamber music offer an ingenious interplay of melodies, a colorful (orchestral) sound with many felicitous instrumental ideas, fascinating sound fields, innovating parallel harmony and a captivating canon technique.
Vermeulens work has been quoted as seminal by influential Dutch composers such as Louis Andriessen, but his direct influence is much more difficult to trace - his style, after all, is eclectic and highly personal. Moreover, his actual collaboration with other composers remained very limited. Almost all of his recognition took place well after his death. Matthjis Vermeulen, Symphony No. 3 Thrène et Pèan part 1 of 2](https://i.ytimg.com/vi/_4u-5N1UCmM/mqdefault.jpg)


![Claude Ballif, Sonate pour flûte et piano Op. 23 [1958] - 2 of 2
The work establishes an even dialogue between the two protagonists, giving rise to a very light pianistic discourse. The sonata is in one movement, in the form of an arc, with a return to the beginning. The central part is a virtuoso piece for the flute, with nervous sputterings and impressions of counterpoint for two voices, which recall a preliminary draft for violin and piano. In the score, a line by Dante prolongs the impressionof the last bars with a diamond-like purity: Quanto grazia e dolcezza si vede il loro. He allows the resonance to die down in an atrosphere of perfect serentiy. Claude Ballif, Sonate pour flûte et piano Op. 23 [1958] - 2 of 2](https://i.ytimg.com/vi/_LQ2MxF9Wuo/mqdefault.jpg)





