Podcasts about albany symphony orchestra

This Saturday, March 8, The Albany Symphony Orchestra will present a concert featuring Dvorak's 7th Symphony, Barber's Violin Concerto, and Missy Mazzoli's Orpheus Undone at Proctors in Schenectady, New York. The program will be guest-conducted by Music Director of Chicago Opera Theater Lidiya Yankovskaya.

Do you have an unused musical instrument that you'd like to pass on? Are you interested in hearing how instruments are shared with kids throughout the Capital region? Or the many benefits of learning music? Jill Rifkin talks about her work gathering, sometimes fixing, and distributing donated instruments through Vanguard, Inc., the volunteer organization that supports the Albany Symphony Orchestra. Jill will be at Crossgates Mall on Saturday, March 8th, 10:30 to 5, to collect donations of band or orchestra instruments (please, no pianos!). For more information, contact Jill at 518-439-1843 or at jrrif@aol.com. Produced by Brea Barthel for Hudson Mohawk Magazine.

The Albany Symphony's February Concerts Celebrate Valentine's Day and Maestro David Alan Miller's Birthday, and feature Rachmaninoff's Romantic, Sensual Rhapsody on a Theme of Paganini, performed by 19-year-old pianist, Harmony Zhu.

Jenn speaks to Taiwanese bred New York based composer Shiuan Chang. Born and raised in Taipei, Shiuan his earliest memories composing music was when he was just 7yrs old, his teachers discovered his talent and encouraged him to study composition and thus he went to the New England Music Conservatory in Boston to continue his education. Though he didn't obtain a degree there Shiuan has since built a career composing music that has been performed at many renowned concert halls around the world. Shiuan shares with us some of his failures he has encountered, his search for identity and how that influences the music he creates. (Recorded on November 26, 2024)About Shiuan Chang:Describe as “spiritual, light and comforting.” by  Classic Agenda (FR), Recipient of Asian Cultural Council and Djerassi Foundation, Chang Shiuan's music has appeared at Carnegie Hall, Lincoln Center, Merkin Hall, Suntory Hall, Chicago Symphony Center, Moscow Philharmonic Chamber Hall, Berlin Philharmonic Chamber Hall, Hungary Bartok Hall, Taiwan National Concert Hall, Le Phenix Valenciennes, Grafenegg, Weimar Kunstfest, Geneva Archipel Festival, Royaumont, and more. He has been commissioned by and collaborated with Cloudgate Contemporary Dance Company, Tonkunstler Orchestra, Indianapolis Symphony Orchestra, The Orchestra Now, Taiwan Philharmonic, Taipei Symphony Orchestra, The Orchestra Now, Chicago Civic Symphony Orchestra, Albany Symphony Orchestra, Neue Vocalsolisten Stuttgart, Ekmeles Ensemble, Les Métabole,  Princeton Singers, TANA Quartet, Atlas Ensemble, Ensemble Multilaterale, Earplay Ensemble, and Ictus Ensemble.Episode Resources:Website  IG  Spotify Youtube  Miles Davis Autobiography  George Aperghis  Something Like a Autobiography  Bian Zhou Composition  Before Everything Appears

This weekend, the Albany Symphony Orchestra will present two concerts of a program featuring Beethoven's “Pastoral” Symphony (Symphony No. 6), and recent works by Carlos Simon and Daniel Bernard Roumain at the Troy Savings Bank Music Hall. The performances will take place this Saturday, January 11 at 7:30 p.m. and Sunday, January 12 at 3:00 p.m. 

This Sunday, December 8, The Albany Symphony Orchestra will perform its annual holiday celebration “The Magic of Christmas.” The Palace Theatre will be filled with festive holiday music, family fun, and special guests. Later this month, on December 21 and 22, The ASO will perform a world premiere guitar concerto by Nicky Sohn – along with holiday music by Mozart and Vivaldi.

Send us a textGary Wicks is an in-demand bassist, composer, educator and clinician in Los Angeles whose versatility has enabled him to perform with world class artists in many different venues around the world. Originally from Albany, NY, this second generation bassist has been a part of the vibrant music scenes of Los Angeles, CA; London, UK; Albany, NY; and Boston, MA where he earned a BM in Double Bass Performance from the New England Conservatory of Music. He also holds an MM in Jazz Studies from the University of Southern California which he earned with full time studies and a Teaching Assistant appointment all while touring internationally with the Grammy award winning vocal quartet the Manhattan Transfer.Gary has performed and recorded at many prestigious recording studios, music festivals, concert halls and clubs around the world for such varied artists as Quincy Jones, Matthew Morrison, The Manhattan Transfer, Stevie Wonder, Take 6, John Williams, Melissa Manchester, John Lloyd Young, Andre Comeau, The New York Voices, John Hendricks, Kevin Mahogany, Monica Mancini, The HawtThorns, Bob Newhart, Joan Rivers, Don Rickles, Regis Philbin, Kathy Lee Gifford, Andre Watts, Jake Armerding, Liam Bailey, Peter Prince, Billy Martin, Fitz & The Tantrums, Stefon Harris, Christopher Young, Will Bates, Lizzy & the Triggermen, The Percy Faith Orchestra, Western Standard Time Ska Big Band, The Albany Symphony Orchestra, The Berkshire Symphony, various productions of musical theater and many more.Gary Wicks WebsiteInstagramTikTokIs That You StreamingLemur MusicThe Career MusicianInternational Society of Bassists EventsOskar Cartaya - Latin Bass WorkshopBarry Green - The Inner Game of Music WorkshopBarry Green- Four ElementsFeatured SupportersLawrence HaberLawrence Haber InstagramLawrence Haber WebsiteClaudia Arroyave Claudia Arroyave InstagramMike's Bass CornerMike's Bass Corner on InstagramGet FeaturedSupport the showInstagram / Twitter / Youtube / Website / BSA / View More Episodes

"Once Was Gleaming" The California-born Tanner Porter is a composer, arranger, performer, vocalist and songwriter. Her voice is otherwordly and wonderful, and set against her complex orchestral arrangements, it evokes everyone from Kate Bush to Tori Amos. Her debut album The Summer Sinks was a stone cold stunner and her new album Once Was Gleaming picks up where Summer left off, offering a stirring and moving song-cycle that's filled with breathtaking musical finesse, and almost cinematic compositional scope. Tanner's orchestral music has been commissioned by the Louisville Orchestra, Albany Symphony Orchestra, the New York Youth Symphony, and Nu Deco Ensemble, among others. She's collaborated on ballets that were premiered by the Boston Ballet and the San Francisco Ballet, had short operas commisioned by Barnard College and Columbia University's New Opera Workshop and she's been busy on Broadway in ILLINOISE, with music by Sufjan Stevens as a vocal/guitar understudy for two roles. Tanner has been a composer-in-residence with the Louisville Orchestra's 2023-2024 Creators Corps, a fellow of the Aspen Music Festival,and her works have been presented at Carnegie Hall, the New World Symphony's New World Center, and the Prototype Festival. She was a 2019 recipient of the American Academy of Arts and Letters Charles Ives Scholarship. Tanner holds degrees in composition from the University of Michigan and the Yale School of Music. Once Was Gleaming is as sweeping as it is dramatic, punctuated by strings and electronica and a voice that soars through it all with inexplicable beauty. It's revelatory work. www.tannerporter.com (http://www.tannerporter.com) www.bombshellradio.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com Email: editor@stereoembersmagazine.com (mailto:editor@stereoembersmagazine.com) Twitter: @emberseditor IG: @emberspodcast

Nicole DeGuire is Associate Director of Orchestras at Carmel High School, Indiana ASTA President, and an avid free-lance violinist with numerous orchestras across the state of Indiana. Earning her B.M. in Violin Performance with Honors at Butler University, she went on to complete her M.M. in Violin Performance and Literature, and an Orchestral Studies Diploma from The Eastman School of Music. Teachers include Charles Castleman, Ilya Kaler, Lisa Brooks, Davis Brooks, Larry Shapiro, Geoffrey Applegate and Paul Kantor. Previously, she served as Director of Orchestras at Fishers High School. Her groups earned gold ratings along with “With Distinction” at both ISSMA District and State Qualifications. It was under her direction that the FHS Symphony Orchestra made the ISSMA State Finals for the first time in 2017. She absolutely loves working with middle and high school students, and truly enjoys serving as a guest clinician and adjudicator, Nicole has extensive orchestral experience performing with the Indianapolis Symphony Orchestra, Indianapolis Chamber Orchestra, and the Ft. Wayne Philharmonic. Other professional orchestral experience includes Rochester Philharmonic, Erie Philharmonic, Albany Symphony Orchestra and South Bend Symphony Orchestra.  Ms. DeGuire is the Indiana ASTA All-State Orchestra Coordinator, an ISSMA State Board Member and was also the 2020 Indiana ASTA High School Orchestra Teacher of the Year.  Nicole is available to serve as a clinician, presenter, and guest conductor and can be reached at ndeguire@ccs.k12.in.us. -- Your support is appreciated! If you are enjoying The Orchestra Teacher Podcast, please consider becoming a supporter for as little as 99 cents per month. I am working hard to bring on some amazing educators who will share ideas, tell their story, and offer some support for all of you. I have invested a lot of time in putting it all together and money purchase equipment that will help provide the best possible listening experience. Here is the link: https://podcasters.spotify.com/pod/show/orchestrateacher/support Thank you for your continued support! If you have suggestions for podcast guests, please let me know by providing a name and contact information. Subscribe to The Orchestra Teacher Website, YouTube Channel, and Podcast! Website: http://www.orchestrateacher.net YouTube Channel: http://youtube.com/theorchestrateacher Podcast on Spotify: https://open.spotify.com/show/5pvAWs3uftZ5FJ2KyZYU0z Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-orchestra-teacher-podcast/id1489358262 — Looking to advertise a product or service to string and orchestra teachers? Consider an audio advertisement on the Orchestra Teacher Podcast! Proceeds from your ad will help offset costs of equipment and web hosting.  Please contact Charles at charleslaux1@gmail.com for more information. --- Support this podcast: https://podcasters.spotify.com/pod/show/orchestrateacher/support

Two-time GRAMMY Award-winning Albany Symphony is throwing a gigantic 100th birthday-party concert for Rhapsody in Blue, featuring Kevin Cole, the world's foremost interpreter of George Gershwin's piano music. The program also includes An American in Paris, Carlos Simon's AMEN! and Simon Says, a world premiere trombone concerto by Jack Frerer. The concert takes place on Saturday, February 10th at 7:30pm at Proctors Theatre.

Two-time Grammy Award winning conductor David Alan Miller is the Music Director of The Albany SymphonyOn March 11 and 12, The Albany Symphony Orchestra will perform its next concerts of the season at the Troy Savings Bank Music Hall. The program for the concerts includes a world premiere by composer Viet Cuong and Anton Bruckner's 5th symphony.

The Albany Symphony Orchestra's Music Director and Conductor, David Alan Miller, joins us to discuss the beginning of the 2022-2023 season.

Some classical musicians choose to follow a specific lane throughout their career, either as an orchestral musician, a chamber player, or a concert soloist. But Stewart Goodyear can't confine his career to one lane — he demands an entire highway. As a concert pianist, composer, arranger, and improviser, Goodyear has built one of the most multifaceted careers of any musician today. His recitals thoughtfully place works of Debussy and Liszt next to his own compositions and new pieces from Jennifer Higdon and Anthony Davis. And his ever-expanding discography shows incredible depth — from the complete concertos of Beethoven to Gershwin's Rhapsody in Blue and Goodyear's transcription of Tchaikovsky's Nutcracker. This eclectic approach to music-making is the result of an artist who finds inspiration in everything life has to offer. "The more I'm not boxed in, the more there's room to create and think outside that box," Goodyear says on the latest episode of the Classical Post podcast. In this conversation, we discuss the many exciting projects on the horizon this season — including his second year as the inaugural Artist in Residence at Toronto's Royal Conservatory of Music, the world premiere of his Piano Concerto with the Grammy Award-winning Albany Symphony Orchestra, and the Toronto premiere of Callaloo, Goodyear's suite for piano and orchestra that pays homage to his Trinidadian background. Plus, he shares more about the ways positivity and optimism fuel his wellness routines, the similarities he sees between cooking and orchestration, and how finding a great restaurant in New York City can be as simple as "letting your feet take you where you want to go." — Classical Post uncovers the creativity behind exceptional music. Dive into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

Award-winning pianist talks her career as a classical performer specialized in contemporary repertoire and her many collaborations with John Williams, including her solos on Munich and The Adventures of Tintin, and the recent premiere of ‘Prelude and Scherzo' for Piano and Orchestra Hosted by Maurizio Caschetto Pianist Gloria Cheng belongs in the category of instrumentalists who are true favourites of John Williams to the point of being even an inspiration for the composer. One of the most acclaimed musicians of his generation and an advocate of the contemporary repertoire and new-music, Gloria Cheng performed as pianist for John Williams in many film scores since the mid-2000s and has been spotlighted as soloist on such scores as Munich (2005), The Adventures of Tintin (2011) and War Horse (2011). She also performed on other Williams' scores including The BFG, The Post, and the Star Wars sequel trilogy. In addition to the film work, Cheng also had the unique honour of performing Williams' rare piano compositions for the concert hall: the 4-movement Conversations for solo piano (written and dedicated to her between 2013 and 2014), and the Prelude and Scherzo for piano and orchestra, which premiered in Barcelona in 2021 with the Orquesta Sinfónica del Vallès under Marc Timón, and later for its American premiere with the Albany Symphony Orchestra conducted by David Alan Miller. Gloria Cheng is one of the world's leading interpreters of piano works by major composers and a true advocate for new music, establishing fruitful partnerships with such contemporary music icons as Gyorgy Ligeti, Pierre Boulez, Esa-Pekka Salonen, Terry Riley, Thomas Adès and Steven Stucky. Gloria Cheng also works frequently as pianist and keyboardist for film scores and has performed on soundtracks by by such composers as Randy Newman, James Horner, Michael Giacchino. In 2005, she began a fruitful association with John Williams that continues until this day. In this conversation, Gloria talks about her career as a classical performer and her path that led to perform as pianist for film scores; she recollectes her first experience playing for John Williams on Munich, the challenges of playing the solo on Tintin and her views on the Maestro's style when writing for piano, reflecting upon her experiences playing Conversations and the Prelude and Scherzo. For more information, visit https://thelegacyofjohnwilliams.com/2022/08/05/gloria-cheng-podcast/

May the 4th be with you. You know, it Stars Wars Day. But, if you wait just a few days – what a musical celebration we can have.The music of John Williams has transported us beyond our imagination. To new worlds. Through heart-pounding adventures. On Saturday Night, The Albany Symphony Orchestra will be at the Palace Theatre where David Alan Miller conducts all your John Williams favorites: "Superman," "Raiders of the Lost Ark," "Harry Potter," "E.T.," and of course, "Star Wars."

Commentary from David Alan Miller from an Albany Symphony Orchestra concert on November 13th featuring pianist Shai Wosner in works by Haydn and Brahms.  

Commentary from David Alan Miller, conductor and music director of the Albany Symphony Orchestra.  From a concert at the Palace Theatre in Albany on October 9, 2021 featuring the music of Sibelius, Beethoven and Jessie Montgomery.

4-H students got to explore a Vietnam Era military helicopter at Mission Make-It; A long time Bainbridge pediatrician advises parents to trust science over politics when deciding on vaccines; And the Albany Symphony Orchestra prepares to bring the sounds of Italy to Albany.    #AlbanyGA #SWGA #Georgia #LocalNews #RalphNader            -       -           -           -              Subscribe today, so you don't miss an episode!            Register Here for your essential digital news.             This Podcast was produced and published for the Albany Herald by BG Ad Group on 9-29-21          For advertising inquiries, please email j.southerland@bgadgroup.com   See omnystudio.com/listener for privacy information.

With multiple GRAMMY nominations and wide critical acclaim to her credit, Joan Tower's latest album in the Naxos American Classics series demonstrates why she is so often performed, and why she is such a respected person among American composers. Raymond Bisha presents the programme on her new release that comprises four world premiere recordings. Soloists Dame Evelyn Glennie (percussion) and Blair McMillen (piano) feature alongside David Alan Miller and the Albany Symphony Orchestra.

Claire McDonald was born and raised in Atlanta, GA. She has been teaching private and group lessons in the greater Atlanta area for several years and actively performs as a solo, chamber, jazz, and orchestral flutist throughout Georgia and South Carolina. She regularly performs at the Colour of Music Festival, as a member of the Colour of Music Festival Orchestra. She also performs regularly with the Charleston Gospel Choir and Charleston Spiritual Ensemble as principal flute of Musician's United Orchestra. Claire currently holds substitute positions with the Albany Symphony Orchestra in Albany, Ga and the Florence Symphony Orchestra in Florence, SC., as well. --- Support this podcast: https://anchor.fm/jazz-matters/support

A precocious young composer, the teacher of Charles Ives, and a NON-nationalistic Scottish work undeniably influenced by Tchaikovsky (even though it may have been intended to do the exact opposite), are all headline descriptions of the topic for this episode of the American Muse podcast: Horatio Parker and his work _A Northern Ballad_. ###Background####Bio- Youngest of the “Boston 6”, Horatio Parker was born 1863 in Auburndale, MA, a rural area at the time, now subsumed by the Boston city limits. He studied with George Whitefield Chadwick at the New England Conservatory of Music (NEC) and eventually, like most serious musicians at the time, went to Europe and studied with Josef Rheinberger at the Royal Music School in Munich. A similar comment by both these teachers points to a characteristic that Parker carried throughout his compositional career. Chadwick, speaking of the young Parked, roughly aged 17-19, says:> He was far from docile. In fact, he was impatient of the restrictions of musical form and rather rebellious of the discipline of counterpoint and fugues. His lessons usually ended with his swallowing his medicine, but with many a wry grimace.- This quote probably says as much about the youthfulness of Parker as it does the fastidious Chadwick and his own workmanship-like character. Yet, while later studying with Rheinberger, also a former teacher of Chadwick, an observation by the Boston music critic William Apthorp would confirm Parker's temptation to go against the grain:> It is said of H. W. Parker that when he was a student in Munich under Rheinberger he was repeatedly introducing some new wrinkle, some unheard of effect... Certain of these musical inventions were distasteful to the master... and others were railed at playfully but secretly endorsed and even imitated by Rheinberger himself.- Upon returning to the United States, Parker moved to New York and bounced around several church positions. This is where Parker found the strongest market for his compositions, as any choral, organ, or piano work he wrote was quickly performed and highly praised. At the end of his time in New York, Parker spent one, lone year teaching at the famous National Conservatory of Music in America. Famous mostly because this is the school at which Antonín Dvořák taught during his highly publicized visit to the “New World”. And, that lone year, 1892-1893, overlapped with Dvořák's first year.- Eventually, Parker returned to Boston, having a substantial reputation as a composer, mostly of choral works. In an ironic twist, relating to the observations of Parker as a young man, musicologist and biographer William Kearns found in Parker's diaries that one of the reasons he left his church position was “problems of discipline among the boys in the Holy Trinity Choir... he complained that they are a ‘burden' to the choirmaster and expressed the hope that the adult mixed choir at his new appointment would leave him more time for the important work of composition.” I am sure Chadwick had a laugh about that!- Parker's stay in Boston only lasted one year, as he then took a teaching position at Yale. There, Parker developed a long legacy of composition students, punctuated by Roger Sessions and the inimitable Charles Ives. Parker developed _The History of Music_ course, served as editor of _Music and Drama_, served as dean of the School of Music, conducted and developed the New Haven Symphony Orchestra as both a professional ensemble and lab orchestra for Yale music students, all while continuing to compose. It was from this position that the rest of his life would be based. Also, this move towards academia would nudge Parker to analyze his own thinking about music, it's place in society, and cause him to make definitive statements on the subject. Near the end of his life, Parker wrote in the _Yale Review_:> In truth there are two very different kinds of taste. May I call them high and low to save space?... I think an enormous part of our national common progress is made by breaking down barriers between such types. Training the lowly to enjoy exalted music is known to be meritorious. I never heard anyone commend the reverse process of training the fastidious to recognize vulgar excellence.- The man comes full circle! A somewhat rogue youth, tamed by well-disciplined teachers, now embracing the diversity of musical options. And as can be seen, these phases manifest in his composition as well###Analysis of piece- And the main event: Parker's tone poem _A Northern Ballad_- Written over the 1898-99 winter, the symphonic poem was premiered by the New Haven Symphony, conducted by the composer himself.- Overall, Parker's pure orchestral output is limited, though what he did produce was compelling. _A Northern Ballad_ being one of his most mature works elicited quite a review from a New York newspaper in 1901: “The impression left by the whole is that if Mr. Parker would give up writing church music he has the stuff in him to turn out most effective secular material. His music is virile and full bodied, and its eclecticism is not greater than that of most music now being written.”- Now, the first question I had about the title of this piece was “what North is Parker referring to?” Apparently, it is nothing to do with America at all, but that of Scotland, a nod to his own Anglo-Saxon roots. There are some noticeable Scottish folk-like resemblances, and while one performance review describes the piece as quote “Celtic rather than distinctively Norse,” another notes its use of “Scotch melodies and instrumental coloring.” Rather than a nationalistic nod, it is possible this is a reaction to Dvorak's controversial statements about American music during his tenure as Director of the National Conservatory of Music in New York, where, as I mentioned earlier, Parker and Dvorak overlapped for one year. In his biography on Parker, William Kearns suggests that “Both its title and content suggest another step in Parker's move away from German influences”. Ok, maybe the title. But, content? Uh... as you will hear, and I will point out specifically, there are quite a few elements that bear a striking resemblance to Tchaikovsky's iconic _Romeo and Juliet_ overture. Yes, I know, Tchaikovsky is of course Russian, not German. However, Tchaikovsky's style is a composite of MANY different influences from all over Europe, not the least of which is German, Italian, and French, all in addition to Russian. So, I have to say I disagree with Mr. Kearns, but let's listen and see what you think.####Excerpts- The recording of Parker's _A Northern Ballad_ you will hear is performed by the Albany Symphony Orchestra under the direction of Julius Hegyi, recorded on the New World Records label in 1986.- Tchaikovsky's _Romeo and Juliet_ Overture recording is a video recording of the Orchestra della Radio della Svizzera italiana conducted by Leopold Stokowski.- Parker begins with an open sounding woodwind chorale, not displaying either urgency or haste, merely a state of ancient being.- This is unmistakably similar to Tchaikovsky's opening bars of the Romeo and Juliet Overture.- As Parker opens up the dynamic range of the opening section, he adds the strings and sweetness of melodic inflection- Again, this compares closely to the Tchaikovsky, in a similar moment of the introduction just as the sound increases from the opening darkness.- As Parker concludes the introduction, he moves immediately into a quick section introduced by a pithy riff in the strings that will become a main motive of the rest of the work. This quickly builds to a driving rhythmic undercurrent in the horns and violas, covered by another motivic remnant of the opening, played in canon between the violins and cellos. This finally arrives at the climax with a brass canon on the same rhythmic theme, and flows back down just as smoothly as it ascended.- Another very close resemblance to Tchaikovsky, the quicker section jumps out with a tight rhythmic motive, quickly builds tension with a canonic theme, and surges to the first climax.- Back to the Parker. As he closes out this opening portion of the Allegro, Parker he briefly introduces a light motive (light as in airy, free; not as in Wagner's “leitmotif”) in the flute and clarinet that while fleeting serves to break up some of the tension created so far. It is also quite probably a stylistic element Tchaikovsky would never have used in quite the same way. Parker then uses this lower moment to fake a recap, only to roar into a developmental section, alternating strings and winds with brass and percussion. At the very height of tension, Parker mixes declamatory chords and a decidedly off putting rhythmic configuration with an emerging melody in the horns, once again originating from the slow introduction of the piece itself.- As Parker finally comes down off the high of the development, he gives us a very partial recap of the slow introduction with some modifications. Then we get a brilliant and very creative surprise. We do get a restatement of the main Allegro section, but it has now taken on the more anxious rhythmic motive underneath a sped up recap of the INTRODUCTION melodic material in the brass! Generally speaking, an overture type piece will not always recap a slow introduction section. But in this case Parker has merged the two parts together to dramatic effect!- When the piece builds to a final moment of climactic tension, Parker utilizes another recognizable element, not EXCLUSIVE to Tchaikovsky, but certainly recognizable in many of his ballets, and, once again, his _Rome and Juliet_ Overture. As the melodic line in the strings develops and rises, the woodwinds and eventually horns alone begin a quick triplet pulse, giving a sense of nervous energy which drives to the overflowing moment at the top of the phrase.- And here is a corresponding moment in the Tchaikovsky, that heart breaking melody, a mix of love, lust, and impending death... that iconic moment when you say to yourself “oh THAT'S the piece!”- At long last Parker gives us a coda. Here he sets the complete work at peace, expanding the long melodic lines that have come before, filling out the orchestration, and arpeggiating chords in the harp, all lightening the air as if floating to it's final rest at the concluding bars.###Closing- Ok, to be completely honest, despite my many comparisons to Tchaikovsky's _Romeo and Juliet_ overture, I am NOT equating the two pieces in quality. I do believe the Tchaikovsky has more depth and ability to transport the listener to a superior experience. That is NOT to detract anything from _A Northern Ballad_ and Parker's individual way of accomplishing this same task. My purpose is to both compare and differentiate the two composers, their styles, and above all show how Parker's music is of high value to anyone willing to give it their time and ears. If you are one of those people I trust you will come to a similar conclusion, and live a better life for the experience.Music:“A Northern Ballad” by Horatio Parker from the album Parker: A Northern Ballad/Chadwick: Symphony No. 2. New World Records #80339.(p) & © 1986 Anthology of Recorded Music, Inc.Used by permission.https://www.newworldrecords.org/products/parker-a-northern-ballad-chadwick-symphony-no-2Overture to 'Romeo and Juliet'By: Pyotr TchaikovskyPerformed by: Orchestra della Radio della Svizzera italiana; Leopold Stokowski, conductorSupport this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Crisis Textline - text 741741 to be connected with someone to talk to anytime, day or nightNational Suicide Prevention Hotline - 1-800-273-8255Jarrett’s playing has been called “magnificent” by the Palm Beach Daily News and “warm, romantic and seamless” by the South Florida Classical Review. Jarrett has performed with a number of different high-level ensembles, including the Chicago Symphony Orchestra, the Detroit Symphony Orchestra, l’Orchestre Symphonique de Montreal, the National Arts Centre Orchestra, the Calgary Philharmonic Orchestra, the Charleston Symphony Orchestra, the Flint Symphony Orchestra, the Ann Arbor Symphony, and the Windsor Symphony Orchestra. Additionally, Jarrett has performed under classical conductors such as Michael Tilson Thomas, Robert Spano, Simon Rattle, Susanna Mälkki and Peter Eötvös, as well as alongside jazz heavyweights such as Esperanza Spalding, Wayne Bergeron and Nicholas Payton.Jarrett has won several international competitions, including the New World Symphony Concerto Competition, the Marta Hidy Competition for Brass in Toronto, and concerto competitions across Canada and the U.S. Most notably, he won the top prize in the brass category of the Orchestre Symphonique de Montreal’s prestigious Standard Life Competition in 2014, becoming the first tubist to do so in the competition’s 75-year history. Additionally, Jarrett was a finalist in the XVI Tchaikovsky Competition (the inaugural year for brass participants) in St. Petersburg, Russia, and the only North American tubist to participate in the live rounds. Jarrett has performed as a soloist with the New World Symphony, the Albany Symphony Orchestra, the Windsor Symphony Orchestra, Orchestra Toronto, the University of Western Ontario Wind Ensemble and Jazz Ensemble, and the London Concert Band. During the summers, Jarrett has performed with the Verbier Festival Orchestra, the Lucerne Festival Academy Orchestra, National Repertory Orchestra, the Spoleto USA Festival Orchestra, the Aspen Festival Orchestra and the Symphony Orchestra Academy of the Pacific. Jarrett was recently a guest on the popular Brass Junkies podcast, speaking largely about ways to improve one’s mental health as a musician in the 21st century. In his spare time, Jarrett volunteers with the Crisis Text Line, a global not-for-profit organization providing free crisis intervention and suicide prevention via SMS message.As an educator, Jarrett was formerly on faculty at New World School of the Arts at Miami Dade College, and has also served on faculty at the National Youth Orchestra of the United States and at Expressions Music Academy in Troy, Michigan.He earned a Bachelor of Music (Tuba Performance) with a minor in Ethics at the University of Western Ontario in London, Ontario in 2013 and two Masters degrees (one in Tuba Performance and the other in Chamber Music) at the University of Michigan in 2015. His principal teachers have been Brent Adams, Dennis Nulty, Fritz Kaenzig, Craig Knox, Warren Deck and Gene Pokorny. Jarrett is a Miraphone Artist and performs on the 1281 Petrushka F Tuba.Support the show (https://thatsnotspit.com/support/)

Commentary from David Alan Miller, conductor and music director of the Albany Symphony Orchestra.  From the Clara Schumann Festival at the Troy Savings Bank Music Hall January 11 & 12, 2020.  

Commentary from David Alan Miller of the Albany Symphony Orchestra.  From a concert at the Troy Savings Bank Music Hall on December 7, 2019.

Commentary from David Alan Miller, conductor and music director of The Albany Symphony Orchestra.   From a concert recorded November 9, 2019 at the Palace Theatre in Albany featuring the music of Borodin, Dalit Warshaw and Rachmaninoff.

Commentary from David Alan Miller, conductor and music director of The Albany Symphony Orchestra.   The opening concert on October 19, 2019 at The Palace Theatre included Bernstein's Suite from “On the Waterfront”, Valerie Coleman's “Phenomenal Women”, and Mussorgsky's “Pictures at an Exhibition”.

Gary has performed and recorded at many prestigious recording studios, music festivals, concert halls and jazz clubs around the world for artists such as Quincy Jones, Matthew Morrison, The Manhattan Transfer, The New York Voices, John Hendricks, Monica Mancini, Bob Newhart, Joan Rivers, Don Rickles, Regis Philbin, Kathy Lee Gifford, Andre Watts, Jake Armerding, Liam Bailey, Peter Prince, Billy Martin, Fitz & The Tantrums, Stefon Harris, Jay Leach, The Sunshine Collective, The Percy Faith Orchestra, Western Standard Time Ska Big Band, Theodicy Jazz Collective, The Los Angeles Symphony, The Albany Symphony Orchestra, The Berkshire Symphony, various productions of musical theater and many more. Gary and I had a great talk about preparing for auditions, recordings, transcriptions and education.

Gary has performed and recorded at many prestigious recording studios, music festivals, concert halls and jazz clubs around the world for artists such as Quincy Jones, Matthew Morrison, The Manhattan Transfer, The New York Voices, John Hendricks, Monica Mancini, Bob Newhart, Joan Rivers, Don Rickles, Regis Philbin, Kathy Lee Gifford, Andre Watts, Jake Armerding, Liam Bailey, Peter Prince, Billy Martin, Fitz & The Tantrums, Stefon Harris, Jay Leach, The Sunshine Collective, The Percy Faith Orchestra, Western Standard Time Ska Big Band, Theodicy Jazz Collective, The Los Angeles Symphony, The Albany Symphony Orchestra, The Berkshire Symphony, various productions of musical theater and many more. Gary and I had a great talk about preparing for auditions, recordings, transcriptions and education.

Commentary from David Alan Miller, conductor and music director of the Albany Symphony Orchestra, from the pre-Valentine's Day concert on February 9, 2019.

Michael speaks with Grammy Award-winner David Alan Miller, music director for the Albany Symphony Orchestra. This weeks episode is brought to you by Soundcloud

Commentary from David Alan Miller, conductor and music director of the Albany Symphony Orchestra, from the Beethoven Seventh concert from 1/6/19.  

Commentary from David Alan Miller, conductor and music director of the Albany Symphony Orchestra.  From the "Viennese Classics" concert 12/15/18.

Commentary from David Alan Miller of the Albany Symphony Orchestra from the November 10 concert, Benjamin Britten’s War Requiem.

Commentary from David Alan Miller, conductor and music director of the Albany Symphony Orchestra.  From the Gala opening night concert from Albany Symphony, recorded 10/13/18 at Palace Theater in Albany.

Commentary from David Alan Miller, conductor and music director of the Albany Symphony Orchestra.  From a concert titled, "The Rite of Spring", November 18, 2017 at The Palace Theatre in Albany.  

Music by George Tsontakis adds to the ever-expanding Naxos American Classics Series with an inventive and colourful triptych of concertos, introduced on this podcast by Raymond Bisha. The works feature soloists Eric Berlin, member of Empire Brass and principal trumpeter of the Albany Symphony Orchestra; David Krakauer, one of the world’s finest klezmer clarinettists; and violinists Luosha Fang and Eunice Kim, known internationally for their solo and chamber performances. The Grammy Award-winning conductor David Alan Miller directs.

The fourth concert from David Alan Miller's 25th anniversary season with the Albany Symphony Orchestra.

The third concert from David Alan Miller's 25th anniversary season with the Albany Symphony Orchestra.

The second concert from David Alan Miller's 25th anniversary season with the Albany Symphony Orchestra. 

As this year's college graduates frame their diplomas, the job market is the strongest it has been in nearly a decade. The economy is improving and salaries are up in many fields. But how these developments impact classically trained musicians is a more complicated picture. In this week's episode, we explore career prospects for the class of 2015. First, we look at their earnings potential. A new study from Georgetown University's Center on Education and the Workforce used U.S. census data to analyze wages for workers from 137 college majors. It found that the popularity of majors doesn't always match earnings potential: Music ranks 36th in popularity among bachelor's degrees but 113th in terms of earnings (graduate music degrees rank 31st in popularity, and 121st in earnings). The median national income for a musician with a bachelor's is $49,000 (top-paying fields are in science and business). Anthony P. Carnevale, the lead author of the study, says that while music falls low in the pay scale, it is possible to make a solid middle-class living in the arts. "If you make 40 to 50 grand a year and you're married to someone who makes the same, that's 100, and if you get benefits that adds 30 percent of the value to your job," he said. "You can raise a family on that." Carnevale added that students should follow their passion but be mindful: "What you take in college is going to have a lot to do with what you do after breakfast for the 45 or 50 years after you graduate and go to work." Next, a reality check from two newly-minted graduates. Weixiong Wang, a clarinetist who just received a master's degree from the Juilliard School, says that while he has a budding performance career that includes a post in the Albany Symphony Orchestra, he isn't putting his eggs in one basket: he is also starting a recording studio in Brooklyn. "From second year of undergrad," he says, "I started to realize that even though I have so much passion for music, it's very important to make a living while you're in love with music. That's the problem a lot of us are facing after school." Maria Natale, a soprano and recipient of a professional studies certificate from the Manhattan School of Music, has already performed with the Sarasota Opera and other companies. Now, she’s facing an endless round of auditions. "I never once saw opera from the business side and now that is the most difficult part," she admits. "Everybody has their definition of a dream job....I want it all." We also ask whether conservatories are adequately preparing students for careers. Listen to the musicians' responses in the segment above and tell us in the comments below: What advice do you have for new college graduates?

Concert #2 of the Albany Symphony Orchestra's 2009/2010 season

Albany Symphony Orchestra

The final concert in the 2008-2009 Albany Symphony Orchestra concert season.

Albany Symphony Orchestra concert #7

Albany Symphony Orchestra concert #6

Premiere concert of the season by the Albany Symphony Orchestra

Albany Symphony Orchestra concert #7

Albany Symphony Orchestra concert #6

Albany Symphony Orchestra concert #5