Podcast appearances and mentions of Aaron Copland

Copland has so cemented himself as an American music figure that he was commonly referred to as "the Dean of American Music"- find out more in this weeks episode, and be sure to like and share with a friend!  Music: https://imslp.org/wiki/Shenandoah_(Alink%2C_Bert) https://creativecommons.org/licenses/by/3.0/legalcode

Moin! Wir vom Team um "Philipps Playlist" wollen den Podcast immer weiter verbessern. Um das zu tun, möchten wir gerne Deine Meinung, Deine Ideen und Deine Kritik hören. Und ganz nebenbei möchten wir auch Dich und alle anderen besser kennenlernen. Vielen Dank, dass du an dieser Umfrage teilnimmst, das hilft uns wirklich sehr: https://umfrage-ndr.limequery.com/247836?lang=de-informal Musik, die direkt ins Herz geht. Schwermütige bis dankbare Klänge nehmen Dich mit auf eine Reise weit in den Westen. Jeder Klang berührt die Leere in Dir. Diese Musikstücke hast Du in der Folge gehört: Darius Rucker – "I hope they get to me in time" // Aaron Copland – "Appalachian Spring – Like a Prayer" // Diamond Rio – "She misses him on Sunday the most" // Amy Beach – "Dreaming" // Alan Jackson – "Freight train" // Emmylou Harris & Mark Knopfler – "This is us" // Den ARD Podcast "ESC Update" findest Du hier: https://www.ardaudiothek.de/sendung/esc-update/82411386/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

In a new installment of the Critics at Large advice hotline, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz field calls from listeners on a variety of cultural dilemmas, and offer recommendations for what ails them. Callers' concerns run the gamut from the lighthearted to the existential; several seek works to help ease the sting of the state of the world. “I can't say that we will solve those deeper issues,” Cunningham says. “But to share art with somebody is to offer them a companion.”Read, watch, and listen with the critics:The New York Issue of The New Yorker (May 12 & 19, 2025)“Birds of America,” by Lorrie Moore“Eighth Grade” (2018)“Gilead,” by Marilynne Robinson“Danny, the Champion of the World,” by Roald Dahl“Midnight Diner” (2016-19)“Sentimental Education,” by Gustave Flaubert“Middlemarch,” by George Eliot“My Life in Middlemarch,” by Rebecca Mead“How the Method Made Acting Modern,” by Alexandra Schwartz (The New Yorker)Charles Schulz's “Peanuts”“First Reformed” (2017)“Better Things” (2016-22)“The Functionally Dysfunctional Matriarchy of ‘Better Things,' ” by Alexandra Schwartz (The New Yorker)“Odes,” by Sharon OldsTJ Douglas's “Dying”Mozart's “The Magic Flute”“Peppa Pig” (2004—)Aaron Copland's “Billy the Kid”Dennis Wilson's “Pacific Ocean Blue”Caetano Veloso's “Ofertório”Crosby, Stills & Nash's début albumNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

This episode of The Other Side of the Bell, featuring trumpet legend and women's trumpet trailblazer Marie Speziale, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Marie Speziale trumpet interview" *Note to listeners and viewers: we're rebalancing our podcast release schedule, to alternate The Other Side of the Bell with our other two podcasts: Trombone Corner and The Horn Signal. Hence the back-to-back episode of TOSOTB this week!  If you haven't already, check out our other two shows for more fantastic interviews with horn-playing legends!   Trombone Corner The Horn Signal     About Marie Speziale:   Acknowledged as the first woman trumpeter in a major symphony orchestra, Marie Speziale retired from the Cincinnati Symphony Orchestra in 1996 after having served as Associate Principal Trumpet for thirty-two years (1964-1996).   A graduate of the College-Conservatory of Music in Cincinnati (CCM), Ms. Speziale studied with Robert Price, Eugene Blee and Arnold Jacobs. Her tenure with the Cincinnati Symphony Orchestra (CSO) included playing with the Cincinnati Opera, Cincinnati May Festival, Cincinnati Ballet and Cincinnati Pops Orchestras. She performed under the batons of Igor Stravinsky, George Szell, Leonard Bernstein, Aaron Copland, Eugene Ormandy, Eric Leinsdorf, Max Rudolf and so many more.   In addition to solo appearances with the Cincinnati Symphony, Cincinnati Pops and Cincinnati Chamber Orchestras, she was featured on NBC's Today Show at age 15, in an impromptu jam session with Duke Ellington shortly after joining the orchestra, and with Dave Brubeck on the Johnny Carson Tonight Show, the CSO European tour, and at the Interlochen Arts Academy. While a student at CCM, she recorded sound tracks for James Brown, whose career was launched by the historic King Records in Cincinnati.   Marie served on the CCM faculty, 1964 -1973, on the faculty at Miami University of Ohio, 1973 - 1979, and returned to CCM as Adjunct Associate Professor, 1979 - 2002. She was appointed Professor of Music at Indiana University 1999, serving there until a year after her 2001 appointment as Professor of Trumpet and Brass Department Chair at the prestigious Shepherd School of Music at Rice University.   In 1999, Marie was one of six Americans (and the only American woman) to be invited by the Tokyo International Music Festival to perform in its first Super World Orchestra. In addition to the National Trumpet Competitions, she has served as adjudicator for the ITG, IWBC and the prestigious Fischoff National Chamber Music competitions.   In 1996, Ms. Speziale performed with the Monarch Brass on its inaugural tour. She conducted the Monarch Brass at the 1997 and 2014 conferences, and played, toured and recorded with Monarch Brass Quintet and Monarch Brass Ensemble until retiring from playing.   President of IWBC, 1997 - 2001, Marie hosted the 2000 conference at CCM and served on the Board of Directors.   Ms. Speziale has won many awards and honors, including Leading Women in the Arts Award from the Greater Cincinnati Coalition of Women's Organizations, the Outstanding Woman of the Year in Music Award from the Tampa Tribune, the SAI Chapter, Province and National Leadership Awards, the Pioneer Award from the International Women's Brass Conference, the Golden Rose Award from the Women Band Directors International, the Woman of Excellence Award from the Italian Club of Tampa, the Distinguished Alumna Award from CCM and the Outstanding Alumni Award from the University of Cincinnati.   In 2018, Marie was inducted into the Cincinnati Jazz Hall of Fame as part of their recognition of the Symphony Jazz Quintet, of which she was a founding member. She was presented with the prestigious Honorary Award from the International Trumpet Guild at their 2018 conference. In 2019, Ms. Speziale was one of 100 women recognized by Cincinnati Arts Wave in their Celebration of Women in the Arts: Power of Her.   Marie Speziale retired as Professor Emerita from Rice University in 2013. She currently serves on the Board of Trustees of the American Classical Music Hall of Fame and the Emeritus Board of the IWBC.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - courtesy of Marie Speziale Audio Engineer - Ted Cragg  

The commission for a new Clarinet Concerto from the great American composer Aaron Copland came from a rather unlikely source: Benny Goodman, the man known as the King of Swing. Goodman was one of the most famous and important jazz musicians of all time, but in the late 1940s, swing music was on the decline, and bebop had taken over. Goodman experimented with bebop for a time but never fully took to it in the way that he had so mastered swing. Goodman then turned towards the classical repertoire, commissioning music from many of the great composers of the time, such as Bela Bartok, Darius Milhaud, Paul Hindemith, Francis Poulenc, and of course, Aaron Copland. Copland eagerly agreed to the commission, and spent the next year carefully crafting the concerto, which is full of influences from Jazz as well as from Latin American music, perhaps inspired by the four months Copland spent in Latin America while writing the piece. What resulted from all this was a short and compact piece in one continuous movement split into two parts. With an orchestra of only strings, piano, harp, and solo clarinet, Copland created one of the great solo masterpieces of the 20th century. It practically distills everything that makes Copland so great into just 18 minutes of music. Today on the show we'll talk about the difficulty of the piece, something that prevented Benny Goodman from performing the concerto for nearly 2 years, as well as the immense difficulty of the second movement for the orchestra. We'll also talk about all of those quintessentially Copland traits that make his music so wonderful to listen to, and the path this concerto takes from beautiful openness to jazzy fire. Join Us!  Recording: Martin Frost with the Norwegian Chamber Orchestra Pedro Henrique Alliprandini dissertation: https://getd.libs.uga.edu/pdfs/alliprandini_pedro_h_201812_dma.pdf

Nina Bernat is a double bass performer and educator based in New York City. In 2023, Nina was honored as a recipient of the Avery Fisher Career Grant and winner of the CAG Elmaleh Competition. Her recent first-prize awards include the Barbash J.S. Bach String Competition, the Minnesota Orchestra Young Artist Competition, the Juilliard Double Bass Competition, and the 2019 International Society of Bassists Solo Competition. In this episode, recorded live in San Francisco in 2025, Nina shares her background and discusses the program she performed at the 2025 San Francisco Winter Bass Bash. Enjoy! Recital program: Nina Bernat, double bass Keisuke Nakagoshi, piano Bach Suite No. 5 in C Minor, BV 1011 Prelude, Allemande, Courante Pantomime by Sofia Gubaidulina Prayer by Enrst Bloch Sonata for Violin by Aaron Copland photo credit: Titilayo Ayangade Subscribe to the podcast to get these interviews delivered to you automatically! Connect with us: all things double bass double bass merch double bass sheet music Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Nadia Boulanger est pianiste, organiste, compositrice, cheffe d'orchestre, directrice de l'école américaine de Fontainebleau, maître de musique... Cette grande pédagogue de la musique a l'art de révéler ses élèves à eux-mêmes. Beaucoup d'éminents compositeurs du 20e siècle sont passés par «la boulangerie». Parmi eux figurent notamment Aaron Copland, Astor Piazzolla, Michel Legrand, Philipp Glass… On vient du monde entier pour se former auprès de Mademoiselle, la grande prêtresse de la musique, confie notre invitée Marina Chiche. Célèbre depuis sa nomination remarquée aux Victoires de la musique classique, Marina Chiche est aussi musicologue et productrice d'émissions sur France Musique, notamment des séries Mon cœur est un violon et Musiciennes de légende. Elle signe le livre Musiciennes de légende, de l'ombre à la lumière, paru aux Editions First avec la collaboration de France Musique. Une séquence signée Axelle Thiry Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Pianist Keelan Carew and trombonist Carol Jarvis join Jeffrey Boakye and Anna Phoebe to add five more tracks to the playlist, as they take us from the great Winifred Atwell to an ambitious prog-rock reimagining of Aaron Copland's Rodeo ballet.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Tickle the Ivories by Winifred Atwell Pas de Deux: Andante maestoso by Tchaikovsky Stan by Eminem Rather Be by Clean Bandit Hoedown by Emerson, Lake & PalmerOther music in this episode:Radioactive by Carol Jarvis Kaigara Bushi by Mitsune Black and White Rag by Winifred Atwell Hoe-Down by Aaron Copland, dir Leonard Bernstein Bonaparte's Retreat by William H Stepp

Copland House is a major force in contemporary American music dedicated to fostering greater public awareness and appreciation of our nation's composers and their work in all of its many forms.Copland House continues Aaron Copland's incredible legacy of supporting his fellow composers and their work includes composer residencies, performances and recordings by resident ensemble Music From Copland House, and educational and community outreach programs.Host Seth Boustead talks with Artistic and Executive Director Michael Boriskin about this incredible legacy.

Pour ce 415ème numéro c'est THE MOODY BLUES qui ouvrent le bal avec un titre dans lequel Mike Pinder s'inquiétait de la direction que prenait le monde avec ses gouvernements "va-t-en guerre" et ses gros industriels qui contrôlaient de plus en plus la planète. C'était en 1970, ajoutez y quelques GAFA et quoi de neuf sous le soleil ?

Una de las formas musicales que mejor representa el Barroco es la “Suite”, un conjunto de danzas, la mayoría de origen francés, con las que podemos disfrutar durante horas ya que la inmensa mayoría de los autores de ese período compusieron una buena cantidad de ellas. En el programa de hoy contamos con 2 buenos ejemplos: George Friedrich Haendel y Johann Bernhard Bach, un primo muy querido por el gran Johann Sebastian. Tras desaparecer del repertorio habitual durante más de un siglo, las suites volvieron a adquirir protagonismo a finales del siglo XIX y así podemos disfrutar en este programa de momentos extraídos de obras compuestas en el siglo XX por Josef Suk, Aaron Copland, Mario Pilati y el japonés Isotaro Sugata. Así de variada es la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender

In this episode of One Symphony, Devin Patrick Hughes interviews Lucas Richman, a Grammy winning composer and conductor, exploring his career and insightful perspectives on music and its role in society.  Richman recounts his early exposure to music through composer biographies, sharing an anecdote about writing to Aaron Copland and receiving an encouraging postcard in return, which served as an early inspiration. The discussion moves to Richman's experiences with Leonard Bernstein, highlighting a masterclass on the Academic Festival Overture and the profound impact Bernstein had on his understanding of music and life. Richman emphasizes Bernstein's ability to infuse everything with love and teaching, noting his preference for discussing music with doctors rather than musicians due to their focus on the art rather than business.  Richman discusses his approach to composition, emphasizing his commitment to bringing social issues and awareness into the concert hall. He describes his symphony inspired by Bernstein's words, "This will be our reply to violence is to make music more intensely, more beautifully, more devotedly than ever before," with movements embodying intensity, beauty, and devotion. He also discusses "The Warming Sea," a piece addressing climate change, and Paths to Dignity, a violin concerto inspired by the issue of homelessness. In Paths to Dignity, Richman musically portrays the word "dignity" using specific notes, aiming to create a conversation and raise awareness. He collaborated with Mitchell Newman, a violinist and advocate for the unsheltered community, to bring attention to the human stories behind homelessness.  Richman reflects on his time as an assistant conductor, which instilled in him the importance of clarity and efficiency. He describes his experience conducting film scores for movies such as Seven and The Village, noting the collaborative nature of the work. Richman also shares his perspective on conducting his own music, expressing that others often bring fresh interpretations that he appreciates. Transitioning to the evolution of the conducting field, Richman acknowledges the influence of mentors like Daniel Lewis and Herbert Blomstedt, emphasizing the significance of respect, intent, and honesty. He expresses concern that some contemporary conductors prioritize showmanship over serving the music and fostering leadership skills. Turning to the role of a music director, Richman underscores the importance of community engagement, fundraising, and collaboration with the board and staff. He highlights initiatives such as streaming concerts, expanding educational programs, and forging relationships with local organizations. He also touches on his involvement in music education, including his piece Behold the Bold Umbrellaphant, which introduces children to classical music through imaginative characters. Thank you for joining us on One Symphony. Special thanks to Lucas Richman for sharing his music and story. Musical selections from today's episode: Brahms: Academic Festival Overture, Op. 80 (Live). Lucas Richman conducting. The Warming Sea composed by Lucas Richman. Performed by the Bangor Symphony Orchestra, Divisi Women's Choir, and the Bangor Area Youth Choir. Conducted by Jayce Ogren. Commissioned by the Maine Science Festival. Excerpts from Concerto for Violin: Paths to Dignity composed and conducted by Lucas Richman. Featuring Mitchell Newman on violin and the Bangor Symphony Orchestra. “The Gravel Road” from the film The Village. Composed by James Newton-Howard and conducted by Lucas Richman featuring Hillary Hahn on violin. “Tikkun Olam (Heal the World)” from Symphony: This Will Be Our Reply. Text and music by Lucas Richman. Performed by the Bangor Symphony Orchestra, conducted by Richman. Featuring the Oratorio Society and University of Maine Singers under the direction of Francis John Voight. For more information on Lucas, see www.lucasrichman.com. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

Music was used in World War 2 like never before, from propaganda to national pride. John Banther and Evan Keely explore Copland's musical effort to rally a defense for democracy using Abraham Lincoln's timeless words and examine why it was banned from a Presidential inauguration. Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

Conductor Ben Gernon's personal recommendation for Aaron Copland's Rodeo.

One of the most iconic American composers was at one point even considered by some to be "un-American." John Banther and Evan Keely explore Copland's life, works you probably don't know, what influenced him, how he created an "American" sound, and why he was questioned at length in a senate subcommittee hearing in 1953. Support Classical Breakdown: https://weta.org/donatefmSee omnystudio.com/listener for privacy information.

If you, like many of us, are struggling to find things to be grateful for this Thanksgiving, I have put together an episode featuring a national (and international) treasure, the exquisite soprano Roberta Alexander. In fact, I could just as easily have entitled this episode “Giving Thanks FOR Roberta Alexander.” Roberta has been featured many times on the podcast and I'm thrilled to bring her to you yet again in a refurbished bonus episode from the summer of 2023. Three works are foregrounded: first is Samuel Barber's dramatic scena Andromache's Farewell, which was composed for Martina Arroyo for the inaugural season of the New York Philharmonic at its new home at Lincoln Center. The recording featuring Roberta and conductor Edo de Waart is from the year 1993. There follows a complete performance (one of the finest in my experience) of Aaron Copland's song cycle Twelve Poems of Emily Dickinson, his most extended solo vocal work, heard in a 1990 recording with British pianist Roger Vignoles. And finally, the crowning jewel: a live performance of Roberta Alexander in her youthful prime singing Richard Strauss's Four Last Songs. To my ear, this represents the perfect meeting of composer and artist, a near-ideal rendition of these songs, and one which is not readily available anywhere else on the interwebs. This episode is further interspersed with jewels from Roberta's 1985 recording of songs by Leonard Bernstein, all of which are exquisitely (as well as sometimes painfully) appropriate at this moment in the history of the United States and provide us with food for thought as we observe with solemnity this iconic holiday. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Welcome back, Queernundrum listeners! This week, we're diving into the lives of two trailblazing figures who've left indelible marks on their fields and on history: Aaron Copland, the legendary composer who defined the "American sound" in classical music while navigating life as a queer man, and Sarah McBride, the first openly transgender member of Congress who is reshaping the future of American politics.Join us as we explore their groundbreaking achievements, the challenges they faced, and their lasting legacies for the LGBTQ+ community. From Copland's timeless compositions to McBride's advocacy for equality and inclusion, this episode is a celebration of resilience, courage, and the power of representation.Episode Highlights:Aaron Copland – The American Sound:Explore how Aaron Copland's music, including iconic works like Fanfare for the Common Man and Appalachian Spring, captured the essence of American identity.We discuss Copland's life as a gay man in the 20th century and how his outsider perspective influenced his groundbreaking compositions.And reflect on Copland's progressive politics, his brush with McCarthy-era scrutiny, and how his music continues to inspire generations.Sarah McBride – A History-Making Trailblazer:Celebrate Sarah McBride's recent election as the first openly transgender member of Congress, representing Delaware in the U.S. House of Representatives.Highlight McBride's journey from her advocacy with the Human Rights Campaign to her historic speech at the Democratic National Convention in 2016.Dive into McBride's legislative priorities, including LGBTQ+ rights, healthcare access, workplace equity, and reproductive freedom.Intro music by Jahzzar “Please Listen Carefully” “Jahzzar (betterwithmusic.com) CC BY-SA” and Outro music by Scott Holmes “Acoustic Indie Folk” @ scottianholmes@live.com.Editor: H. Greystone via FinalCut ProWriter: G. Thoren

On the November 14 edition of the Music History Today podcast, Michael Jackson premieres in a theater & on tv, Pink Floyd is an opening act, & Jay-Z releases a hit album. Also, happy birthday to Aaron Copland, Run & Travis Barker. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Leader of the Pack by The Raveonettes (2024)Song 1: Here's to You by Just Jinger (1999)Song 2: Stardust by Hoagy Carmichael & Artie Shaw (1941)Song 3: Everyone Knows Everyone by The Helio Sequence (2004)Song 4: Funeral Home by Daniel Johnston (1990)Song 5: Ball and Chain by The Who (2019)Song 6: Shutterbugg by Big Boi (2010)Song 7: One Step Ahead of the Blues by J.J. Cale (1982)Song 8: It's the Hard-Knock Life by Aileen Quinn & Toni Ann Gisondi (1982)Song 9: Cliquot by Beirut (2007)Song 10: I Bought Me a Cat by Aaron Copland (1951)

On the October 16 edition of the Music History Today podcast, Creedence breaks up, the Grand Ole Opry gets more diverse, & Little Richard records. Plus, it's John Mayer's birthday. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts from ALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday On this date: * In 1951, Little Richard recorded for the first time. * In 1956, Elvis' film Love Me Tender premiered. * In 1962, Motown started their package concert tour with Mary Wells, Marvin Gaye, The Supremes, Little Stevie Wonder, & the Contours. * In 1965, singer and actress Leslie Uggams married her longtime friend Grahame Pratt. * In 1972, Creedence Clearwater Revival broke up. * In 1975, Bruce Springsteen performed at the Roxy in Los Angeles, which led to him getting noticed by the mainstream media. * In 1976, the disco novelty song by Los Angeles radio DJ Rick Dees, Disco Duck hit #1 on Billboard's hot 100 singles chart. * In 1976, Stevie Wonder hit #1 with the album Songs in the Key of Life. * In 1986, Chuck Berry held his 60th birthday concert, which was filmed for his film documentary Hail Hail Rock N Roll. * In 1986, Marie Osmond married her husband Brian Blosil. * In 1988, the Smile Jamaica charity concert to help Hurricane Gilbert victims was held in London. * In 1992, Sinead O'Connor was booed when she performed at the Bob Dylan tribute concert at Madison Square Garden in New York City. The audience was reacting to the incident on Saturday Night Live a couple of weeks earlier when she ripped up a photo of Pope John Paul II. * In 2003, Apple released the Windows version of the ITunes store. * In 2010, Nicki Minaj set a record for most songs to debut on the Billboard singles chart in the same week with 7, with Bottoms Up with Trey Songz debuting at #11. The record has since been shattered a number of times. * In 2011, singer-songwriter Paul McDonald married actress & screenwriter Nikki Reed. * In 2013, actress & singer Kristen Bell married actor Dax Shepard. * In 2017, Ed Sheeran broke his wrist & elbow in a biking accident, which made him cancel part of his Asian tour. In the world of classical music: * In 1942, Aaron Copland's ballet Rodeo premiered in NYC. In award ceremonies that were held on October 16: * In 2012, the Grand Ole Opry inducted only its third African American member, after DeFord Bailey & Charley Pride. It was Darius Rucker, lead singer of Hootie & the Blowfish and successful solo country music singer. --- Support this podcast: https://podcasters.spotify.com/pod/show/musichistorytodaypodcast/support

SynopsisToday's date in 1922 marks the birthday of Héctor Campos Parsi, one of Puerto Rico's finest composers.Campos Parsi originally planned to become a doctor, but after a meeting with the Mexican composer Carlos Chávez, ended up studying music at the New England Conservatory in 1949 and 1950 with the likes of Aaron Copland, Olivier Messiaen and Serge Koussevitzky, and between 1950 and 1954 with Paul Hindemith at Yale and with Nadia Boulanger in Paris.Returning to Puerto Rico, Campos Parsi pursued a dual career: as a writer, he contributed short stories, essays, poems to Puerto Rican magazines, and wrote music reviews and articles for island newspapers. As a composer, he wrote instrumental and vocal works for chamber, orchestral, and choral ensemble. Two of his best-known works are Divertimento del Sur, written for string orchestra with solo flute and clarinet, and a piano sonata dedicated to Puerto Rican pianist Jesús María Sanromá. As a musicologist, Campos Parsi wrote entries for music encyclopedias and served as the director of the IberoAmerican Center of Musical Documentation and as composer-in-residence at the University of Puerto Rico at Cayey, where died in 1998 at 75.Music Played in Today's ProgramHéctor Campos Parsi (1922-1998): Divertimento del Sur; Members of the Casals Festival Orchestra; Milton Katims, conductor; Smithsonian Folkways COOK-01061

fWotD Episode 2703: Igor Stravinsky Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Saturday, 28 September 2024 is Igor Stravinsky.Igor Fyodorovich Stravinsky (17 June [O. S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.Born to a famous bass in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908. Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure.Stravinsky's compositional career is often divided into three main periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as Renard (1916) and Les noces (1923) drew upon Russian folk poetry, while compositions like L'Histoire du soldat (1918) integrated these folk elements with popular musical forms, including the tango, waltz, ragtime, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works including Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral.While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant Robert Craft, as well as an earlier autobiography and a series of lectures.This recording reflects the Wikipedia text as of 00:51 UTC on Saturday, 28 September 2024.For the full current version of the article, see Igor Stravinsky on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

Orion Weiss is a Superstar Classical Pianist. He is one of the most sought after soloists and chamber music collaborators of his generation. He's been praised by the New York Times as a “brilliant pianist”, and the Washington Post has hailed his “powerful technique and exceptional insight”. He's performed with Itzhak Perlman, Emanuel Ax and violinist Augustin Hadelich, and with major orchestras worldwide.My featured song is Aaron Copland's “Hoe Down” recorded by Orion and Augustin Hadelich on their album “American Road Trip”. Spotify link. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Orion at:www.orionweiss.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

durée : 01:27:33 - En pistes ! du mardi 03 septembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Dans la playlist du jour d'Emilie et Rodolphe, les œuvres d'Amy Beach, Aaron Copland, Enrique Granados, Léo Delibes, Robert Schumann, Gioachino Rossini, Antoine Forqueray et Gabriel Fauré. En pistes !

durée : 01:27:33 - En pistes ! du mardi 03 septembre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Dans la playlist du jour d'Emilie et Rodolphe, les œuvres d'Amy Beach, Aaron Copland, Enrique Granados, Léo Delibes, Robert Schumann, Gioachino Rossini, Antoine Forqueray et Gabriel Fauré. En pistes !

Quincy Jones Interviews Aaron Copland! Quincy Hilliard-Composer is such a great composer! We talked about so many things including his time with Aaron Copland, getting a young band to sound their best, and featured many score and sound videos of some of his Young Band works! What a joy to speak with! To gain access to all show notes and audio files please Subscribe to the podcast and consider supporting the show on Patreon - using the button at the top of thegrowingbanddirector.com Our mission is to share practical  advice and explore topics that will help every band director, no matter your experience level, as well as music education students who are working to join us in the coming years. Connect with us with comments or ideas Follow the show: Podcast website : Thegrowingbanddirector.com On Youtube The Growing Band Director  Facebook-The Growing Band Director Podcast Group Instagram @thegrowingbanddirector Tik Tok @thegrowingbanddirector If you like what you hear please: Leave a Five Star Review and  Share us with another band director! --- Support this podcast: https://podcasters.spotify.com/pod/show/kyle-smith95/support

This week the award-winning Cinematographer, Shana Hagan, ASC. In the words of fellow cinematographer Gretchen Warthen: “Shana is the biggest documentary female DP/Operator in the world… and one of the kindest DPs I have ever worked with on set. You would never know who she is in the cinematography world without looking her up.” Her work includes DPing the 1997 Oscar-winning Documentary Short BREATHING LESSONS: THE LIFE & WORK OF MARK O'BRIEN and shooting additional cinematography for the 2014 Oscar-winning Best Documentary Feature: 20 FEET FROM STARDOM.  She worked on the Oscar nominated 2010 Documentary FOOD, INC., and DP'd the 2020 Oscar nominated Documentary Short: WALK RUN CHA-CHA as well as the 2005 Sundance Film Festival Award Special Jury Prize Winner - AFTER INNOCENCE and the 2012 Sundance Film Festival Award Grand Jury Prize nominee - THE QUEEN OF VERSAILLES. Shana has firmly embedded herself in the industry. Born in Phoenix, Arizona, to parents Robert Hagan, MD and Peggy Hagan, a Girl Scout Camp Director and Troop Leader, Shana is the middle of three children. Her parents instilled many important values in her which have helped her throughout her life and career. As a schoolgirl, she became a competitive swimmer at the age of five through to her Freshman year at Loyola Marymount University in Los Angeles where she attended film school. It was a natural career path for the enthusiastic young photographer who had already developed a keen eye for filmmaking. Shana was the ‘official' family videographer with a curious mind, appetite for storytelling and a passion that grew as she established the foundation for her craft, opening doors and creating opportunities right out of school. Shana was the first woman to shoot on the hit reality series SURVIVOR and was nominated for an Emmy for her work on SURVIVOR: CHINA. She shot four seasons on NBC's PARKS AND RECREATION, was the 2nd Unit DP on Netflix's ARRESTED DEVELOPMENT and has shot commercial spots for Disney, Electronic Arts, Kohl's, the US Army, Kodak, Verizon and others. Shana's current scripted work includes the critically acclaimed, Peabody Award-winning series SOMEBODY SOMEWHERE for HBO and Fox's half hour docu-comedy WELCOME TO FLATCH. She lives in Los Angeles with her husband Peter, daughter Iris, two dogs and two cats. https://www.shanahagan.com/ https://www.imdb.com/name/nm0353248/Instagram: @shanahaganaschttps://www.instagram.com/shanahaganasc/Shana's Playlist:"I love classical: “Appalachian Spring” by Aaron Copland – so cinematic and nostalgic for summers on Grandma and Grandpa's farm in Oklahoma.Saint-Saens' “Carnival of the Animals: 7 / Aquarium”Vivaldi – “Four Seasons / Spring”I love world music:Ali Farka Toure  “Kaira”Cesaria Evora  “Sodade”Buena Vista Social Club  “Chan Chan”The Chieftains  “The Wind That Shakes the Barley / The Reel With the Beryle”More random faves and some new stuff too:Dave Brubeck's  “Take Five”Bill Withers  “Lovely Day”U2  “Beautiful Day” Coldplay  “A Sky Full of Stars”Bonobo  “Recurring”Khruangbin   “Texas Sun”Lord Huron  “The Night We Met”Radiohead  “Big Sleep”Black Pumas  “Colors”Some favorite female artists in visual arts:"I absolutely love Dorothea Lange's photography.  Her work during the depression is some of the best documentary photography there is.  See “Migrant Mother” and it'll rip your heart out.  also love Georgia O'Keeffe – did a doc about her years ago and was just in love with her story, her passion for her work, her friends (Steiglitz, Ansel Adams, etc).  Would love to have a drink with her."______ Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

This week the award-winning Cinematographer, Shana Hagan, ASC. In the words of fellow cinematographer Gretchen Warthen: “Shana is the biggest documentary female DP/Operator in the world… and one of the kindest DPs I have ever worked with on set. You would never know who she is in the cinematography world without looking her up.” Her work includes DPing the 1997 Oscar-winning Documentary Short BREATHING LESSONS: THE LIFE & WORK OF MARK O'BRIEN and shooting additional cinematography for the 2014 Oscar-winning Best Documentary Feature: 20 FEET FROM STARDOM.  She worked on the Oscar nominated 2010 Documentary FOOD, INC., and DP'd the 2020 Oscar nominated Documentary Short: WALK RUN CHA-CHA as well as the 2005 Sundance Film Festival Award Special Jury Prize Winner - AFTER INNOCENCE and the 2012 Sundance Film Festival Award Grand Jury Prize nominee - THE QUEEN OF VERSAILLES. Shana has firmly embedded herself in the industry. Born in Phoenix, Arizona, to parents Robert Hagan, MD and Peggy Hagan, a Girl Scout Camp Director and Troop Leader, Shana is the middle of three children. Her parents instilled many important values in her which have helped her throughout her life and career. As a schoolgirl, she became a competitive swimmer at the age of five through to her Freshman year at Loyola Marymount University in Los Angeles where she attended film school. It was a natural career path for the enthusiastic young photographer who had already developed a keen eye for filmmaking. Shana was the ‘official' family videographer with a curious mind, appetite for storytelling and a passion that grew as she established the foundation for her craft, opening doors and creating opportunities right out of school. Shana was the first woman to shoot on the hit reality series SURVIVOR and was nominated for an Emmy for her work on SURVIVOR: CHINA. She shot four seasons on NBC's PARKS AND RECREATION, was the 2nd Unit DP on Netflix's ARRESTED DEVELOPMENT and has shot commercial spots for Disney, Electronic Arts, Kohl's, the US Army, Kodak, Verizon and others. Shana's current scripted work includes the critically acclaimed, Peabody Award-winning series SOMEBODY SOMEWHERE for HBO and Fox's half hour docu-comedy WELCOME TO FLATCH. She lives in Los Angeles with her husband Peter, daughter Iris, two dogs and two cats. https://www.shanahagan.com/ https://www.imdb.com/name/nm0353248/Instagram: @shanahaganaschttps://www.instagram.com/shanahaganasc/Shana's Playlist:"I love classical: “Appalachian Spring” by Aaron Copland – so cinematic and nostalgic for summers on Grandma and Grandpa's farm in Oklahoma.Saint-Saens' “Carnival of the Animals: 7 / Aquarium”Vivaldi – “Four Seasons / Spring”I love world music:Ali Farka Toure  “Kaira”Cesaria Evora  “Sodade”Buena Vista Social Club  “Chan Chan”The Chieftains  “The Wind That Shakes the Barley / The Reel With the Beryle”More random faves and some new stuff too:Dave Brubeck's  “Take Five”Bill Withers  “Lovely Day”U2  “Beautiful Day” Coldplay  “A Sky Full of Stars”Bonobo  “Recurring”Khruangbin   “Texas Sun”Lord Huron  “The Night We Met”Radiohead  “Big Sleep”Black Pumas  “Colors”Some favorite female artists in visual arts:"I absolutely love Dorothea Lange's photography.  Her work during the depression is some of the best documentary photography there is.  See “Migrant Mother” and it'll rip your heart out.  also love Georgia O'Keeffe – did a doc about her years ago and was just in love with her story, her passion for her work, her friends (Steiglitz, Ansel Adams, etc).  Would love to have a drink with her." Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

The yearly anniversary of the signing of the American Declaration of Independence on July 4th, 1776, has become a festive national holiday with food, music, and fireworks, celebrated by millions of Americans of all ages and backgrounds, in every part of the United States. It's a good time to revisit the roots of Ambient Americana—influences from American folk songs, blues, jazz, and country, classics from the American songbook, and the pan-diatonic harmonies of AARON COPLAND. On this transmission of HEARTS of SPACE we celebrate the spirit of American Independence, on a program called AMERICAN HORIZON. Music is by BRIAN KEANE, MARK ISHAM, JEFF OSTER & VIN DOWNES & TOM EATON, SPENCER BREWER & PAUL McCANDLESS, GEORGE WINSTON, CHAD LAWSON, BARRY STRAMP, JOHN WILLIAMS, ("Ambient country" band) SUSS, CHUCK JOHNSON, and MARK PRESTON. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

Today I revisit the life and legacy of lyric baritone William Parker (05 August 1943 – 29 March 1993), to whom I devoted an episode exactly a year ago. To further explore his unmatched contribution to the art of song, I present a second episode which was originally published as a bonus episode at the same time, featuring Will in four contrasting song cycles by Charles Wakefield Cadman, Claude Debussy, Aaron Copland, and Francis Poulenc, recorded between 1975 and 1987, when he was in his absolute prime. He is accompanied by William Huckaby, Gérard van Blerk, and the late Rudolf Jansen. Also included are two haunting settings of Herman Melville's “Billy in the Darbies,” a segment added posthumously to his Billy Budd novella; in two settings by Robert Evett and Ernst Bacon. The episode is prefaced by a brief tribute to the pianist Norman Shetler, who died yesterday in Austria nine days after observing his 93rd birthday; as well as a brief introduction by Will Parker's nephew, Mark Doty. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

Nadine Hubbs; Recorded May 29, 2024 - America ushered in twentieth-century modernity with new technologies, aesthetics, and national status as a global power. With the rise in economic and political standing came new cultural pressures: American concert music was deemed far behind its European counterparts and in urgent need of catching up. Years of searching failed to identify a representative compositional voice. Then in 1939 came the sensational New York premiere of Aaron Copland's “cowboy ballet,” Billy the Kid, soon followed by Rodeo, Appalachian Spring, and other megahits. America found its national sound in the music of Copland, a gay Jewish Brooklynite and one of a close-knit group of gay composers who crucially influenced and collaborated with each other. How did a circle of gay composers become architects of American national identity during the most homophobic period in U.S. history? Nadine Hubbs's answer may surprise you.

Author and filmmaker Jamie Bernstein joins Everything Fab Four to discuss growing up with a world-famous father, and why Leonard Bernstein chose Beatles songs to explain musical concepts. Jamie Bernstein's 2018 memoir, Famous Father Girl, traces the story of growing up with composer-conductor Leonard Bernstein, and pianist and actress Felicia Montealegre in an atmosphere bursting with music, theatre and literature. Famous Father Girl served as the inspiration for the Academy Award-nominated movie Maestro. Over the years, Bernstein has written and narrated concerts about Mozart, Aaron Copland, and Stravinsky, as well as “The Bernstein Beat,” a family concert about her father. She performs concert narrations all over the world, including for Copland's “A Lincoln Portrait” and her father's Symphony No. 3, “Kaddish.” Bernstein has also produced and hosted the New York Philharmonic's live national radio broadcasts, and recently narrated the podcast “The NY Phil Story: Made in New York.” Her other works include co-directing the award-winning documentary film Crescendo: the Power of Music, about children from struggling urban communities who participate in youth orchestra programs, and articles and poetry in Symphony, Town & Country, and Opera News. --- Support this podcast: https://podcasters.spotify.com/pod/show/everythingfabfour/support

Folks singer and song collector Sam Lee, and composer Debbie Wiseman, join Anna Phoebe and Jeffrey Boakye in the studio as they add the next five tracks. Starting with time travel, they head to a ground-breaking Coachella performance, a May Day celebration, and finish off with an unexpected dogleg from Fleetwood Mac, following their all-conquering album Rumours.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Dr Who (Original Theme) by Ron Grainer/Delia Derbyshire Wedding March from A Midsummer Night's Dream by Felix Mendelssohn Freedom (Live) from Homecoming by Beyoncé Padstow May Song by Lisa Knapp Tusk by Fleetwood MacOther music in this episode:This Must Be The Place (Naive Melody) - (Live) by Talking Heads Sweet Girl McRee by Sam Lee Call Me by Blondie 20th Century Fox Fanfare written by Alfred Newman Gorilla by Little Simz Fanfare For The Common Man by Aaron Copland, performed by Emerson, Lake & Palmer Freedom by Beyoncé feat. Kendrick Lamar

#128: Happy Memorial Day! The team is off - but we still have a treat for you. (Get it? Because conchas are so sweet?) Ok. Jokes aside, we're replaying this episode because it was recently nominated for a James Beard award, and the team is really excited about that.  But here's the thing... We can't make episodes like this without your help. If you value our flavor of journalism, please donate to keep us going strong. LAist.com/joinHTLA This episode originally published on July 7, 2023. Original description below. Everyone loves a fresh concha – that warm, doughy center with the crunchy cookie shell on the top could send any Angeleno's heart a'flutter. Today, Brian's taking LAist food editor Gab Chabran on a concha crawl. We're exploring the history of this famous Mexican treat, and checking out Brian & Gab's favorite spots across LA. For more sweet-breaded goodness, check out Gab's article over on LAist.com Panaderias visited: Panaderia Coatzingo in South LA, Vallarta, y Gusto Bread in Long Beach. Got a favorite we didn't mention? Send us a DM! instagram.com/LAistofficial Music in this episode composed by: Aaron Copland, Austin Cross, Haruomi Hosono, Radio Jarocho, Quetzal, Masayoshi Takanaka, The ModArchive, Dexter Thomas, Woo, Yeahman

SynopsisIn the biographical film Maestro, Leonard Bernstein's dramatic 1943 Carnegie Hall debut conducting the New York Philharmonic, filling in at the last moment for Bruno Walter, receives a masterful cinematic treatment.But the first time Bernstein wielded a baton in public took place on today's date in 1939, when Lenny was still a student at Harvard and conducted his own incidental music for a student performance of the ancient Greek comedy, The Birds, by Aristophanes.The play was performed in the original Greek, and since almost no one in the audience would understand what was being said, the production relied on visual, slapstick comedy and Bernstein's electric music to bring the ancient text to life. Bernstein's score referenced everything from sitar music to the blues to get the humor across. The student production was a surprise smash hit. Aaron Copland and Walter Piston were in the audience, and photos even appeared in Life magazine.Bernstein recycled one of his bluesy songs from The Birds into his 1944 musical On the Town, but the rest of the 1939 score was never published, and only revived in 1999 for a performance by the EOS Orchestra in New York, and to date has never been recorded.Music Played in Today's ProgramLeonard Bernstein (1918-1990): On the Town: Three Dance Episodes; New York Philharmonic; Leonard Bernstein, conductor; Sony 42263

SynopsisOn today's date in 1943, at the height of World War II, Aaron Copland's Fanfare for the Common Man had its premiere performance in Cincinnati. The Cincinnati Symphony's conductor in those days, British-born Eugene Goosens, had commissioned 18 fanfares for brass and percussion. “It is my idea,” he wrote, “to make these fanfares stirring and significant contributions to the war effort.”Besides Copland, composers commissioned included Henry Cowell, Paul Creston, Morton Gould, Howard Hanson, William Grant Still and Virgil Thomson.Most of the composers dedicated their fanfares to a unit of the U.S. military or one of its wartime allies. But Copland's fanfare stood out, both musically and by virtue of its title.Among the titles Copland considered — and rejected — were Fanfare for the Spirit of Democracy and Fanfare for Four Freedoms, the latter in reference to President Franklin Roosevelt's 1941 State of the Union Address that called for the freedom of speech and religion, and from want and fear. He settled on Fanfare for the Common Man.“It was the common man, after all, who was doing all the dirty work in the war and the army,” Copland recalled. “He deserved a fanfare.”Music Played in Today's ProgramAaron Copland (1900-1990): ‘Fanfare for the Common Man'; San Francisco Symphony; Michael Tilson Thomas, cond. RCA/BMG 63888

Neil is a renowned percussionist, accomplished music educator, imaginative product innovator, and successful entrepreneur. He is the founder and president of Grover Pro Percussion Inc., a market leader in the design, manufacture, and distribution of world-class percussion instruments.  At the young age of 23, Neil was appointed Principal Percussionist of the Opera Company of Boston, a position he held for seven seasons.  As his career progressed, he found himself in demand for all musical genres, including symphony, chamber music, ballet, opera, and commercial recordings.  Highlights of his collaborations include the Royal Ballet, Bolshoi Ballet, American Ballet Theatre, Dance Theatre of Harlem, Music from Marlboro, Indianapolis Symphony, Boston Musica Viva, and the Empire Brass. He was chosen to record the percussion tracks for Phillip Glass' film soundtrack for Mishima. In addition, Neil appears as a Boston Pops percussionist in the hit movie Blown Away, starring Jeff Bridges and Tommy Lee Jones.  He has toured with Music From Marlboro, Boston Symphony, Henry Mancini, Boston Symphony Chamber Players, and the Broadway production of The Pirates of Penzance.  Since 1977, he has performed, recorded, and toured with the world-famous Boston Pops, where he has made music under the batons of Maestros Arthur Fiedler, John Williams, and Keith Lockhart.  Having performed regularly in the percussion section of the Boston Symphony for over 35 years, he has worked with Maestros Seiji Ozawa, James Levine, Leonard Bernstein, Aaron Copland, Colin Davis, Charles Dutoit, Colin Davis, Neemi Jaarvi, Rafael Fruhbeck de Burgos, Mstislav Rostropovich, and Bernard Haitink. It is noteworthy that Neil has performed in over 1,500 concerts as a percussionist with the BSO & Boston Pops. Neil's percussive talents have been heard by thousands at renowned venues, such as Boston's Symphony Hall, Carnegie Hall, Chicago's Orchestra Hall, and festivals at Tanglewood, Hollywood Bowl, Wolf Trap, Blossom, and Ravinia.  In addition, he has performed for millions of listeners through television and radio broadcasts on the NBC, CBS, NHK, PBS, A&E and NPR networks.  At the request of composer John Williams, Neil joined the multi-media musical extravaganza, “Star Wars in Concert”, serving as Principal Percussionist on two legs of their North American Tour.   Neil Grover has written/co-authored five publications: Four Mallet Primer, Four Mallet Fundamentals, Art of Triangle & Tambourine Playing, Percussionist's Cookbook, and The Art of Percussion Playing, all published by Meredith Music.  Neil's innovative designs and cutting edge manufacturing techniques have set a new standard for the ergonometric functionality of modern day percussion instruments. Neil and his company have been featured in many publications, including: Percussive Notes, Modern Drummer, School Band & Orchestra, Musical Merchandise Review and on two episodes of the Discovery Channel's series How It's Made. Formerly the Chair of the Percussion Programs at both The Boston Conservatory and the University of Massachusetts-Lowell, today, Neil's students occupy leading positions in many top performing, educational and music business organizations. Things That Came Up:  -1:45 Owning ALL the percussion instruments -3:50 The magic of Zelda -6:00 Studied with the same teacher as Dom Famularo -7:00 Studying with Vic Firth  -11:10 “Classical musicians play with their eyes and jazz musicians play with their ears” -12:10 “Talent got you this far, perseverance will carry you through.” -12:45 Took AFM pension at age 65  -13:50 Contracting, composing and arranging as a new life chapter -15:10 Bradley Cooper's “Maestro” -16:35 Being a frustrated stand-up -17:40 Fred Buda: “Playing drum set in an orchestra is like swinging an elephant” -19:40 How union pensions work -26:05 At Tanglewood at the same time as Kenny Aronoff, with Leonard Bernstein conducting! -27:40 Playing bongos for Bernstein's “West Side Story” -30:50 Star Wars Tour: Drum Tech, 7 percussionists, 3 conductors and music from all 6 Star Wars films -38:00 Follow your dreams, no matter what!  -40:00 “The Accidental Entrepreneur” -41:00 The FIRST Grover Triangle  -48:20 Allowing Redmond to help develop the “Studio Pro Series” pop tambourines -54:00 Selling Grover Percussion to RBI Music  -60:40 On screen percussionist in the “Blown Away” film, starring Tommy Lee Jones  -61:30 Authoring Books  -63:30 Aerosmith! Glocks!  -69:30 Neil's favorite axe is the piatti (cymbals)  -74:00 “The Fave 5”  Follow:  www.groverpro.com Email: ngrover@groverpro.com The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits.  Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:     https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

SynopsisFor most of the 20th century, women's history was almost totally ignored in American schools. To address this situation, an education task force in Sonoma County, California, initiated a women's history celebration in March 1978. What began as an annual Women's History Week grew over the years into a national celebration, and in 1987, Congress declared the whole of March to be Women's History Month.Appropriately enough, 1987 also saw the premiere performance of Joan Tower's Fanfare for the Uncommon Woman — music written for the same instrumentation as Aaron Copland's famous Fanfare for the Common Man.Originally, Tower chose to let the title of her Fanfare for the Uncommon Woman serve as a generic, built-in dedication to all the unsung heroes of women's struggles past and present. But eventually, Tower added a specific dedication to conductor Marin Alsop, a champion of new music.“I don't think you can play a piece of music and say whether it's written by a man or a woman,” Tower says. “I think music is genderless.”But festivals and celebrations of women in music remain important, in Tower's view, in helping to get the word out about their accomplishments.Music Played in Today's ProgramJoan Tower (b. 1938): ‘Fanfare for the Uncommon Woman'; Colorado Symphony; Marin Alsop, cond. Koch International 7469

This week we're exploring the miraculous gift and conduit of music, and the ways in which God moves through music to reach and help his people. If you'd like to connect with me, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠find me on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠at my website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠on Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. If you'd like to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠help support this podcast financially⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, there's a way to do just that ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠on my page at buymeacoffee.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Thanks for sharing, subscribing, rating, and reviewing, as this helps our community to grow. Thanks as always to my friend, Peter Vaughan-Vail, for providing the beautiful harp music you hear in this and every episode. Here are some resources to help you dig into this week's topic on your own: 1. Raised Catholic Recommends music playlist on Spotify - faith music from lots of genres/moods 2. Green Noise playlist on Spotify 3. Song: Front Porch, by Vontmer - check out all of his music, lots in that green frequency range, but this one is magic for little ones. 4. Video clip - JAWS - With and Without Music featuring Richard Dreyfuss and John Williams 5. Song: Pitter Patter Goes the Rain, by Christy Nockels. I've taught this song hundreds of times and never had a teacher or parent NOT say that there is magic in this song. Nockels herself says that she recorded a track of herself reading scripture or encouraging words in each of the songs on this album that you can't audibly hear but you can feel. Listen for yourself. 6. Journal question: when has music elicited a response in me that I did not expect? What kind of music was it? Where was I? How do I explain that reaction? 7. A primer on green, white, brown, and pink music/sound from Soundly 8. A few examples of music that unexpectedly ministered to me: Simple Gifts from Appalachian Spring, Aaron Copland, John Williams, Boston Pops Orchestra Beethoven's 5th Symphony, Second Movement, Andante (When I first heard this, I thought it sounded like what we'll hear in Heaven. I still do.) Rainbow, by Kacey Musgraves Four, by Sleeping At Last (lots of 'hidden tracks' in his music as well - hear him tell the story of this one in this podcast episode - how it was made)

SynopsisIt's a play both Aaron Copland and Leonard Bernstein wanted to make into an opera, but the playwright always said, “No.”We're talking about Our Town, by Thornton Wilder, a nostalgic but bittersweet look at life, love and death in Grover's Corners, New Hampshire, set in the early 1900s, complete with white picket fences, boy meets girl, and a drugstore soda counter.It wasn't until decades after Wilder's death in 1975 that the executor of the Wilder estate, after a long search for just the right composer for an Our Town opera, settled on Ned Rorem, and a libretto crafted by poet J.D. McClatchy, who also happened to be an authority on Wilder's works.Rorem was in his 80s when the opera premiered on today's date in 2006 at the Opera Theater at the Jacobs School of Music in Bloomington, Indiana.The New York Times thought the resulting opera was a success, writing, “Our Town opens with a hymn, and Rorem retained and refracted the familiar melody, turning pat modulations slightly bitter, as if the music were heard through a lens of nostalgia that turned it sepia. This nostalgia proved a hallmark of the score.”Music Played in Today's ProgramNed Rorem (b. 1923): Opening, from Our Town; Monadnock Music; Gil Rose, cond. New World 80790

SynopsisOn today's date in 1929, a chamber trio by Aaron Copland, Vitebsk, premiered at Town Hall in New York City. Copland said it was based on a Jewish folk tune from a Russian village called Vitebsk that he had once heard used in a play.Two string players from the famous Belgian Pro Arte Quartet and the great German pianist Walter Gieseking were booked for the premiere. Despite the distinguished performers, the performance came off as something of a slapstick comedy.According to one of Copland's friends present that night, the heavy-set cellist accidentally knocked over the violinist's music stand when he came on stage, and while bending over to retrieve his music knocked over his own stand, strewing music all over the stage. Then, just as he began Copland's piece, his cello string snapped with a loud, comically timed twang.Years after the premiere, when Copland visited the Soviet Union, Russian audiences expressed amazement that any American composer would choose to name a piece after Vitebsk, which, rather than a quaint Russian village like the one evoked in the musical Fiddler on the Roof, was in fact a large industrial complex resembling Pittsburgh or Cleveland.Music Played in Today's ProgramAaron Copland (1900-1990): Vitebsk; Gregory Ellis, violin; Christopher Marwood, cello; Michael Collins, piano ASV 1081

Today marks the grand finale of our captivating three-part series on the influential American composer, Aaron Copland. We've delved into the world of Copland's ballets, embarked on a musical journey through the Wild West, and now, we're set to explore a piece that stands as both powerful and patriotic—the iconic “Fanfare for the Common Man.” Composed in 1942, right in the heart of World War II, Copland's “Fanfare for the Common Man” is a testament to the indomitable spirit of the people. This fanfare serves as a musical salute to the ordinary men and women who, during a tumultuous time, were contributing to the war effort in various ways. It's a celebration of the strength and resilience found in everyday citizens, echoing the sentiment that in the face of adversity, the common person rises to extraordinary heights. In today's episode, we'll explore the historical context surrounding the creation of this powerful composition. We'll delve into the wartime atmosphere of 1940s America, understanding how Copland's fanfare became not just a musical piece but a symbol of unity and patriotism. Moreover, we'll uncover the diverse instances where “Fanfare for the Common Man” has been used throughout history, resonating in moments of triumph, resilience, and shared humanity. From its inclusion in major events to its presence in popular culture, the fanfare continues to inspire and uplift. But that's not all—prepare to be amazed as we draw connections between Copland's masterpiece and the iconic Superman Theme. Discover how composer John Williams found inspiration in the opening notes of “Fanfare for the Common Man” and used its grandeur to set the stage for the legendary superhero. Join me as we bring this musical journey to a triumphant close. Episode 115 is not just an exploration of Copland's masterpiece; it's a celebration of the enduring strength found in the hearts of the common people. Get ready to be inspired and uplifted as we delve into the rich artistry of “Fanfare for the Common Man.” Links Mentioned in this Episode: Episode 113: The Life of Aaron Copland Episode 114: 3 Iconic Ballets by Aaron Copland Musical Samples You'll Hear in this Episode: Aaron Copland – Fanfare For The Common Man Superman: Main Theme Music Listening Schedule for Episode 114 I've put together a curated playlist of some of the pieces we highlighted in today's episode. You'll have the chance to see what choreographed ballet performances look like to some of the music we learned about in the podcast when you view the videos in this playlist. Subscribe & Review in Apple Podcasts Are you subscribed to my podcast? If you're not, head on over to do that today so you don't miss an episode. Click here to subscribe in Apple Podcasts! If you're feeling extra magnanimous, I would be really grateful if you left a review over on Apple Podcasts, too. Those reviews help other families find my podcast learn more about music. Just click here to review, select “Ratings and Reviews” and “Write a Review” and let me know what you love about Busy Kids Love Music. Thanks!

SynopsisIn January 1980, famous American film music composer John Williams was named conductor of the Boston Pops Orchestra. On today's date that year, he led the Pops in the premiere performance of a concert overture based on his score for the John Wayne film The Cowboys.Now, by 1980, Williams had scored dozens of classic American films but not all that many westerns — The Cowboys, from 1971, for one, and Missouri Breaks, a quirky 1976 western starring Jack Nicholson and Marlon Brando, for another.If both The Cowboys and Missouri Breaks are somewhat unconventional samples of the western genre, Williams' music is in the grand tradition of the classic film scores by Jerome Moross, who composed the music for The Big Country; Elmer Bernstein, who wrote the score for The Magnificent Seven; and Jerry Goldsmith, who has done that service for a number of other classic westerns.All these composers, however, owed a collective debt to an unlikely cowboy music composer: Brooklyn-born Aaron Copland, whose Billy the Kid and Rodeo ballet scores from the 1930s and '40s helped define the symphonic equivalent of the wide-open American landscape.Music Played in Today's ProgramJohn Williams (b. 1932) The Cowboys Overture; Boston Pops; John Williams, cond. Philips 420 178

SynopsisOn today's date in 1939, pianist John Kirkpatrick gave a recital at Town Hall in New York City that included the New York premiere of the Concord Sonata, by American composer Charles Ives.Ives had self-published his Concord Sonata some 20 years earlier and sent copies of it free to anyone he thought might be interested, including then-prominent composer and teacher Rubin Goldmark, who, in 1921, was giving composition lessons to young Aaron Copland. Copland recalled seeing the Concord Sonata on Goldmark's piano but was not allowed to borrow it. “You stay away from it,” Goldmark warned him. “I don't want you to be contaminated by stuff like that.”In 1934, Kirkpatrick saw a copy of the Concord Sonata in Paris and wrote Ives: “I have decided quite resolutely to learn the whole sonata.” It would take him five years, but Kirkpatrick's Town Hall recital would put both him and Ives on the map.A New York Times critic wrote, “This sonata is exceptionally great music — it is, indeed, the greatest music composed by an American, and the most deeply felt and essential. ... Kirkpatrick's performance was that of a poet and a master, an unobtrusive minister of genius.”Music Played in Today's ProgramCharles Ives (1874-1954) Piano Sonata No. 2 (Concord, Mass., 1840-1860) Marc-André Hamelin, piano New World 378

  I'm thrilled to present the second part of our three-part series dedicated to the maestro himself, Aaron Copland. In Episode 114, we're turning our attention to the dance floor, exploring the breathtaking world of ballet through the genius compositions of Copland. **

SynopsisToday's date marks the birthday of American composer and educator Gardner Read, who was born in Evanston, Illinois, in 1913.Read studied music at Northwestern University, then at the Eastman School, where his teachers included Howard Hanson and Bernard Rogers. He also studied with Aaron Copland and Italian modernist composer Ildebrando Pizzetti. Read became a noted teacher himself and held posts in St. Louis, Kansas City, Cleveland and Boston. His Symphony No. 1 was premiered by John Barbirolli and won first prize at the New York Philharmonic Society's American Composers' Contest. He wrote four symphonies in all, as well as other orchestral, choral and chamber works and a significant body of works for or with pipe organ.In 1978, musicologist Nicolas Slonimsky wrote: “In American music, the name of Gardner Read is synonymous with the best traditions of modern classicism and inspired romanticism. ... To the musical analyst, it presents a technical interest as well, for in his use of the multicolored palette of modern instrumentation, Gardner Read offers fascinating examples of organized sonorities. The substance of his compositions is infinitely varied; he is a true Renaissance man, working in many different genres without prejudice and achieving his objectives with impeccable taste.”Music Played in Today's ProgramGardner Read (1913-2005): Allegro scherzando, from Symphony No. 4 (Cleveland Orchestra; Lorin Maazel, cond.) New World 742

Welcome, dear listeners, to our first podcast episode of the new year — Episode 113 of the Busy Kids Love Music Podcast! In this captivating installment, we embark on the first part of a fascinating series delving into the life and musical legacy of one of America's most iconic composers: Aaron Copland. **

On the morning of November 14th, 1943, Leonard Bernstein, the talented 25-year-old assistant conductor of the New York Philharmonic, got a phone call saying he would at last be leading the respected orchestral group — in six hours, that afternoon, with no time to rehearse.The sudden thrust into the spotlight transformed Bernstein into a national celebrity. For almost five decades, the wunderkind would be at the forefront of American music, as a conductor, composer, virtuoso performer, writer, television personality and teacher.He would also help create the most important Broadway musicals of the mid-20th century — On The Town, Wonderful Town and West Side Story. These shows would not only spotlight the talents of its young creator. They would also spotlight the romance and rhythm of New York City.Bernstein is one of New York's most influential cultural figures. He spent most of his life in the city, and that's the focus of today's story – Leonard Bernstein's New York.The new film Maestro, starring Bradley Cooper and Carey Mulligan, focuses on Bernstein's personal story and intimate life. That specific angle is not our objective today – for the most part. We're looking at the relationship between the creator and his urban inspiration. Where did Bernstein make his name in New York City and how did his work change the city?FEATURING The Village Vanguard, City Center, Carnegie Hall, the old Metropolitan Opera and the Dakota ApartmentsAnd co-starring Jerome Robbins, Aaron Copland, Stephen Sondheim, Comden and Green, Lauren Bacall, Tom Wolfe of course Felicia MontealegreVisit the website for more information and images Music snippet information“On The Town: Act I: Opening: New York, New York” (Studio Cast Recording 1961)CBS Broadcast, Manfred Overture, Op 115 (New York Philharmonic)“Joan Crawford Fan Club” The RevuersSymphony No. 1 Jeremiah (New York Philharmonic)CBS Broadcast, Don Quixote, Fantastic Variations on a Theme of Knightly Character, op. 35 (New York Philharmonic)Fancy Free Ballet_ VII. FinaleI Get Carried Away, On The TownChristopher Street (From Wonderful Town Original Cast Recording 1953)On the Waterfront Main Title (Revised)Candide, Act II - No. 31, Make Our Garden Grow (Finale)West Side Story_ Act II_ SomewhereSymphonic Dances from West Side StorySamuel Barber, Adagio for Strings, Op. 11 (New York Philharmonic)Leonard Bernstein - Young People's Concerts - What Does Music Mean? (1958) Kaddish, Symphony No. 3 (To the Beloved Memory of John F. Kennedy)  I. Invocation - Kaddish 1The Ladies Who Lunch / Company Original Broadway CastMass - Hymn and Psalm_ A Simple Song Dybbuk Suite No. 2 - Leah  (New York Philharmonic)Leonard Bernstein and Shirley Verrett at GMHC Circus Benefit, Madison Square GardenMahler - Symphony No.5 (New York Philharmonic)

SynopsisIn the section of his autobiography on the 1960s, Aaron Copland wrote: “I have often called myself a ‘work-a-year' man … and 1964 belonged to the band piece ‘Emblems.' Among the invitations I received to compose new pieces was one from clarinetist Keith Wilson, who was president of the College Band Directors National Association, for a work to be played at the organization's national convention.“I hesitated for a moment,” Copland continued, “but accepted when I was told that the piece would be bought sight unseen by at least two hundred bands!”Emblems premiered in Tempe, Arizona, on today's date in 1964, performed by the USC Band, conducted by William Schaefer. Here's how Copland explained the work's title: “An emblem stands for something. … I called this work ‘Emblems' because it seemed to me to suggest musical states of being: noble or aspirational feelings, playful or spirited feelings.”Close listeners might hear harmonic echoes of the spiritual “Amazing Grace” in the slow opening and close of Emblems. Copland said, "Curiously, the harmonies had been conceived without reference to that tune. It was only by chance that I realized a connection between my harmonies and ‘Amazing Grace'!"Music Played in Today's ProgramAaron Copland (1900-1990) Emblems; U.S. Marine Band; Lt. Col. Michael J. Colburn, cond. Naxos 8. 570243