Anthony Plog on Music

Few musicians have left as profound a mark on their instrument as Friedemann Immer has on the Baroque trumpet. Renowned for his ability to effortlessly tackle some of the most demanding works in the repertoire, Friedemann has recorded Bach's iconic Brandenburg Concerto No. 2 an incredible ten times. In 2021, his contributions were recognized with the Christopher Monk Award from the Historic Brass Society. His career includes performances under legendary conductors and collaborations with esteemed ensembles like the Freiburger Baroqueorchester, Concentus Musicus Wien, and the Academy of Ancient Music in London. But his artistry doesn't stop at the trumpet. Friedemann was the first to record Haydn's Trumpet Concerto on the keyed trumpet, and as the founder and leader of the Trompeten-Consort Friedemann Immer, he continues to push the boundaries of historical performance practice. With over 200 publications through Editions Immer, he's also a driving force in preserving and expanding the repertoire.In Part 1, we begin with a great story about one of his performances of Bach's Brandenburg Concerto No. 2. This leads us into a discussion about the challenges of playing high notes and how the text of a piece informs his interpretation, using the bass aria from Bach's Christmas Oratorio as an example. We then dive into how Friedemann discovers “new” Baroque music, before moving to the topic of the keyed trumpet and his interpretive ideas regarding Haydn's and Hummel's trumpet concertos. The segment concludes with Friedemann sharing his deep admiration for conductor Nikolaus Harnoncourt and what it meant to perform under his baton.Part 2 [Subscriber Content] continues with an exploration of the differences between the Baroque trumpet and the piccolo trumpet, followed by a look at the Brandenburg Concerto No. 2, including stories and concepts that bring the music to life. We then ask Friedemann to reflect on the similarities and differences among some of the legendary conductors he has worked with throughout his career. Finally, we discuss his Editions Immer series, delving into his invaluable contributions to the Baroque repertoire and its performance.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Jennifer Hamady is a remarkable blend of singer, teacher, writer, and psychologist. As an author, she has penned three insightful books: The Art of Singing: Discovering and Developing Your True Voice, The Art of Singing Onstage and in the Studio, and Learning to Sing. She is also a regular contributor to Psychology Today, where she shares her expertise on the psychological and emotional aspects of singing. As a performer, Jennifer has graced the stage alongside iconic artists like Stevie Wonder and Def Leppard. In this conversation, we dive into the many facets of her career and how she helps singers develop their voices by addressing both technical and psychological aspects of their artistry.Part 1We begin with Jennifer's early journey as a singing student, exploring the lessons she took from both challenging and positive experiences. She reflects on how these formative experiences shaped her understanding of the voice and her approach to teaching. From there, we trace the beginnings of her singing career, starting with her first years after college and leading up to her breakthrough moment—when she joined the ranks of backup singers for top pop artists. We conclude Part 1 with a deep dive into her philosophies on vocal technique, artistry, and teaching.Part 2 [Subscriber Content]In addition to performing, Jennifer is a highly sought-after teacher who works with students in person and online. She explains how her career evolved by her willingness to embrace new opportunities and “say yes to everything.” I ask how she balances this busy schedule, fits in her writing, and manages her ongoing creative projects. Jennifer also shares her plans for future books, giving us a glimpse into what's next for her as a writer.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Mark Scatterday is the Professor of Conducting at the Eastman School of Music and the esteemed conductor of the legendary Eastman Wind Ensemble. Since taking the baton in 2002 as only the fourth conductor in the ensemble's storied history, Mark has continued the rich legacy of his predecessors, especially Frederick Fennell and Donald Hunsberger. Under his direction, the ensemble has toured the world, performing in Japan, China, Taiwan, Europe, Canada, and across the United States. As a passionate advocate for contemporary music, Mark has premiered numerous works, making his mark as a visionary leader. It was a real pleasure to sit down with Mark to talk about his unique approach to conducting, his philosophy on teaching, and how he keeps the Eastman tradition alive.We start by diving into Mark's early training as a trombonist, where he studied under the great Ed Anderson and Dennis Smith. He shares how studying scores during rehearsal breaks helped shape his understanding of music. Mark also talks about his early steps into conducting and how a fateful meeting with Donald Hunsberger led him to pursue his doctorate at Eastman. As we wrap up Part 1, we explore his "three-pronged recipe for success" and the role of fate in his career.In Part 2 (Exclusive Subscriber Content), we get into Mark's approach to rehearsals and auditions, especially for the Eastman Wind Ensemble's tours and recordings. We also delve into the fascinating history of the ensemble, starting with its founder, Frederick Fennell, and continuing through the influence of Mark's mentor, Donald Hunsberger. Finally, Mark reflects on his close friendship with renowned composer Karel Husa and their creative collaborations.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

On June 9, 1974, the legendary singer Frederica von Stade and the brilliant pianist Martin Katz performed their first concert together—a partnership that continues to captivate audiences to this day. Few musical collaborations have endured for so many years or produced such iconic work. It was an incredible honor to sit down with both of them to discuss their journey, their deep insights on music-making, and their lasting bond as friends and colleagues. Their love and affection for each other shine through every moment of this conversation, offering a window into the human side of their remarkable relationship. I personally learned so much from this discussion, and I hope you will too. And yes, we shared plenty of laughs along the way!In Part 1 of our conversation, Frederica von Stade and Martin Katz share the story of how they first met and began their extraordinary musical partnership. They talk about how they choose repertoire, with "Jenny Rebecca" serving as a perfect example of a song that has matured and evolved over the years. We also explore the differences between recording and live performances, the importance of staying loyal to the text, and the fascinating contrast between how singers and instrumentalists approach breathing. To top it off, we discuss their experiences working with modern composers, offering insights into both collaboration and creativity.In Part 2 (for Subscribers), we dive into more personal and professional aspects of their careers, including the role of agents and how those relationships have shaped their journeys. Martin shares his thoughts on the differences between working with instrumentalists and singers, and both of them reflect on the various stages of talent development. We also talk about their favorite composers, and Martin offers a thoughtful perspective on teaching, explaining that it's less about providing answers and more about asking the right questions. Throughout, Frederica and Martin's deep connection shines through, with plenty of laughter sprinkled along the way.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

In this deeply insightful interview, host Tony Plog chats with Wes Nance, trumpet with the Rochester Philharmonic, about the often-overlooked artistry behind Sleigh Ride's iconic horse whinny. Wes reflects on his time at the Eastman School of Music, his unconventional teaching methods, and the annual Horse Whinny Challenge — a competition as fun as it is fierce. Along the way, they explore what really resonates with audiences, proving that a well-timed whinny can steal the show!Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Jeffrey Biegel is a pianist who has dazzled audiences across the globe, performing with major orchestras from a young age. But his contributions go far beyond the concert stage — He's commissioned over 25 new works from living composers, leaving a lasting mark on contemporary piano music. Always pushing the boundaries, Jeffrey has performed weekly online concerts during the Covid pandemic and even pioneered the first-ever live audio/visual recital on the internet in 1997, broadcasting from Steinway Hall in New York. We explore Jeffrey's extraordinary journey—from his early challenges with being unable to hear to his studies at Juilliard, and his deep passion for bringing new music into the world. Along the way, we discuss his creative process, his experiences as a performer and teacher, and even a futuristic story he's written, which you can find on his website.Part 1 dives into Jeffrey's early life, starting with the incredible story of overcoming hearing issues before discovering his musical gift. By age 10, he was already performing concerti! We talk about his time at Juilliard and the lessons he learned from that transformative period. Since Jeffrey has brought so many new works into the piano repertoire, I ask him to walk me through the fascinating process of commissioning new music. We wrap up with a fun, hypothetical set of questions based on one of his creative stories.Part 2 [Subscriber Content] turns to another key part of Jeffrey's career — teaching. We also dig into a question that musicians often grapple with: how much freedom should a performer take when interpreting a composer's work? Finally, we end on a high note, discussing two unique pieces Jeffrey has been closely involved with: Leroy Anderson's Concerto in C and Peter Schickele's Concerto for Very Grand Piano (you might know him as Mr. PDQ Bach).Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Ed's career in music has been nothing short of remarkable, spanning multiple roles including trumpeter, teacher, conductor, and entrepreneur. His deep involvement in so many facets of the musical world has made him a leading voice not just in the trumpet community, but in the broader world of music.In Part 1 of our conversation, Ed takes us back to his early days, sharing stories from his time studying with two of the most iconic trumpet teachers of his era—Vincent Cichowitz and William Vacchiano. We'll dive into his experiences at Juilliard and hear about his early days in New York, including what it was like to work with legendary conductors like Leonard Bernstein and Pierre Boulez. Ed also shares fascinating anecdotes about some of the great orchestral trumpet players he's encountered, such as Tom Stevens, Morris Murphy, and John Wilbraham, and their unique approaches to working with conductors. Plus, he'll give us an inside look at his teaching philosophy, particularly his thoughts on preparation methodology.[Subscriber Content] In Part 2, I ask Ed a thought-provoking question: if he were a student today, knowing what he knows now, what would he do differently? His answer leads us into a rich discussion about music and interpretation that goes beyond the trumpet. We wrap up our conversation by delving into Ed's significant contribution to the trumpet community—Chosen Vale, a project that has left a lasting impact on musicians everywhere.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Clayton Haslop's journey as a violinist has been nothing short of extraordinary. At just 18, he joined the Los Angeles Chamber Orchestra and rose to become its concertmaster. Over the years, he also served as concertmaster for the Los Angeles Opera Orchestra and contributed his talents to numerous iconic film scores, including Titanic, The Matrix, and many others. But Clayton's path wasn't always smooth. In his forties, he faced a daunting challenge when he was diagnosed with Focal Dystonia in his left hand. Despite years of struggle and bouts of depression, Clayton made a remarkable comeback by relearning to play the violin using only two fingers on his left hand. I'm especially honored to have this conversation with Clayton, as we were roommates in Santa Monica in the early 1980s. Although I was ten years his senior, I learned so much from him during those years. Speaking with him on this podcast is truly a privilege.In Part 1 of our conversation, we delve into what it's like to be a concertmaster for some of the top studio orchestras, the experience of working on blockbuster films like Titanic and The Matrix, and collaborating with renowned film composers, each with their unique personalities and approaches to recording sessions. We also explore Clayton's early years, including his studies with the legendary violinist Nathan Milstein, and discuss the beginnings of his career along with some key concepts from his Violin Mastery Course.In Part 2 [Subscriber Content], Clayton delves into the profound challenges he faced after being diagnosed with Focal Dystonia. Drawing inspiration from the legendary guitarist Django Reinhardt, who famously played with only two fingers on his left hand, Clayton reimagined his own technique to continue playing the violin at an exceptional level. He shares the physical and mental strategies that enabled him to overcome this seemingly insurmountable obstacle. Beyond the technical adjustments, Clayton talks about his deep musical connection with the members of an assisted living community.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Pianist Claar ter Horst is a renowned expert on German Lieder, with a special focus on the music of Robert Schumann and Hugo Wolf. Her impressive career includes collaborations with legendary German singers like Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf. Who better to delve into the rich tradition of German Lieder than Claar ter Horst?In Part 1, we explore what sets the German singing tradition apart from those of other countries, using France as a point of comparison. Claar shares her experiences working with Fischer-Dieskau and Schwarzkopf, discussing their unique perspectives on music, singing, and their work ethic. She highlights both the similarities and differences between these iconic artists, offering insights into what it was like to collaborate with them. We also dive into Claar's deep passion for the songs of Robert Schumann, a composer whose work she holds dear. Finally, we unpack a profound quote from Claar's website: “In my view, the creative process is essential: working diligently, refining like a diamond, achieving freedom like a bird, listening with all your senses, and, above all, being amazed like a child.”[For Subscribers] Part 2 opens with a fascinating family anecdote: Claar's grandfather attended the premiere of Mahler's 5th Symphony, where conductor Willem Mengelberg asked him to delay the train to allow the Concertgebouw Orchestra to play an encore. What a remarkable family legacy! We then continue our discussion on teaching and learning, with Claar emphasizing her belief that dedication and hard work can help students overcome any lack of innate talent or instinct for phrasing.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Described by Broadway World as a "richly powerful singing actress," Nina is redefining what it means to be an opera singer. Beyond her international singing career, she is the Artistic Director at the Boston Lyric Opera and the co-founder and President of the Asian Opera Alliance. Nina is someone who not only talks the talk but walks the walk, using her career to expand the boundaries of the opera world. It was a true pleasure and honor to speak with Nina about her journey as an artist, administrator, and advocate.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

In Part 1, Maestro Slatkin shares stories from his musical upbringing in Los Angeles, enriched by his family's deep musical roots. He reflects on his formative years studying under renowned mentors Jean Morel and Walter Susskind. We explore his process for learning new pieces and his insights on the unique approaches and sounds of various orchestras. The episode concludes with a poignant recollection of a moving performance of Barber's Adagio for Strings at the BBC Proms on September 15, 2001, just days after the tragic events of 9/11 (see links below).In Part 2 (Subscriber Content), we highlight a significant aspect of Leonard Slatkin's legacy: his dedication to promoting and premiering contemporary composers. His extensive contributions to the discovery and revival of earlier American music are equally impressive. We wrap up our conversation with delightful anecdotes about his love for baseball and his friendship with trumpet legend Bud Herseth, complete with a tale of how they pranked each other!Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Imagine being a multi-talented artist, a composer who has crafted scores for TV and iconic films like Jeremiah Johnson and The Candidate. Now, imagine you're also an acclaimed actor, having graced countless movies and winning a Tony Award for Children of a Lesser God Picture collaborating with legendary directors such as Bob Fosse, Mike Nichols, and Stephen Sondheim. Oh, and did I mention your father was the renowned pianist Artur Rubinstein? Growing up, you played for distinguished guests like Stravinsky, Milhaud, and Lawrence Olivier. With that incredible background, you can only imagine how thrilling it was for me to chat with the extraordinary John Rubenstein!In Part 1, we delve into John's fascinating childhood and his initial steps into the world of composing. He began by writing for school projects and eventually transitioned into film scoring. John shares how the movie Chinatown influenced him and his special connection with trumpeter Uan Rasey, whose haunting solos left a lasting impact. We also explore the art of writing scores in Hollywood, discussing the nuances between composing for TV series and films. Then, we shift to John's acting career, highlighting his lead role in Pippin under the direction of the legendary Bob Fosse. We wrap up this segment by discussing the challenges of dealing with nerves and taking auditions.In Part 2, we take a detour to discuss a memorable evening when John starred in Children of a Lesser God at the Mark Taper Forum in Los Angeles, while his father performed at the Music Center. John reminisces about playing for George Szell and shares insights into his father's experience recording with Fritz Reiner. We conclude with a wide-ranging conversation covering John's favorite books and composers.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Called "one of the biggest talents of his generation," Elias David Moncado, at a very young age, has already had an exceptional career. After winning his first competition at the age of 6, then his first international competition at the age of 8, he went on to win four major competitions after that (the Sendai Violin Competition in 2019, the International Karol Lipinski Violin Competition in 2019 (first grand prize and ten special prizes), the Valesia Musica Competition in 2021, and the Vladimir Spivakov Competition in 2021). His debut album was released in 2022 with works by Hindemith, Poulenc, and Bartok. Equally involved in different types of chamber music, he is a well-established international artist who is still just at the beginning of his career.We begin with my asking Elias about his very early beginnings as a violinist, his early studies with Professor Latica Honda-Rosenberg, and then his phenomenal success at international competitions. I asked about his mental outlook during those competitions, and his answer was both a surprise and revealing to me. We then speak about interpretation and memorization (and how he is able to memorize so many major concerti), and his thoughts about concentration.(Part 2 for Subscribers): During Covid, when he had no in-person performance opportunities, Elias learned the fiendishly difficult Bartok solo sonata as a way of using his free time to challenge himself. In 2022 he released his first solo album, and we talk about why he didn't record standard repertoire for his first recording. Because Elias is also deeply involved in playing chamber music, we talk about time management, and managing a career... "you need to create a full package as an artist." I then ask about the two 18th-century violins he plays, and we end with Elias talking about his special musical relationship with Anne Sophie Mutter.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Frederica von Stade has had a fabulous career as an opera singer, recitalist, and concert artist. In her long career, she has performed and recorded internationally, working with major conductors around the world (Karajan, Bernstein, Abbado, to name just a few.) In addition, she has championed the works of many contemporary composers, most notably Jake Heggie, with whom she has a strong friendship. Known as Flicka, she is both unassuming and gracious, and it was a highlight to have the opportunity to speak with her about her life and career.We begin our conversation by talking about her connection with composer Jake Heggie, how they met, how she was instantly attracted to his music, and how Heggie's first and most popular opera, Dead Man Walking, came into being. Using that as a springboard, I then ask how an opera is put together from a singer's point of view. She then talks about how to maintain a healthy voice, working with nerves, and we end Part 1 discussing two of her favorite composers - Mahler and Debussy.[Part 2 for Subscribers]: As a young girl, Frederica von Stade was first drawn to musicals and only later became involved in opera, and so she speaks of some of her early experiences with musical theater. I ask if she feels that she has been influenced as a singer by any instrument, and (no spoiler alert) her answer came as a total surprise! We end with a discussion of the charitable work she has done, specifically with the Young Musicians Choral Orchestra.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Dr. Micah Killion is a trumpeter who has devoted the past several years to better understanding what constitutes effective practice and learning. Formerly a member of the Air Force Band, he has also been an arts administrator. In addition to his performing and research, he has also been involved in helping underprivileged populations through the power of music, his latest effort including a journey to Nepal. Currently he is the coordinator for the Center for Music Learning's new "Musical Lives Initiative."We begin the conversation with Micah talking about his doctoral thesis research, where he studied the practice routines of six high-level trumpet players: Chris Coletti, Louis Hanslick, Justin Emmerich, Amy McCabe, Billy Hunter, and Gareth Flowers. His research aimed to identify commonalities in their practice approaches. We then talk in-depth about several practice concepts discussed on his website: "Give it a rest", "Interleave it", and "Get motivated."In Part 2, to get Micah's feedback, I gave him an example of how I practiced when I was in college, which led us to more practice talk, and "what's your target." We wrap up the interview with Micah talking about his three week visit to Nepal, and how he used music and the trumpet to work with youth experiencing homelessness.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Miguel Harth Bedoya has been the Music Director of the Fort Worth Symphony Orchestra for 20 years and is now their Music Director Laureate. In addition to other Music Director positions he has held, he has also guest conducted major orchestras around the world such as the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, and the Chicago Symphony - to name only a few. He is currently the Mary Franks Thompson Director of Orchestral Studies at Baylor University. We begin by asking Miguel about the differences in conducting various levels of orchestras, ranging from student orchestras to the top orchestras in the world... and his main thought is, "The love of music is very important." I also ask him about score study, to which he explains why a piece sounds different to him each time he reads and studies its score. (He also mentions how reading Cervantes' Don Quixote three times over the years gave him a different understanding of the book each time he read it.) Miguel was the conductor for the premiere and recording of Jennifer Higdon's Cold Mountain, and he talks about the process of bringing a new opera to life. We end with an explanation of why an orchestra is like a research laboratory.[Subscriber content] In Part 2, we begin by talking about Miguel's background. He was born in Peru, and we trace his journey as a student from Peru to Chile to the Curtis Institute and finally to Juilliard. He was an assistant conductor for the New York Philharmonic when Leonard Slatkin was delayed in getting to a concert, and he talks about jumping in at the last moment. He also talks about a later experience conducting Copland's Appalachian Spring with that great orchestra. We finally turn to his career as a teacher, and his belief that building a foundation is critical to becoming a conductor. We end on a non-musical note... his helping with the disposal of garbage in Fort Worth... known as the "Cowboy Compost"... while he was Music Director of the Fort Worth Symphony.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Kevin Mayse is the wind ensemble conductor, trumpet teacher, and chair of the Department of Music at Riverside City College. Even though RCC is a two year college, what Kevin has been able to accomplish has been exceptional. His wind ensemble not only performs major works but also has a vibrant commissioning program, top flight soloists, and performs to sold out, standing room audiences. So, who better to ask about how to build a strong and thriving college performing program than Kevin?We begin with a discussion of a concert I was involved in as a composer, where a piece of mine for trumpet and wind ensemble was given its premiere by Tom Hooten (principal trumpet of the Los Angeles Philharmonic Orchestra) and the RCC Wind Ensemble. We use this concert to discuss in depth how Kevin has been able to create such a strong program. This is followed by Kevin talking about his early trumpet studies, how he gradually got into conducting, being hired at RCC, and eventually becoming department chair (and his take on the role of that position.)Be sure to join us in Part 2 (Subscribers Only Content) where Kevin discusses some of his inspirations and mentors - Dave Evans, Malcolm McNab, and Bobby Shew for trumpet and Professor Jerry Junkin for conducting (specifically the four straight years that he attended a life-changing conductor's workshop in Texas.) I then ask Kevin a question that is always interesting for me: What makes a great student? We end with a story from a concert where Karel Husa's "Music for Prague 1968" was performed, and the emotional impact that great music can have.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Jon Armstrong is an amazingly versatile performer, composer, educator and thinker. Perhaps that should come as no surprise, since as a young man in his home town in Oregon, Jon not only played in a Buddhist marching band but also worked 12 hour shifts in a diaper factory! After a highly successful career in LA, he now teaches at Idaho State University, where he's established a fantastic commercial music program, while still performing and composing and at an extremely high level.Jon grew up in Corvallis, Oregon, and at a very young age was already deeply involved in music, learning any instrument he could get his hands on and playing in a variety of groups. His studies at the California Institute for the Arts were followed by seven years in Los Angeles, where he worked as a freelancer, band-leader and composer... and also founded three educational jazz programs! He moved to Pocatello to become Director of Jazz Studies at Idaho State University in 2015, which he has evolved into the new Commercial Music Program. Much of our discussion centers around his thoughts on pedagogy and building the commercial music program.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Matilda Lloyd has already had an exceptional career at a very young age. Her first album, Casta Diva, released on Chandos Records, was BBC Music Magazine's Recording of the Month in June of 2023. She will also be a European Concert Hall Organization "Rising Star" for the 2024/2025 season. But in addition to being an international trumpet soloist, she also has her own podcast, Musical Roots, and is an Ambassador for the charity "Brass in Africa."The conversation begins with Matilda tracing her path to where she is now, from when she began playing trumpet, on through her studies with Mark David and Hakan Hardenberger. She talks about the specific teaching styles of these two great players and teachers, and then moves on to the beginning of her solo career. Although it may seem as though she had a smooth path to a successful career, that hasn't always been the case, including a time during the pandemic when she worked a job outside of music in order to put food on the table. Her take on that time shows resilience, strength, and motivation. Part 1 wraps up with Matilda talking about moving forward with her career after the pandemic, and how her practicing has changed over time.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

During the series of conversations I've had with people in the music business over the past 3 1/2 year, I've spoken with guests representing many aspects of music. But I haven't spoken with anybody about the give and take between orchestra management and musicians. So, who better to have on the podcast than Lynn Larsen? Lynn has been Personnel Manager (since 1988) and Orchestra Manager (since 2017) of the Boston Symphony Orchestra. Formerly, he was a fellow in the American Symphony Orchestra League management program and worked for a year with the Denver, Albuquerque, and St. Louis Symphonies. But he began his career as a horn player with the Utah Symphony, was the head of the orchestra committee, and later was also president of ICSOM (International Conference of Symphony and Opera Musicians) for two years, representing over 4,000 players across the United States. Lynn has a huge amount of insight into both sides of the management/player relationship, and so this is a conversation that I think will be interesting to many players (and hopefully people in management as well!)Lynn began his life as a musician by playing second horn with the Utah Symphony for 17 years. During his time with the orchestra, he was head of the orchestra committee, so he takes us behind the scenes to show us what happens during a strike, and some potential ways of resolving one. I then ask Lynn about his time as a fellow in the American Symphony Orchestra League program, and what he learned from working with the orchestras of Denver, Albuquerque, and St. Louis. We end Part 1 with Lynn talking about his two years with ICSOM.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Richard Antoine White (RAW Tuba) is principal tubist with the New Mexico Philharmonic, principal tuba of the Santa Fe Symphony, and a full professor of tuba at the University of New Mexico. But for more reasons than those, he has been an inspiration for those of us familiar with his life and work. For the first four years of his life, he was homeless and living on the streets of Baltimore, yet today his life is one of success and giving. If you don't know of him, I think you will find his story incredibly inspirational.In Part 1, I ask Richard to speak of his early life, first growing up on the streets of Baltimore, then being adopted by his grandparents at the age of four, learning the tuba and entering the Baltimore School for the Arts, and finally studying with David Federle at the Peabody Institute, followed by studies with Daniel Perantoni at the Jacobs School of Music at Indiana University, where he was the first African American tubist to earn a doctorate.[Subscriber Content] In Part 2, we follow Richard's journey as he won a spot with the New Mexico Symphony and then, when the orchestra failed, helped to found the New Mexico Philharmonic, of which he is still a member. I ask him about his amazing project, the RAW Tuba Ranch, which will be open for people from the age of 5 to 100. I also ask him about his participation in the Slavery Reenactment project, which changed his view on life. Throughout our conversation, Richard talks about his philosophy of life and his appreciation of hard work. "The best part about every day is that you're not done yet."Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

I first met pianist Katharina Kegler in 1992 when I auditioned for the position of trumpet professor at the Freiburg Musik Hochschule. Katharina was assigned to me as the accompanist for the short concert I would have to play and, unbeknownst to me, it was her first service since being hired at the Hochschule. So over many year we have not only taught together, but also performed together, both in Germany and in Japan. During our many years together, I can't recall a time where I disagreed with any of her ideas on musicality or phrasing. Her judgement always just seemed so logical and deep. So in this interview I ask her a number of questions about musicality and phrasing, and was both surprised and delighted with her answers.We begin Part 1 with my asking Katharina about her studies with Tibor Hazay (Freiburg Musik Hochschule) and John Perry (Rice University), two very different personalities and both very deep musicians. We then discuss the steps that Katharina goes through to learn a piece by Brahms (as an example), discussing how she builds her interpretation over time. She also explains why she's against students learning a piece by first listening to recordings.For Contributing Listeners (Part 2): Katharina has spent a great many years not only playing chamber and solo literature, but also accompanying students. She has also worked at the Munich ARD competition, perhaps the world's most highly recognized solo competition, and so I ask her about the difference between accompanying college level students, the top players at the Munich competition, and finally, top professionals. We talk about her work with students, and end the conversation with Katharina as an entrepreneur with the work she put in to start the concert series, Musikfest Ebringen.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Trumpeter Dave Bilger has had a stellar career as both a performer and also as an educator. He was principal trumpet with the Dallas Symphony, and following that, principal trumpet with the Philadelphia Orchestra for many years. In addition to the 27 years he's taught at the Curtis Institute of Music, he's also Professor of Trumpet at the Northwestern University Bienen School of Music and has given master classes around the world.As an example of how music can have a profound influence on a person's, and even a family's, life, we begin our conversation with my asking Dave about how he was able raise funds in order to bring Baset Azizi from Afghanistan to the United States and how that impacted not only Baset, but his family as well. Dave continues by talking about his two main teachers and their different approaches to teaching, David Hickman and Mark Gould... in addition to his week of study with Tom Stevens. As a student, Dave was a member of the summer student orchestra, the Colorado Philharmonic, and talks about what it was like to have Michael Sachs (principal trumpet, Cleveland Orchestra) and Doug Prosser (principal trumpet, Rochester Philharmonic) as room-mates during his second year. We end part one with an extended discussion of auditions, including musical preparation, mental approaches, and some current issues with the orchestral audition process.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Andreas Neubronner is a record producer and engineer who has won 8 Grammy awards. He has recorded great orchestras around the world and is known for his recordings of the Mahler Symphonies with the San Francisco Symphony Orchestra conducted by Michael Tilson Thomas, his work with Baroque and Renaissance ensembles, and piano soloists Murray Perahia and Igor Levit.Andreas begins Part 1 talking about how he first came to work with Michael Tilson Thomas in London and his recordings of the Mahler cycle with the San Francisco Symphony. Using those sessions, Andreas gives an overview of how recordings are made, from the initial shipping of equipment and set-up, how live concerts are recorded, what a patch session is and how they're run (...and how much money each minute of the session costs!) Andreas also mentions some background of recording tech specifics, including how the human mind perceives stereo sound (and the difficulty of implementing 5.1 surround sound in an orchestral setting.) We end Part 1 with a discussion of Baroque music, and how performance practice has changed over the last 30-40 years.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

In his thirty-eight years with the Utah Symphony, Nick Norton experienced all aspects of what it means to be an orchestral trumpet player. He began his career with the orchestra as second trumpet and after nine years auditioned for, and won, the newly vacated position of principal trumpet. Towards the end of his tenure with the orchestra, he moved to become a sort of roving section player. But in addition to his life as a trumpet player, Nick has also had a very full life outside of music which, among other things, involved preserving Emigration Canyon in Salt Lake City in its pristine state for the future. He is not only a good friend of mine, he is also a hero to me, a person with great integrity and honor (and also a great sense of humor... I can't recall a phone conversation with him where I didn't laugh.)We begin our conversation with Nick talking about his audition for second trumpet in the Utah Symphony, his experience in that position, and then his audition for principal trumpet nine years later. Nick did about nine mock auditions for friends beforehand, and he speaks about how his poor showing in his last mock audition, and what he learned from it, helped him win the position with the Utah Symphony. Since he has played all positions in the trumpet section, I asked him about the different roles or goals of each trumpet seat in the orchestra and how to work well with a section. Nick also played principal trumpet with the Malmö Symphony in Sweden for a short period of time, so we talk about the differences in brass playing between an American and Swedish orchestra.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Bill Williams is a musician who has had a stellar career as a symphony musician, chamber musician, and soloist. But in addition to his performing, he is also a consultant with a wide range of clients, including elite performers and institutions, focusing on the tools needed to perform well consistently. On his website The Path to Optimal Performance, Bill deals with subjects such as stress and performance, practice, centering, and mental rehearsal. A great deal of our conversation revolves around the concept of how to deal with the vitally important mental aspects of performance.

In the Bonus Room we discuss Chad's book, "You Earned a Music Degree. Now What?" This is a book that offers many practical and usable suggestions for students graduating from college and wanting to pursue a career in music. It is indeed a working musicians field guide, and we cover many areas of the book. Students will find this part of the interview not only inspiring but very practical as well.

We begin Part 2 by talking about his time with the San Francisco Ballet and how conducting ballet is so different from conducting orchestras. From there we move on to the New World Symphony and the studying of scores in preparation for rehearsals and concerts, how much time is involved, and the strategy he has for score analysis.

Chad Goodman is, to quote Christina Wallace from Forbes Magazine, "an entrepreneur bringing innovation to classical music." In his young life, Chad has started his own ensemble, the Elevate Ensemble, worked with the San Francisco Symphony and San Francisco Ballet as a conductor, and is currently a Conducting Fellow of the New World Symphony. So how did he do all of this at such a young age? He gives a lot of clues and practical advice in his book: "You Earned a Music Degree. Now What?" It was a pleasure to speak with him about the many aspects of his career and life.We begin by going back to the start of Chad's career, learning music and also learning the business of music. At a very young age, he founded the Elevate Ensemble. He talks about many of the different aspects of planning concerts, paying musicians, arranging concert venues, and the like. We trace his career to working with the San Francisco Symphony, assisting guest conductors, and how Manfred Honeck was such a profound influence on him.

In addition to their new jobs, Will and Carlos have had experiences performing with other major orchestras, such as the New York Philharmonic, the Philadelphia Orchestra, the St. Louis Symphony, and the London Symphony. Our talk then turns to the future, with Will talking about his work with the Vennture Mouthpiece company, and Carlos about training to become an Alexander Technique teacher.

We continue our conversation about experiences at Juilliard and then move on to their current jobs: Principal Trumpet with the Nashville Symphony and Principal Trombone with the New York City Ballet, and specifically what they experienced in their auditions for those two orchestras.

Trombonist Carlos Jiménez Fernández and Trumpeter William Leathers have already had exceptional lives as musicians, even though they just recently graduated with a Bachelor's degree from Juilliard. They already have great jobs as principal players (Will with the Nashville Symphony and Carlos with the New York City Ballet) and have also performed with groups such as the New York Philharmonic, Philadelphia Orchestra, and London Symphony. It was a joy to speak with them about their journey at this early stage of their career.In Part 1, we begin our conversation by talking about how Will and Carlos got to Juilliard. Will started a GoFundMe project in Canada, raising over $70,000 to help pay for his tuition, and Carlos was able to get a scholarship. I ask about their audition to get into the school (an audition where very few people are accepted) and then we talk about their studies with their main teachers, Joe Alessi for Carlos and Chris Martin and Ray Mase for Will.

We begin the Bonus Room with Amy talking about her 99-day trip around the United States visiting and photographing all the national parks during the first year of the Covid pandemic. Her life outside of music is as varied as her freelance life in Los Angeles, so we discuss other projects she's been involved in. We end this fascinating conversation with Amy talking about the house she bought in Sitka, Alaska... not a usual purchase for an LA freelancer!Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

In addition to the classical jobs she plays, Amy has also done some very interesting non-classical jobs, so we go behind the scenes of her recording sessions for Kendrick Lamar and Dave Matthews. Amy also talks about what it was like to be on the session that was a tribute to Henry Mancini, which included session musicians such as John Williams, Herbie Hancock and Quincy Jones. I also ask her what it was like to record in India for a Bollywood film!Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Hornist Amy Sanchez is a very successful and very busy freelancer living in Los Angeles. But she is so much more than that. In addition to all her various activities as a musician, she has also done a 99 day trip around the United States visiting all the National Parks, has become involved with NkombeRhino, a South African organization that focuses on the protection of endangered species (and in the process founded Horns for Rhino), has a pilot's license, and is probably the only freelancer in Los Angeles to have bought a house in Sitka, Alaska!During the week of our conversation, Amy had a VERY busy week, flying to San Francisco to play offstage in a Vienna Philharmonic concert, playing on a Thomas Newman session for a Pixar animated movie, playing Sondheim's Sunday in the Park with George, and also teaching 12+ lessons at UCLA. So we begin by talking about that week and what the life of a freelancer is like. We end with Amy talking about the beginning of her career, studying at Ithaca College and the University of Southern California and touring with Blast.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

A large portion of this second part of our conversation deals with performance psychology and dealing with Covid and the groundbreaking research Aaron is doing at the Royal College. In discussing that research we do a deep dive into distributed simulation, where students can perform before a simulated situation of either a performance or audition, a unique lab that I hope can eventually be used by a large number of schools around the world.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

In the Bonus Room, we first discuss the difference between stress and distress. And then we discuss how to relieve distress in performance situations, with Jason  talking about “flipping the script.”Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Aaron Williamon is Professor of Performance Science at the Royal College of Music in London and is joined in our conversation by Jason Evans, who is head of the brass faculty at the Royal College and also principal trumpet with the Philharmonia Orchestra. Together we tackle the subject of performance psychology and specifically, performance anxiety. This is a very far ranging, open, and revealing conversation. I think it will be of interest to student and professional alike.We begin our conversation with Jason talking about the road he traveled to become the youngest person to be appointed principal trumpet in a major UK orchestra and his experiences dealing with nerves during his early playing years. Aaron follows up by speaking about his research at the Royal College of Music and the projects he is currently working on. We end with Jason discussing the pressures of a high level performance job.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.