Podcasts about Alisa Weilerstein

It's hard to overstate the depth of the connection between Dmitri Shostakovich and the legendary cellist Mstistlav Rostropovich. Shostakovich and Rostropovich were extremely close friends, and Shostakovich wrote and dedicated several works to him, including the piece we're going to talk about today, the first Cello Concerto. Rostropovich had been desperate to get Shostakovich to write a concerto for him, but Shostakovich's wife had one simple piece of advice: if you want Shostakovich to write something for you, don't talk to him about it or even mention it. So Rostropovich waited and waited, until July of 1959, when he was asked by Shostakovich to come to Leningrad to try out a new Cello Concerto. Shostakovich played through the piece for Rostropovich, turned to him, and asked him if he liked it. Rostropovich apparently told Shostakovich that he “had been shaken to the core.” Shostakovich, in his famously modest way, then shakily asked Rostropovich if he could dedicate the concerto to him. Rostropovich immediately agreed, and then rushed off to learn the concerto as quickly as possible. He learned the entire concerto in 3 days, then returned to Shostakovich and played it for him by heart. The concerto is practically stamped with Rostropovich's name, which is why I'll be using a recording of a live performance of Rostropovich during the show today, though I must say I also recommend a pretty great modern recording by a certain cellist who is also my sister, Alisa Weilerstein. This concerto has always been one of my favorites; it is compact, powerful, punchy, beautiful, intense, concentrated, and tremendously exciting. For me, it is one of Shostakovich's most Beethovenian works, in its lean power and its obsession with a single motive. Today on this fundraiser sponsored show, we'll talk through this fantastic concerto, and explore just what makes its momentum so inevitable and so thrilling from start to finish. Join us!

durée : 01:28:45 - Alisa Weilerstein, sonorité généreuse et intensité - par : Aurélie Moreau - Connue pour sa technique accomplie, son investissement émotionnel et sa rare profondeur d'interprétation, la violoncelliste Alisa Weilerstein se produit dans les salles les plus prestigieuses. Aujourd'hui : Bach, Beethoven, Haydn, Chostakovitch…

durée : 01:28:45 - Alisa Weilerstein, sonorité généreuse et intensité - par : Aurélie Moreau - Connue pour sa technique accomplie, son investissement émotionnel et sa rare profondeur d'interprétation, la violoncelliste Alisa Weilerstein se produit dans les salles les plus prestigieuses. Aujourd'hui : Bach, Beethoven, Haydn, Chostakovitch…

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Pärnu muusikafestivali lõppkontserdil soleerib Eesti Festivaliorkestri ees meie aja üheks silmapaistvamaks tšellistiks peetud Alisa Weilerstein.

As part of the La Jolla Music Society's SummerFest 2023 series enjoy Schubert: Piano Trio in E-flat Major, D. 929 performed by Inon Barnatan on piano, Noah Bendix-Balgley on violin, and Alisa Weilerstein on cello. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39713]

As part of the La Jolla Music Society's SummerFest 2023 series enjoy Schubert: Piano Trio in E-flat Major, D. 929 performed by Inon Barnatan on piano, Noah Bendix-Balgley on violin, and Alisa Weilerstein on cello. For La Jolla Music Society at The Conrad Todd R. Schultz, President & CEO Leah Z. Rosenthal, Artistic Director Inon Barnatan, SummerFest Music Director Produced and directed by Tristan Cook Festival Founding Sponsors Brenda Baker and Steve Baum Synergy Initiative Producers Inon Barnatan | Clara Wu Tsai Synergy Initiative Underwriter Clara Wu Tsai SummerFest Music Director Underwriters Raffaella and John Belanich Series: "La Jolla Music Society: SummerFest" [Arts and Music] [Show ID: 39713]

American composer, singer, songwriter, and sonic storyteller Gabriel Kahane uses pop, folk, and classical music to craft captivating works that illustrate the human experience. Gabriel discusses the importance of using music to create community, his song Sit Shiva, what type of opera he imagines he'd write if given the opportunity, and how he responds to humor that is ultimately empathetic. Reflecting on the influences of his psychologist mother, concert pianist father, and his musical childhood filled with violin, piano, guitar, and singing, Gabriel talks about his start at New England Conservatory as a jazz pianist, how his interest shifted to theater at Brown, and his ultimate arrival in New York with his cellist friend Alisa Weilerstein where he began to write songs.Check out Gabriel Kahane on Instagram, Facebook, Substack, Spotify, Apple Music, or the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Gabriel Kahane by Jason Quigley.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2024 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Live from the Grand Teton Music Festival is a series of one-hour podcasts hosted by Music Director Sir Donald Runnicles and GTMF General Manager Jeff Counts. Season Seven celebrates the Festival's 2023 season at Walk Festival Hall in Jackson Hole. Alisa Weilerstein with the Grand Teton Music Festival OrchestraSamuel BarberConcerto for Cello, Op. 22Alisa Weilerstein, cello; Jader Bignamini, conductorLeonard BernsteinSymphonic Dances from West Side StoryJader Bignamini, conductor

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

We're revisiting our interview with MacArthur Genius Grant Fellow and American classical cellist Alisa Weilerstein. The internationally celebrated artist discusses her first instruments (made by her grandmother!), her solo debut at age thirteen with the Cleveland Orchestra, and why she chose not to go directly to conservatory after high school. Alisa reminisces about performing at the White House and chuckles about receiving an apology from the President of the United States, as well as discusses her groundbreaking new solo concert series Fragments.Check out Alisa Weilerstein on Instagram, Facebook, Twitter, YouTube, Spotify, Apple Music, or the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Thanks to our good friends at Ravinia for helping to make this interview possible.Photograph of Alisa by Evelyn Freja.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:11:13 - Thomas Larcher : The Living Mountain ! - Cette semaine le disque contemporain est celui du compositeur autrichien Thomas Larcher paru chez ECM Records. On y retrouve notamment l'Orchestre de chambre de Munich dirigé par Clemens Schuldt mais aussi la soprano Sarah Aristidou et la violoncelliste Alisa Weilerstein.

MacArthur Genius Grant Fellow and American classical cellist Alisa Weilerstein is a musical prodigy. The internationally celebrated artist discusses her first instruments (made by her grandmother!), her solo debut at age thirteen with the Cleveland Orchestra, and why she chose not to go directly to conservatory after high school. Alisa reminisces about performing at the White House and chuckles about receiving an apology from the President of the United States, as well as discusses her groundbreaking new solo concert series Fragments.Thanks to our good friends at Ravinia for helping to make this interview possible. Get your tickets here to see Alisa Weilerstein perform live at Ravinia on August 17th.Check out Alisa Weilerstein on Instagram, Facebook, Twitter, YouTube, Spotify, Apple Music, or the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

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We're back with three more inspiring conversations featuring pianist Gabriela Montero, pianist Jeremy Denk, and cellist Alisa Weilerstein.Thanks to our good friends at Ravinia for helping to make these interviews possible. To see these guests perform live this summer, check out Ravinia's calendar.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This trailer has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

This episode is also available as a blog post: https://thecitylife.org/2023/04/26/alisa-weilerstein-daniil-trifonov-and-stefan-jackiw-perform-together-at-92ny/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Dans ce 3e épisode, je jase violoncelle avec Audrey Nadeau, violoncelliste native du Québec ayant étudié à Juillard à New York avant de déménager dans l'Ouest canadien et de lutter pour la préservation des forêts anciennes. Lors de cette entrevue, Audrey était accompagnée de sa fille Maya âgée de 13 mois (dont vous pourrez entendre les gazouillis en arrière-plan!). ******** Pour en savoir plus sur Audrey Nadeau : https://www.youtube.com/watch?v=5lLTUC9F_14 *********** Les coups de coeur d'Audrey : - Concerto d'Elgar interprété par Alisa Weilerstein : https://www.youtube.com/watch?v=jVrQXW_9Rok *********** Apprenez, Partagez et Vibrez au son de votre violoncelle... juste pour le plaisir! www.praticocello.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/praticocello/message

In the news today: For our first headline of the day focusing on campus news, CAPS creates monthly program celebrating women, femmes of color. For our second headline focusing on culture, classical cellist Alisa Weilerstein to perform at the Wharton Center. For our final headline of the day focusing on city news, how to escape stress with escape rooms in the East Lansing area. 

Alisa Weilerstein is embarking on a multi-year project called Fragments – comprising all 36 movements of Bach's solo cello suites, interweaved with new commissions from 27 diverse composers. Alisa speaks to online editor Davina Shum about how this project came about, how a combination of theatrical elements come together to provide a unique musical experience, and why it's good to jump into seemingly daunting projects with both feet. Fragments 1&2 will premiere in Toronto on 28 January. Alisa will perform Fragments 2 in Irvine, CA (12 March) and Fragments 1 in Santa Barbara, CA (10 March), La Jolla, CA (14 March) and at New York's Carnegie Hall (1 April) Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_   Courante Suite for Solo Cello no.2 in D minor - Bach Alisa Weilerstein, cello PENTATONE PTC5186751   Photo credit: Marco Borggreve

Jim Cunningham interviews cellist Alisa Weilerstein and composer Joan Tower about her piece "A New Day", plus he talks with Pittsburgh Symphony Orchestra President and CEO Melia Tourangeau about the upcoming season during the orchestra's Season Opening Concert on Friday September 23, 2022.    

Alisa Weilerstein / Inon Barnatan: Beethoven Cello Sonatas (Pentatone) Jump to giveaway form New Classical Tracks - Alisa Weilerstein by “It takes organization. But it is more than possible, and it's fantastic.” That's cellist Alisa Weilerstein talking about what it takes to integrate family with an active career. About five months ago, she and her husband, conductor Rafael Payare, welcomed their second daughter, Elina, who joins big sister Ariadna. But not only did Weilerstein expand her family during the global pandemic; she also created a new recording with her longtime musical partner, pianist Inon Barnonton: a collection of Ludwig van Beethoven's cello sonatas. The two of you have been playing these works for the entirety of your collaboration, which dates to 2008. Why was now the right time to make this recording? “Nothing is like the Bach cello suites in terms of, let's say, people's reverence for them and the fear of putting one's sort of permanent stamp on them. This comes close. And so the Beethoven sonatas were pieces that we didn't want to rush into recording. 2020, of course, was also supposed to be the big Beethoven year. And, obviously, that got a bit overshadowed by world events. I mean, we had been talking about doing it eventually. It's like, well, OK, now is the perfect time. Let's just do it. So we did. It's the most visceral music I can think of. It combines some of the most structurally interesting and beautifully crafted music with primal, rhythmic drive and energy, which is present even in the most tender moments. When Beethoven becomes vulnerable, it's almost unbearable in terms of how moving, how touching it is. One of the coolest things about Beethoven's sonatas for cello and piano is that in five fairly concise works, we get to hear how his relationship between the piano and cello was redefined. Can you talk about that evolution and how we hear it in these works? “And I'm really glad you brought that up, because historically, in terms of our canon, it was a very important trajectory that we're following. “The first two sonatas, the first one, in particular, are really more of piano and cello sonatas. In other words, the piano is really the main voice, and the cello is having a kind of obbligato voice. I'm just kind of floating around and the piano is just wailing away, basically. “And then the Third Sonata is the first one where the cello and piano are truly equal partners. And it's announced from the very first note, which is played by the cello alone. That, historically, was a really big deal. It's fascinating to see how he just broke all the rules. “This is like therapy, just to make music and to communicate these really profound ideas and emotions in a way that we didn't have to use our words for anything. We could just make music. And it was kind of a reminder of why we both do what we do and why we love what we do so much.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Cello Sonata No. 3 in A Major, Op. 69: I. Allegro ma non tanto More on Alisa Weilerstein Learning to Listen: Alisa Weilerstein discusses the cello SymphonyCast: Alisa Weilerstein performs at the BBC Proms Alisa Weilerstein Giveaway Alisa Weilerstein New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Weilerstein store) Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Pentatone store) Alisa Weilerstein / Inon Barnatan — Beethoven Cello Sonatas (Amazon) Alisa Weilerstein (official site) Inon Barnatan (official site)

durée : 00:14:35 - Beethoven : Cello Sonatas Nos. 1-5 - Alisa Weilerstein, Inon Barnatan - Le label Pentatone présente un nouveau disque consacré aux Sonates pour violoncelle de Ludwig van Beethoven, ici interprétées par Alisa Weilerstein et Inon Barnatan. C'est notre disque du jour !

durée : 01:57:36 - En pistes ! du mardi 31 mai 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Ce matin, nous écoutons Alisa Weilerstein et Inon Barnatan, qui se sont avérés être l'un des tandems de musique de chambre les plus sympathiques de notre époque. Leur merveilleux partenariat musical et leur profonde amitié transparaissent dans chacune de ces sonates.

Anna Rakitina, in her CSO debut, leads a Tchaikovsky celebration. The dynamic Alisa Weilerstein is the soloist in the Rococo Variations, Tchaikovsky's graceful homage to the 18th century, and the Pezzo capriccioso, a mercurial, one-movement gem. Capriccio italien is a bustling portrait of Italian life, while selections from The Nutcracker highlight the composer's gift for creating wondrous dance themes. Ticket holders are invited to a free preconcert conversation featuring Daniel Schlosberg in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Note: Due to unforeseen scheduling complications, Edo de Waart, originally set to conduct, has had to withdraw from this engagement in Chicago. Learn more: cso.org/performances/21-22/cso-classical/all-tchaikovsky

Originally broadcast in May 2019, this Impromptu Encore features violinist Sergey Khachatryan, cellist Alisa Weilerstein, and pianist Inon Barnatan in an outstanding performance of Beethoven's “Ghost” Piano Trio in D Major, Op. 70, No. 1. The post Alisa Weilerstein, cello, Sergey Khachatryan, violin, and Inon Barnatan, piano appeared first on WFMT.

Bach’s unaccompanied cello suites are an essential rite of passage for all cellists, being "some of the most frequently performed and recognizable solo compositions ever written for cello" (Wikipedia.) Alisa Weilerstein discusses what she finds to be the therapeutic and hopeful nature of Bach and her approach to the cello suites while making music at home. Weilerstein offers two movements of the suites as part of her “36 days of Bach,” where she shared one movement from each of the six suites, recorded with an iPad, for 36 days in a row. This was recorded in May, 2020, as part of a special “Live With Carnegie Hall” Series. Set list: J.S. Bach: Cello Suite No. 6, Prelude; J.S. Bach: Cello Suite No. 6, Sarabande Watch the entire session at Carnegie Hall's site

Alisa Weilerstein has been living with type 1 diabetes almost as long as she’s been making music. She debuted with the Cleveland Orchestra at age 13, played Carnegie Hall at 15, performed at the White House at 27, and at 29 was awarded the MacArthur Foundation “genius grant” fellowship. She was diagnosed with type 1 diabetes at age 9 and her first concern, of course, was for her fingertips! Alisa speaks to us from Berlin, where she and her family spend half their time. In Tell Me Something Good we share stories about girl scouts stepping up and hearing a Dexcom alarm at the Supreme Court. This podcast is not intended as medical advice. If you have those kinds of questions, please contact your health care provider. Check out Stacey's book: The World's Worst Diabetes Mom! Alisa mentions playing in concert while pregnant. See that video here Join the Diabetes Connections Facebook Group! Sign up for our newsletter here   ----- Use this link to get one free download and one free month of Audible, available to Diabetes Connections listeners! ----- Get the App and listen to Diabetes Connections wherever you go! Click here for iPhone      Click here for Android   Episode Transcription (rough transcription, not yet corrected)   Stacey Simms  0:00 Diabetes Connections is brought to you by One Drop created for people with diabetes by people who have diabetes by Gvoke Hypopen, the first premixed auto injector for very low blood sugar, and by Dexcom take control of your diabetes and live life to the fullest with Dexcom.   Announcer  0:22 This is Diabetes Connections with Stacey Simms.   Stacey Simms  0:27 This week, she was playing the cello before she went to kindergarten. In fact, when Alisa Weilerstein was diagnosed with type one at age nine, her first thought was her  fingertips.   Alisa Weilerstein  0:41 I was already quite curious about the cello and the left hand, of course, it's the hand that goes on the fingerboard. And I remember saying to my doctor, I'm not going to click my fingers on my left hand, they won't be able to play.   Stacey Simms  0:50 She was certainly able to keep playing - Carnegie Hall at 15, the White House at 27 and at 29 Weilestein was awarded the MacArthur Foundation Genius Grant fellowship. She has quite a story. It was great to talk to her and tell me something good girl scouts stepping up. And did you hear the Dexcom at the supreme court hearings? This podcast is not intended as medical advice. If you have those kinds of questions, please contact your health care provider. Welcome to another week of Diabetes Connections. I'm so glad to have you along. I am your host Stacey Simms, and we aim to educate and inspire by sharing stories of connection. If you are new to the show, I am so glad to have you here a little bit about me. My son was diagnosed with type one right before he turned two he is almost 16 now so it's been a minute, my husband lives with type two. I don't have diabetes, but I have a background in broadcasting and local radio and television. And that is how you get the podcast. I am always amazed when I meet and talk to people with incredible musical talent like our guest this week. To me playing music reading music, expressing yourself through music is like another language. I appreciate music. But I don't have that kind of innate understanding that a true artist has my old radio show co host when I did mornings in Charlotte, North Carolina, where I am now for more than 10 years. And he was also a musician. And they just have this natural ability. I mean a true musician who can write music and read music and play and play by ear. To me it really is something special. And I hope I did this interview with Alisa justice. Because of course we're interested in talking about diabetes, but we talked about music as well. I also want to let you know, we are not out of November yet diabetes Awareness Month of course, we'll be doing some fun things on social media. I have a big sale going on for the world's first diabetes mom real life stories of raising a child with type 1 diabetes, it is on sale right now use the coupon code November, you've got to use it on my website at Diabetes connections.com. I can't do coupon codes on Amazon sorry. But this covers more than free shipping and everything else. So it's still a nice discount if we're doing $4 off for the rest of the month. So go to the website, scroll down, you'll see the book in the middle of the page there under the most recent podcast episodes. And to use the promo code, you're going to click order a signed copy. The other links take you to Amazon and you can't use a coupon code there. But if you click on order a signed copy, it'll take you to the right place. There's also a little teeny tab on top that says shop. It's hard for me to believe the book has been out for a year. I hope you're not tired of me talking about it. I got one nasty email this year I will share. Somebody stopped listening to the show two weeks after I published the book because he was tired of me talking about it. I felt like saying to him, you write a book, see if you want to talk about it! (laughs) But I appreciate you you know putting up with it. Especially this year when the whole book tour was canceled. I was supposed to like many of you, right? We were supposed to travel and go places and do things so you know I get it. Of course everybody's in the same boat. But I am going to continue to talk about the world's worst diabetes mom because man it was so much fun to put together and I'm not ashamed to say the response has been fantastic. So if you want to get a copy promo code November at Diabetes connections.com Diabetes Connections is brought to you by One Drop and getting diabetes supplies because a big pain you know that not only the ordering and the picking up but the arguing with insurance over what they say you need and what you really need. Make it easy with One Drop. They offer personalized test strip plans plus you get a Bluetooth glucose meter test strips lancets and your very own certified diabetes coach. Subscribe today to get test strips for less than $20 a month delivered right to your door. No prescriptions or co pays required. One less thing to worry about not that surprising when you learn that the founder of One Drop lifts with type one, they get it One Drop gorgeous gear supplies delivered to your door 24 seven access to your certified diabetes coach learn more go to Diabetes connections.com and click on the One Drop logo. My guest this week has been living with type one almost as long as she's been making music. Alisa Weilerstein has a remarkable story she debuted with the Cleveland Symphony At age 13, played Carnegie Hall at 15, performed at the White House at 27. And then she was awarded the MacArthur Foundation Genius Grant fellowship when she was 29 years old. I found her Tiny Desk concert. If you're familiar with those from NPR, that was 10 years ago, I will link that up as well. She is currently in Europe where she and her family live for half the year. I spoke to her. It was back in September when she her husband and their four year old daughter had just traveled back to Berlin from San Diego. Elisa, thank you so much for joining me, it's so interesting to talk to you that you're in Europe, we've got a little bit of a lag here on the call. But thanks for coming in. I   Alisa Weilerstein  5:37 appreciate it. Oh, you're so welcome. Thank you for having me on your show.   Stacey Simms  5:40 Before we jump in and talk diabetes and music. Tell me a little bit about living in Berlin. You live there half the time now?   Alisa Weilerstein  5:47 Yes. Well, I mean, I'm a I'm a cellist I played classical music. Of course, in normal times, I play about 120 concerts per year. And they're split between Europe and North America with an occasional trip to Asia. Of course, during the pandemic, that's been radically changed, obviously. But that's my schedule during normal times. And so it was very important for both me and my husband, my husband, as a conductor, to have a base in Europe as well, so that we're not just constantly on transatlantic flights, more than we actually need to be. So we have a base in Europe, which is Berlin, and it's such a great Center for the Arts. And our daughter loves it here. Our daughter was actually born here four and a half years ago. And yes, that's one reason why we chose Berlin.   Stacey Simms  6:27 I'm curious what the flight was like, and what the experiences like traveling from the US right now, with everything that's going on?   Alisa Weilerstein  6:33 Well, it's interesting, because then we spent most of the pandemic in San Diego. So we were there from March 13. Basically, you know, that that the day that all of the all of the borders shot, and I actually traveled to Germany in June, to play a live broadcast in Hamburg. At that time, it was a two week quarantine in Germany. And so I can't even hear it here in my apartment in Berlin. And at that time, it was even more sort of wacky to travel at that point than it was a week ago, when we flew back here to San Diego with my whole family. At that time. I mean, there were there were so few flights, and there was practically no one in the airports. So I flew from LA to Newark, of course, you know, you don't take your mask off your face, obviously. And even though there were like 10 people on my site, and not more than that, and then I had 10 hours in Newark, and then I suppose from Newark to Frankfurt, and I got a test immediately upon arrival, they were even doing testing at the airport at that time. And then my results arrived within 48 hours. You know, I tested for the for the virus and also for the antibodies, which unfortunately, I didn't have the antibody, I was actually disappointed. But anyway, I flew back to San Diego to rejoin my family. And then my whole family to my husband, my daughter and and also our daughters many. We flew back to Berlin. Again, it was a very few flights to San Diego, Chicago, Chicago, London, London, Berlin with a four and a half year old, you can imagine what oh, my gosh. But, you know, we tested right before literally before he went to the airport, we went to a lab to test and then we got tested at the airport and in Berlin Tegel airport there. They're doing testing upon arrival. And those results came within 24 hours. And potential street for me got here. So my girl was able to go to school right away here, which made her very, very happy. Great. Yeah,   Stacey Simms  8:18 yeah, I'm glad. I'm sure you're all glad to be settled.   Unknown Speaker  8:21 Oh, yeah.   Stacey Simms  8:24 So let's talk about type one. You were diagnosed at nine. Do you remember your diagnosis story?   Alisa Weilerstein  8:30 Oh, yeah. Very well. Yeah, it was actually the month before my 10th birthday was March first 1992. And as you remember that, of course, like 92 was a kind of critical year in diabetes research, which definitively proved that tight control could ward off the risk of complications by you know, whopping percentage, and they are 66% less likely to get complications if the agency was 7% or below. So that was encouraging. But yeah, my diagnosis story was essentially, for the couple of months leading up to my doctor's visit, I exhibited the classic symptoms, I was urinating frequently with who had extreme thirst, and I was losing some weight. And I've always been a kind of muscular body type. And I suddenly became, you know, sort of like belly dancer and not like my energy was okay. And was was actually sort of normal until like, about a, I remember, like, a few days before I went to the doctor, and I was just feeling just sort of tired, which was very unlike me. And my mother took me to the pediatrician. She said, you know, maybe you have a bladder infection because I was, you know, going to the bathroom every hour or something like that. So I remember we got a urine sample from home, which the doctor had asked us to do that. And so you know, I peed into a jar basically. And then we went to the pediatrician and, sorry   Stacey Simms  9:52 It's a type one diabetes all the time.   Alisa Weilerstein  9:58 The diabetes podcast, so I'm your listeners are familiar with this. And anyway, I am submitted the sample. And then I remember the doctor who might like very much, I actually took my mother aside, and there was some whispering, which I didn't know about. And my mom looked very serious. And she said to me, Well, the doctor thinks the jar was contaminated. So just give her another example. And so I went to the Darrell bathrooms and gave her a sample from the sterile cup. And unfortunately, the result was the same, which of course, showed sky high glucose. And the doctor said, Well, you know, you need to go straight to the ER, and doctor told me, so do you need to get a blood test? And so I thought, Oh, my, you know, I don't really like and then I remember asking my mother, I said, well, Can I at least get some m&ms afterwards. And my poor mother, she, I mean, she didn't know much about diabetes, but she heard that word diabetes mentioned. And she knew that that meant a sugar issue. And so she just kind of looked at me and she opened her mouth, and she closed it again. And ah, and, you know, we drove to the hospital. And then the rest was really kind of blur. My father, you know, I remember my mom calling my father saying you need to get here now. And my, my little brother at the time was four. And I remember them all kind of standing around me and I was getting weighed. And then suddenly, I was like, on a gurney with IVs, and needles sticking in and out. And then doctors coming in saying, Yes, we think it's juvenile diabetes. And of course, you know, somebody was in examining my tongue to see how to hide it. And I might I, I might have been, and it was very kind of dramatic. My blood sugar was 464. At the time, they said that actually, we caught it relatively early. If you can believe that. I think at that time, some kids were coming in already, you know, the 800, or something like that, coming into with, you know, really, rather advanced ketoacidosis. And I wasn't there yet, I was throwing some ketones. It wasn't yet in kind of a dire situation. Anyway, I was then in the hospital for about a week just for the kind of diabetes education and it was kind of a crash course in how to manage type one diabetes. And at the time, my insulin regimen was NPH. And regular to the fast acting because it was it was even before the time of humalog. And my blood sugar meter took 45 seconds to read the blood glucose results and counting carbohydrates and all of that stuff. So this was my diabetes education.   Stacey Simms  12:16 At nine years old, you were already on your way to playing music and performing as you did anyone say anything? I had to fit your first question, right? Can I still do this? What did they tell you about your musical career?   Right back to Alisa, she's gonna answer that question. But first diabetes Connections is brought to you by Dexcom. And they have this great partnership with Tandem now with basal IQ and control IQ. And we started on basal IQ as soon as it was available. And this is the Dexcom g six tandem pump software program, and immediately started doing less work for better results. When we switch to control IQ, oh my gosh, even less work even better results with diabetes. I don't know if you remember, but years ago, they started with just putting the CGM information on the pump and it didn't communicate, it's just there. But this is something else, the whole system keeps spinning more steady. His time in range has increased significantly, his agency, you know, I don't share exact numbers, but it is the lowest that he's ever had. Of course, individual results may vary. But to learn more, just go to Diabetes connections.com and click on the Dexcom logo right back now to Elisa sharing what she was most worried about at her diagnosis.   Alisa Weilerstein  13:38 Well, this is why I say 1992 was actually I mean, if one had to be diagnosed with diabetes, you know, at any time, it was an encouraging year to be diagnosed. Because I mean that the doctors who actually were well informed said, If you manage this, well, you will be able to live exactly the life that you want to live. And that was the constant messaging from my doctor at the time, all the nurses around each month this is and and they were teaching me how to do things. And he said this is the reason you have to do this is so that you can live a full life and do all the things that you want to do and play the cello do go to school, see your friends, play sports, do all of these things. And I remember there was just one issue, where I kind of had to make a special accommodation, which is what the finger picking, because of course I was already as you say I but I was already quite curious about the cello. And the left hand, of course is the hand that goes on the fingerboard. And I remember saying to my doctors, I'm not going to click my fingers on my left hence I won't be able to play and I but however if I was able to prick my fingers on my on my bow hand that wouldn't have affected that. So I only used three fingers to prick and my whole life after that I only I only use the same three fingers to pick my finger, my test my blood sugar, and luckily they accommodated and they basically well as long as you do it and as long as you don't hurt yourself. Sure. That was the answer.   Stacey Simms  14:57 I was going to ask you about that. Because I couldn't imagine especially the amount of finger prick you had to do back then. Yeah, Listen, I've, for somebody who nagged her son for years to rotate fingers do a different thing. Yeah, you were able to just move it around enough so that you didn't have issues with just those three fingers.   Alisa Weilerstein  15:14 No, I didn't. And, and even at the time, I mean, the lancets were very good, very painless, and very thin. So I mean, there was actually there was never an issue. And I mean, at the time, the recommendation was to test four times a day, I remember at the time that was considered like being very responsible. Of course, now, we would probably say that's kind of bare minimum. But as I got older, and I tested more often, I mean, I was asked to test before the continuous glucose monitors were accurate enough to kind of rely on I was testing 10 times a day, and I was just using those same three fingers.   Stacey Simms  15:43 That's so interesting. And you've mentioned a couple times 1992, we should just step back and mention as you listen, if you're not familiar, we're referring here to the dcct trial, the diabetes control and complications trial, which was really the first time as you said, that they believed that you could make a difference. I mean, it's hard to believe that before that time, doctors thought, Well, that's it if you have type one or juvenile diabetes, as they called it, you wouldn't live past 30. And this showed that you could,   Alisa Weilerstein  16:09 yeah, and you would kind of have to go to an alternative doctor to get anything more hopeful, or any kind of agency with it's really yeah, and   Stacey Simms  16:16 I'll link up more information on the dcct. It was such a pivotal time and diabetes. And it wasn't that long ago, when you think about it now. Alright, so you're then on your way, you're doing what you need to do. You've got your family on board, you're playing music, Cleveland Orchestra at age 13. And on and on. And I have to say, when I watch someone play the cello, and please forgive me, I am so musically ignorant, except that I enjoy listening. It seems like it's very athletic. It's a very physical looking instrument to play. Can you talk about that? Is it I assume that   Alisa Weilerstein  16:48 yes, it is? Oh, yeah, yeah, completely. And especially I'm not very tall, myself, I'm about five to my posture is good. You know, you have to learn how to use your body in a very efficient way, like kind of a lot of Alexander Technique. And yoga concepts can apply very well to pretty much any instrument, but kind of the cello, especially in terms of the strength that it takes. And truly free with instruments, you have to basically use your body to know how to use the natural energy and not natural body weight very well. And of course, it just takes a lot of years of practice to build it up. I mean, there's no substitute for time really, with that,   Stacey Simms  17:21 you must have by now of routine and you you the physicality of it, you've got that down. But when you were younger, and first learning, what did you do? Did you keep tabs like in your chair, or in your case, you know, how did you manage diabetes and playing   Alisa Weilerstein  17:35 I mean, I kept glucose tablets pretty much everywhere. playing the cello itself did not cause low blood sugar, I mean, there were a couple of pieces that I knew were kind of workouts in a way and that I would sometimes eat a little bit or maybe drink a little bit of juice before, I mean, like the way you would before going for a run, just to have like a little bit of energy to make sure that you have a threshold that can kind of carry you through if you're going to drop a little bit. So it was a lot of trial and error. And I just found out kind of what worked in I mean, in terms of going on stage, especially before the pump, certainly which I got an A pump when I was 16. So that was 98. And certainly before the CGM, I would test before going on stage. I mean, I've just tested in general much more on concert dates than on other days. And I always like to get to the hall about an hour before so that I could slowly put the gown on. So they put me so they kind of put my ducks in a row in terms of playing and just warming warming up slowly and kind of just getting myself in the mental space. But it was also blood sugar wise, it was just important for me to be able to test one hour before, kind of every 15 minutes. And then like two minutes before I'd walk on stage just to make sure that I was not going to get low on stage. I mean, like if I was 170, or something on stage, it wasn't ideal, but it was better than being 65 when you're going on stage because of course below that, then you kind of start to lose coordination. I mean, my ideal number to go on stage would be like 130 because the blood sugar's maybe slightly on the high side, but it's good enough that I felt normal. And I had a threshold to drop, so that if I walked offstage, and I was 85 or something like that would be fine.   Stacey Simms  19:10 You mentioned there were a couple of pieces that stand out as being more physical or do can you share those with us? I'm curious, which anything stand out?   Alisa Weilerstein  19:20 Sure. There's a concerto, which means that there's a solo instrument with an orchestral accompaniment, and the composer is Prokofiev, who was a Russian composer who actually died the same day that Stalin died. Oh, my 1953. Yes, the same day. So of course, nobody paid attention when he died, unfortunately, because it was one of those really, really tragic ironies to add to so many tragic ironies of the time, but he wrote a fantastic masterpiece for each other an orchestra called the symphony concert count, which is a symphony concerto. It's a 45 minute kind of tour de force, for the cello and for the orchestra as well, but especially the solo cello where which is just Just wild, very, very, very physical, technically very, very challenging. And it's just kind of an endurance exercise. And I remember just being very sure that I was not going to get low on stage. So I did a few practice runs of that pizza. The first time I played it in public, the first time I played it in with the orchestra, I was about 16 or 17 years old, I did several kind of practice runs, just running through with it with a kennel reduction for friends and for for my parents and things like that. So I knew kind of what my blood sugar threshold was with that piece in particular, it's funny, it was   Stacey Simms  20:34 Prokofiev. All I know is Peter and the Wolf.   Unknown Speaker  20:37 That's what I think. Yes, of course. No, it's just what I pay for my daughter all the time. You're fantastic.   Stacey Simms  20:43 It's funny. Oh, yeah. That's great. Yeah, yeah, at this point, it's almost like a professional athlete. In terms of I assume you have a routine, you know, you know,   Unknown Speaker  20:52 look, at this point, you   Stacey Simms  20:54 know, what you're doing. I'm curious. But anything throw you for a loop in terms of diabetes. These days, I'm thinking about advice for, you know, younger people who are starting out in a musical career, or, you know, just anything like that. So what throws you for a loop, we're in there?   Alisa Weilerstein  21:10 Oh, well, sometimes I can have a very inconsistent response to stress or to nerves, because generally speaking, I don't get nervous on stage. But perhaps the kind of travel situation, especially these days can make me quite stressed out and, you know, say high strung and nervous and then my blood sugar just shoots up, sort of out of nowhere, or it can be like a kind of a sticky high, and I can't get below 185, no matter how much I mean, like I can be, like, feel like I've got an ID of insulin and nothing brings it down until I relaxed, that can just sometimes be really kind of flummoxing and very frustrating. And then of course, I get more stressed about the blood sugar. And then of course, the stress response doesn't go down. So that's something that I just find very frustrating. And something that I feel is kind of out of my control and less like kind of just force myself to do some deep breathing in a kind of airport travel situation, which is stressful. Other things that life can throw your way. unexpected things I just signed, you know, test test test, look at the CGM as much as possible. And then you can catch the kind of unexpected highs and lows much much more easily. And so that's my advice to anyone just test as much as possible. Or if you have a CGM. Just make sure that you're really aware of what's going on there.   Stacey Simms  22:20 Can I be nosy? And ask where you were your tech? Yeah, she during performance, of course, I'm trying to think of the body motion and where it's, you know, where it makes sense.   Alisa Weilerstein  22:29 Well, not on my arms. Probably imagine, I put my infusion set in the center of my stomach. And when I'm wearing a gown, there's, I'm not sure even which company makes any more. But I think there's the diabetes mole, which has something called the five thing and this kind of like a garter belt, and it has a pocket, which is where I put my pump, when I'm wearing a dress or a concert gown.   Stacey Simms  22:52 Right? You've mentioned your daughter a couple of times, if they did, were you concerned, I obviously, you know, it takes a lot of work when you're wanting to get tight control before you get pregnant. I'm curious. Sounds like your doctors told you from the get go that you'd be okay. Can you share a little bit about that journey in terms of, you know, deciding to have your child,   Alisa Weilerstein  23:10 it's something that was kind of hanging over my mind. And it was it that's a personal thing. It's just not to say that, oh, you get a diabetes diagnosis, and you worry for the rest of your, let's say, especially if your child 17th, whether you're going to be able to have a healthy pregnancy or not. But I did actually have that kind of worry. And I would say I spent probably two years before we decided it was the right time to try and conceive just kind of experimenting to see how tight I thought I could get the control, especially with an intense travel schedule. And I found that at the time, the CGM was getting better and better. Like as you know, back in, you know, 2008 2009, the CGM was maybe 40% accurate assess. I mean, it was just terrible. I was like throwing it against the wall sometimes because it would just as I took Tylenol or something, it would go up to show that I was reading 400 because it couldn't, it didn't react about this kind of medicine and other things. And it was fall off. And it was just awful. So I get back two years before, you know my daughter was born in 2016. So this was like 2014 or so. I mean, my agencies had been in the low sevens at the time, and then I got them down to 6.8 6.6. And I thought, Okay, I think I'm going to be able to manage this. Because I was doing a lot of fine tuning. And then as your son will probably relate to this, like, the more you pay attention, the worse you actually think your blood sugar is, but it's actually your budget is actually getting much better. You know what I mean? Yeah. And so this was something that I realized that my doctor was telling me I was doing it, basically. And I was like, Really? I don't think I'm doing and then I saw Oh, my average was like 129 Oh, okay, that's not bad. But I mean, of course, it needs to be better than that for pregnancy. But this is in range. I could finally envision, you know, having an average of you know, 110 or something like that. And so we got pregnant and of course, the pregnancy itself is the biggest motivator. And I, of course, I was poked and prodded more than I care to remember during the pregnancy because of course, I was classified immediately as high risk and I had to see the doctor, you know, all the time, but I was working and traveling until 35 weeks. Oh, well, you can find a YouTube video of me doing my second to last concert with our daughter, my daughter and my belly. I played Hindemith concerto with the Frankfurt Radio Symphony. And my belly was absolutely huge. And then like, I'm walking on stage with this thing. And I saw myself, wow. I mean, I remember what it felt like. But seeing it now as it was some distance. It's kind of kind of amazing to me that I did that. But it was important to me to keep going. And I generally had a very easy pregnancy until the very end, and I felt best. And my blood sugar was best when I was active. You know, I was under strict supervision of my doctors, but I managed to do that.   Stacey Simms  25:50 How do you talk about your diabetes with your daughter?   Alisa Weilerstein  25:52 What does she know? She knows, in a very general way, if she sees me drinking juice, she knows that I'm low, because I don't drink juice. Otherwise, she knows that I have diabetes, she knows the word diabetes, and what you know, let's say in a very general way, what it is, and she knows what my medicine is, and that she's not supposed to touch it. And she can watch me kind of handle it, things like that. But that that's this is only Mama's territory to kind of handle things like that. So sometimes she likes to kind of look at my pumpkin to know what it does and things like that. But other than that, she doesn't know too many other details.   Stacey Simms  26:22 One of the things that when we were talking about coming on the show, I noticed that you're working with he Genesis, can you tell me a little bit about what you know who they are,   Alisa Weilerstein  26:31 he Genesis is? Well, it's an amazing company, they don't only work on diabetes research, they work on kidney disease and liver disease. And really, they're kind of primary goal is to make sure that there are no organ shortages for anyone who needs them. And so what they're working on is Type One Diabetes islet cell transplants. So they have an incredible immunology team, which I've been in touch with a bit. And it's just, it's very, very exciting, the research that they're doing, and my association with them really is to kind of spread the awareness of what it's truly like to live with type one diabetes, and to stress the need for a cure. Because nowadays, with biotech, making such amazing advances, sometimes people around me who don't know me, so well look at me, and they they don't really even know that I have diabetes, and they say, Oh, well, you make it look so easy. And it seems like with the technology, you can live a very, you know, you What do you need a cure for in a way. And this, of course, is exactly the wrong kind of message that you want to send us and Well, yes, I'm a very positive person, and I manage my diabetes as best I can. And I have the technology and the knowledge to do that. However, as we were saying before, living with Type One Diabetes is a 24 hours a day, seven day a week, 365 day a year job. Even with the technology, there is not a moment that goes by that you can really relax about it, you always have to be paying attention. I don't know how to look at a plate of food and not count the carbohydrates. And I don't know how to go for a run without thinking, Okay, how is this going to affect my blood sugar is my pump actually going to react to that and say, if I if I go for a sprint, how many glucose tablets do I have? Am I gonna drop too low to actually finish it, that kind of thing. And that's even with the technology that we have now, not to say nothing of hyperglycemia, gun awareness and all of these other things that we know are dangers with living with type one diabetes, and you as a parent of a diabetic have a type one diabetic who is luckily very well controlled. This is probably something that that you were always concerned about hypoglycemic unawareness overnight and things like that. I know that this was certainly something that my mother probably lost countless hours of sleep over. And type 1 diabetes is, you know, to say nothing. Also at the expense of managing type 1 diabetes, we all know what insulin prices are, we know what the prescription medication needs are. And the fact that type 1 diabetes is actually the most expensive chronic disease to treat of any chronic disease. And so this is really why we all need to be lobbying this and countless other reasons. This is why we are all lobbying for a cure. Not treatment, pain, of course, better treatment, but in the absence of a cure. But the ultimate goal, obviously is is a real cure.   Stacey Simms  29:08 We didn't talk much about music during this interview. I didn't know you were here to talk about. Okay, that sort of thing. But you have been playing according to what I've read you really been playing since probably before you remember much right? Did you start playing cello at age four?   Alisa Weilerstein  29:23 I did. Yeah.   Stacey Simms  29:24 Is it still exciting? Is it still challenging? Is it still fun?   Alisa Weilerstein  29:27 Oh, yes. And I'll eat all of the above. Yes, challenging, exciting, fun, frustrating, wonderful. tear my hair out type of frustrating sometimes as well. But you know, is one of those things where there's no concrete goal, really, I mean, you just have to keep growing. And in a way, there's a kind of a parallel with diabetes management, there are two because as we know, there's no way to do it perfectly. And you have to just do the best you can. And so that's like being an artist. You're constantly striving to be better to be the most studiers to yourself. To the composer's to what you're trying to say, you know, you're always searching for ways to do that better and to do it more clearly. And to do it more Honestly, I'm always experimenting.   Stacey Simms  30:09 Well, Lisa, thank you so much for joining me and for making time to talk about this. It's been a crazy time we're living in now, but I wish you the best as you're now in Europe. And, but really, thank you so much for spending some time with me and my listeners.   Alisa Weilerstein  30:23 Oh, my pleasure. Thank you so much for having me on your show.   Unknown Speaker  30:31 You're listening to Diabetes Connections with Stacey Simms.   Stacey Simms  30:37 I will link up more information you've got here Elisa play. So I'll put a lot of that in the show notes, a couple of different links, including, you know, she mentioned that video where she was pregnant, I found that and she obviously looks great. But Josh, he plays with such passion in every video, I think you'll love it. So I'll definitely link those up. Whatever app you're listening to, if you're listening on an app, they always have show notes and you can often get the links there as well. But if you have any trouble as I always say just go back to the homepage and that will help you out. Tell me something good in just a moment. Did you hear the Dexcom at the Supreme Court we're going to talk about that. But first diabetes Connections is brought to you by g Bo hypo pen, and almost everyone who takes insulin has experienced a low blood sugar and that can be scary. A very low blood sugar is really scary. And that's where Jeeva hypo pen comes in. It's the first auto injector to treat very low blood sugar. Jeeva hypo pen is pre mixed and ready to go with no visible needle. That means it's easy to use in usability studies 99% of people were able to give Jiva correctly, I am so glad to have something new, find out more go to Diabetes connections.com and click on the G book logo. g book shouldn't be used in patients with pheochromocytoma or insulinoma visit Jeeva glucagon comm slash risk.   Didn't tell me something good. This week, let's talk about the Girl Scouts for a moment. This is all about Isabella. She was just diagnosed in April. And she is part of a Girl Scout troop. Her mom Carrie posted a photo and I wanted to talk to her about that it looked so great. And here's what happened. Isabella is part of a Girl Scout troop. And she did a presentation on diabetes for diabetes Awareness Month. But this went a little bit further than a lot of the presentations that we have seen. And Isabella let everybody or asked everybody to do a finger poke to experience a little bit of what she goes through. And I'm laughing because the photo that's posted and I'll see if I get permission to share this is Isabella poking an adult's finger, and the adult is looking a little apprehensive. But there's this little girl in the background who just is very concerned, she's got this look on her face. Like really? What do you have to do that all the time? You know, it's a wonderful picture to show the empathy, I think and really also, and this might sound a little bit flowery, but I mean, this the bravery of Isabella, it's not easy to show other people, all the stuff that you have to go through when you have type one. And you know, maybe her friends would be scared or maybe they would treat her differently to have the support that she has, I think is really special. So Carrie, thank you so much for sharing that. Isabella, congratulations to you for sharing all of that. And good on the Girl Scout troop. That's awesome. Our next Tell me something good comes from the highest court in the land. Last week, the Supreme Court heard arguments about the Affordable Care Act. This is the third time in eight years that the Obamacare as it's also known, has been in front of the Supreme Court. But what I want to focus on is Justice Sonia Sotomayor is Dexcom Yes, of course, many of you already know that. One of the justices lives with type 1 diabetes. If you haven't read her incredible biography. I will link that up in the show notes. And yes, she is one of my dream guests. So somebody helped make that happen for us. I reached out to the press office, I'm gonna continue to work it will get her on one of these days. But her Dexcom apparently went off crystal a prick. liano heard it. She is an incredible diabetes advocate. And she was the very first guest on this show. Yeah, back in 2015. And she tweeted out that she had heard it she thought it was her Dexcom going off, but it was Justice Sotomayor is and that sparked a little bit of conversation about why would it be going off as a clerk kind of bring her juice box? And is it frustrating that you can't silence all the alarms? And why would you want to silence all the alarms and it was interesting to hear people go back and forth about that. One thing that did come up if you do want to silence the alarms, and look, I know we want that urgent low to be going off, but you are grownups as you listen, and a lot of people do not want to blaring at their workplace or they want to have a different way of doing this. Right. We all want our DIY stuff. If you don't already know one workaround is to stick headphones into the jack on your phone and then the alarm will go off but it'll go off in the headphones and it won't bother anybody else at work. As a mom, I don't want you to turn your urgent low alarm off. I mean, come on. I'm a mom, but I get it. So that was one thing but came up. But isn't that interesting? I have all sorts of personal and prying questions for Justice Sotomayor. Maybe that's why she doesn't want to come on. And talk to me about, hey, where do you put your Dexcom? Do you use skin tack?   Unknown Speaker  35:12 We would have more important things to talk about. I   Unknown Speaker  35:13 am sure   Stacey Simms  35:14 if you haven't told me something good story, please send it my way. Stacy at Diabetes connections.com or posted in the Facebook group Diabetes Connections, the group. I feel like this month has been busier. And not just because it's diabetes Awareness Month. I'm actually I there's stuff going on. I'm doing panels. I'm taping things more than the podcast. So it's kind of fun. And I'm feeling more energized than I have been in a while, which is nice. This weekend. I'm participating in the healthy voices conference. This was supposed to be in the spring, I think we're supposed to be in Dallas. I mean, I can't even keep track of the number of airline tickets. I had to reschedule, like most of you. But I'm excited because I'm not just talking about diabetes. I'm actually not even talking about diabetes. I'm talking about podcasting. And I'm talking about teaching podcasting. And I will be teaching health advocates, patient leaders how to podcast and how easy it is, you know, not to be afraid of it, how their voices are so important, but truly, it's not an esoteric, you know why you should podcast or your voice matters, which it very much does. It is down and dirty. You plug this microphone into this program. Here's how you get your RSS feed on Apple. I'm thrilled to be doing this. And if as you listen, you know somebody who wants to hear more about that stuff. podcasting is obviously my passion and I love helping more people get started. As this episode airs. I believe it will be tonight, I am taping something that will be for air in December. It's the annual Wait, wait, don't poke me, which is a game show that I do for friends for life. It is a take off of the NPR show. Wait, wait, don't tell me. I love it so much. We have so much goofy fun, and you'll be able to hear that you'll be able to watch that, if not at the conference in December. Shortly thereafter, I'll make it public and we always have a good time. Please remember that all this month you can get the world's worst of diabetes mom real life stories of raising a child with Type One Diabetes for a big discount for dollars off at Diabetes connections.com use the promo code November, he makes a nice gift for the holidays. Boy, I'm so bad at this advertising stuff. But you can go ahead and read the reviews on Amazon. You can purchase it on Amazon as an audiobook or an E book or head over to my website and get the discount. And I forgot to mention if you buy it off my website, I'll sign it for you. There's a little form on the on the very bottom of the order form. When you fill it out. It'll say order notes and just put if you want me to personalize it, or anything you want me to write, assign them all but if you put it in there, I will personalize it for you. thank you as always to my editor john Buchanan from audio editing solutions. Thank you so much for listening. I'm Stacey Simms. I'll see you back here next week. Until then, be kind to yourself.   Benny  37:52 Diabetes Connections is a production of Stacey Simms Media. All rights reserved. All wrongs avenged

Alisa Weilerstein has type 1 diabetes and is an American classical cellist. Music courtesy of Pentatone records.  Show notes for people who are Bold with Insulin Visit AlisaWeilerstein.com and Alisa on Instagram. Add your voice to the T1DExchange > Gvoke Glucagon the only Pre-Mixed glucagon  > CONTOUR NEXT ONE smart meter and CONTOUR DIABETES app > Find out more about the Dexcom CGM > Get an FREE Omnipod Demo today  > Learn about Touched By Type 1 A full list of our sponsors  How to listen, disclaimer and more Apple Podcasts> Subscribe to the podcast today! The podcast is available on Spotify, Google Play, iHeartRadioRadio Public, Amazon Music and all Android devices The show is now available as an Alexa skill. My type 1 diabetes parenting blog Arden's Day Listen to the Juicebox Podcast online Read my award winning memoir: Life Is Short, Laundry Is Eternal: Confessions of a Stay-At-Home Dad The Juicebox Podcast is a free show, but if you'd like to support the podcast directly, you can make a gift here. Thank you! Follow Scott on Social Media @ArdensDay @JuiceboxPodcast Disclaimer - Nothing you hear on the Juicebox Podcast or read on Arden's Day is intended as medical advice. You should always consult a physician before making changes to your health plan.  If the podcast has helped you to live better with type 1 please tell someone else how to find the show and consider leaving a rating and review on iTunes. Thank you! Arden's Day and The Juicebox Podcast are not charitable organizations.

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

What makes a life? After the early death of her younger brother, Andrew Blue, this question consumed composer Jennifer Higdon. Her beloved orchestral work, Blue Cathedral was her creative answer to that question. Blue…like the sky.  Where all possibilities soar.  Cathedrals…a place of thought, growth, spiritual expression…serving as a symbolic doorway into and out of this world.  Join Amy Scurria this week for a very personal conversation with Pulitzer prize and 3 time Grammy award winning composer, Jennifer Higdon about her life, her meteoric rise to prominence in the music world, and how she has adapted to pandemic life.* List of works played on this episode:1. The Shallows for string trio and orchestra, from Jennifer Higdon's "Concerto 4-3", commissioned by the Philadelphia Orchestra, the Pittsburgh Symphony, and the Wheeling Symphony. Performed by Time for Three and The Fort Worth Symphony with Miguel Harth-Bedoya conducting.2. Our Beautiful Country for men's chorus, from Jennifer Higdon's opera, Cold Mountain based upon the novel by Charles Frazier with a libretto by Gene Scheer. Commissioned by the Santa Fe Opera, Opera Philadelphia, and the North Carolina Opera. Performance by Chanticleer from their CD, Heart of a Soldier.3. Pale Yellow from Jennifer Higdon's Piano Trio. Commissioned by the Bravo-Vail Music Festival. Performed by Anna Akiko Meyers on violin, Alisa Weilerstein on cello, and Adam Neiman on piano. This work is available for purchase on the Naxos CD: "Jennifer Higdon: Piano Trio, Voices, Impressions"4. Blue Cathedral for full orchestra. Commissioned by the Curtis Institute of Music. Performed by the Atlanta Symphony Orchestra with Robert Spano conducting. This work is available for purchase on the Telarc CD: "Rainbow Body"

In this episode of Spoleto Backstage , Geoff Nuttall and Bradley Fuller revisit another unforgettable program from the past decade of the Spoleto Festival USA Chamber Music Series. Before moving to the music itself, the two hosts talk about what makes this 2016 concert a top-pick performance. Opening the program are two dazzling violin showpieces by Fritz Kreisler—his Praeludium and Allegro, as well as the Caprice Viennois , Op. 2. Violinist Benjamin Beilman performs both, accompanied by pianist Pedja Muzijevic. Composer Osvaldo Golijov then introduces his “Drag Down the Sky” (an aria from the opera Iphigenia ), performed by baritone Tyler Duncan and the St. Lawrence String Quartet. The concert concludes with Pyotr Ilyich Tchaikovsky’s captivating String Sextet in D minor, “Souvenir de Florence,” Op. 70. After the music, Geoff is joined by star cellist Alisa Weilerstein for a conversation covering everything from her current projects to a memorable interaction with pianist and

In this episode of Spoleto Backstage , Geoff Nuttall and Bradley Fuller look back on a concert performed as part of the 2016 Spoleto Festival Chamber Music Series. After discussing what makes it one of the most memorable performances from the past decade of the series, the two enjoy a listen to the program. Andrew Norman’s Garden of Follies comes first, featuring oboist James Austin Smith and pianist Pedja Muzijevic. Next is a baroque-era work inspired by a Cervantes novel: Georg Philipp Telemann’s Ouverture-Suite, TWV 55:G10 “Burlesque de Quixotte.” The concert concludes with Sergei Rachmaninoff’s Sonata in G minor for Cello and Piano, op. 19, performed by cellist Alisa Weilerstein and pianist Inon Barnatan. After the concert, Bradley catches up with pianist and chamber-series regular Pedja Muzijevic to learn more about his current projects, programming decisions, and musical career—including what makes his involvement with Spoleto Festival so rewarding.

Joshua Weilerstein has two pet rabbits. Joshua and Kai talk about how carrots are like donuts for rabbits (4:48), growing up with superstar cellist Alisa Weilerstein (12:18), and balancing respect with collaboration as a conductor (18:50). They also discuss managing competition with colleagues (34:07) and his podcast, "Sticky Notes" (37:35). 

durée : 01:58:35 - Harmonies slaves - par : Frédéric Lodéon - Vasily Petrenko dirige Kabalevski, Khatchatourian, Moussorgski, Chtchédrine. Tchaïkovski par Katia et Marielle Labèque, et Daniel Lozakovich accompagné à la baguette par Vladimir Spivakov. Alisa Weilerstein et Inon Barnatan jouent Rachmaninov, Chopin - réalisé par : Sophie Pichon

Cellist Alisa Weilerstein performs Samuel Barber’s concerto with the DSO this weekend. She joins WRCJ’s Peter Whorf to talk Barber, Bach and Beethoven…

In this episode, international soloist Stefan Jackiw talks to us about his journey overcoming a serious injury.  He tells us how he got injured, the steps he took to heal, the mental impact it had on him, and how he stays injury free. He also elaborates on: What his musicology studies brought to his playing What collaborating with other musicians mean to him Establishing strong fundamentals on the instrument How he maximizes his practice time His injury story: How it happened Facing the stigma attached to being an injured musician The mental impact it had on him and the new mindsets he developed as a result The reflection he did, the changes he implemented and how he overcame it How he modified his setup and technique as a result How he remains injury free The very important concept of surrendering in practicing How our level of stress and the amount of pressure we tolerate affects our playing How to plan practice     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we're currently discussing The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT STEFAN JACKIW: Website: https://stefanjackiw.com/ YouTube: https://www.youtube.com/results?search_query=stefan+jackiw Instagram: https://www.instagram.com/stefanjackiwviolin/ Facebook: https://www.facebook.com/StefanJackiw/   Stefan Jackiw is one of America's foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold's Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin.  Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more. Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev's Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra play-directing Mendelssohn. He also gave the world premiere of American composer David Fulmer's Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston's Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields. Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York's Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam's Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. At the opening night of Carnegie Hall's Zankel Hall in New York, Jackiw was the only young artist invited to perform, playing alongside such artists as Emanuel Ax, Renée Fleming, Evgeny Kissin, and James Levine. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

durée : 00:28:35 - Cordes sensibles du dimanche 29 décembre 2019 - Extraits des sonates pour violoncelle et piano de Rachmaninov et Chopin, et arrangement par Franchomme de la 7ème Etude de Chopin, dans l'interprétation d'Alisa Weilerstein et Inon Barnatan (Decca)

durée : 01:58:35 - Carrefour de Lodéon - Acte II du dimanche 29 décembre 2019 - par : Frédéric Lodéon - Vasily Petrenko dirige Kabalevski, Khatchatourian, Moussorgski, Chtchédrine. Tchaïkovski par Katia et Marielle Labèque, et Daniel Lozakovich accompagné à la baguette par Vladimir Spivakov. Alisa Weilerstein et Inon Barnatan jouent Rachmaninov, Chopin - réalisé par : Sophie Pichon

Briljantne duo Alisa Weilerstein ja Inon Barnatan esitavad Chopini ja Rahmaninovi g-moll tšellosonaadid ja veel valitud palad, sealhulgas Auguste Franchomme'i seade Chopini Etüüdist op. 25 nr 7.

Briljantne duo Alisa Weilerstein ja Inon Barnatan esitavad Chopini ja Rahmaninovi g-moll tšellosonaadid ja veel valitud palad, sealhulgas Auguste Franchomme'i seade Chopini Etüüdist op. 25 nr 7.

For the final "High Notes" of the 2017 season, AMFS President and CEO Alan Fletcher is joined by star cellist and Aspen alumna Alisa Weilerstein; 2017 Van Cliburn Gold Medalist Yekwon Sunwoo; and the cast of Berlioz's "Damnation of Faust," which will close the AMFS season this Sunday. Recorded live in Aspen on August 16, 2017.

Join conductor and host Joshua Weilerstein as he interviews his sister, the beloved cellist, Alisa Weilerstein!  We're talking growing up in a musical family together, new music, Russian literature, history, and music, reviews, dealing with criticism, traveling, and diabetes advocacy, plus much more.  This was a really fun show as always - I hope you enjoy it!

Cellist Alisa Weilerstein has been acclaimed world-wide since she performed in our studio back in 2008. We revisit that perfromance with Inon Barnatan, in honor of her appearance with the BSO at Tanglewood on August 11th, 2017. Chopin:  Sonata for Piano and Cello in G minor, Op. 65 Alisa Weilerstein, cello; Inon Barnatan, piano Recorded at WGBH's Fraser Performance Studio on May 1st, 2008.

I programmet diskuteras Weilersteins tolkning av Sjostakovitj, Sonya Yoncheva sjunger Händel, musik av CPE Bach samt Gidon Kremer med kolleger som spelar Rachmaninov. Amerikanskt tema I mindre skala. SERGEJ RACHMANINOV/KREISLER Preghiera, Trio élégiaque nr 2 d-moll Gidon Kremer, violin Giedré Dirvanauskaité, cello Daniil Trifonov, piano DGG 479 6979 DMITRI SJOSTAKOVITJ Cellokonserter nr 1-2 Alisa Weilerstein, cello Bayerska radions symfoniorkester Pablo Heras-Casado, dirigent Decca 483 0835 Referensen Johan refererar till och jämför med Sjostakovitjs första cellokonsert i en inspelning med Mstislav Rostropovitj tillsammans med Philadelphia-orkestern ledda av Eugène Ormándy och inspelad på Columbia/Sony Classical. GEORG FRIEDRICH HÄNDEL Arior Sonya Yoncheva, sopran Academia Montis Regalis Alessandro De Marchi, dirigent Sony 88985302982 CARL PHILIPP EMANUEL BACH Der Frühling Arior, Triosonata. Sinfonia m.fl. Rupert Charlesworth, tenor Café Zimmermann Alpha Classics ALPHA 257 I mindre skala Alexander Freudenthal och Johanna Paulsson jämför stort med smått eller tvärtom. Idag är temat Amerika. Andra i programmet nämnda eller rekommenderade inspelningar: Rachmaninovs Trio elégiaque i pianokonsert-version med pianisten Alan Kogosowski och Detroits symfoniorkester ledda av Neeme Järvi på skivmärke Chandos. Carl Philip Emanuel Bachs musik med Akademin för tidig musik, Berlin. Händelarior med Emma Kirkby på skivmärkena Decca och Bis. Sjostakovitjs cellokonserter med Truls Mörk och Oslos filharmoniker dirigerade av Vasily Petrenko på skivmärket Ondine; Truls Mörk med Londons filharmoniker under ledning av Mariss Jansons på Virgin Classics; cellisten Micha Maisky tillsammans med Londons symfoniorkester under Michael Tilson Thomas på DG samt Mstislav Rostropovitj och Tjeckiska filharmonin under Kirill Kondrasjin på Supraphon.  Svepet Den här veckan sveper Johan över två album; Beethovens tredje symfoni, Eroica med Londons filharmoniska orkester under Vladimir Jurowski på egna märket LPO samt över en live-inspelning från Gasteig, München med Mahlers nionde symfoni framförd av Bayerska radions symfoniorkester ledd av Mariss Jansons på märke BR Klassik.

Happy birthday, Rachmaninov! Because Rachmaninov’s birthday and our Spring Break lined up so nicely, it’s obviously the perfect opportunity to repeat this episode. Back next week with more of the usual (i.e., heavy metal car racing stories with lots of explosions). Cellist Alisa Weilerstein’s gives an introduction to the music of Sergey Rachmaninov. Who was this romantic man, and what makes him different from all the other guys – I mean, composers? Weilerstein walks us through Rachmaninov’s Sonata in G Minor for Cello and Piano. Plus, she talks about her musical relationship with performing partner, pianist Inon Barnatan, and what it’s like to be part of a long-term creative duo. Music in this episode is all from Weilerstein and Barnatan’s CD, Chopin and Rachmaninov Cello Sonatas: Sonata in G Minor for Cello and Piano, Opus 19. Sergey Rachmaninov. Audio production by Todd “Toight like a toiger” Hulslander with grrrr aargh’s from Dacia Clay and editing by Mark DiClaudio. If you enjoyed this episode with Alisa Weilerstein, check out her other Classical Classroom episode – all about the Aspen Music Festival and playing solo cello.

Celebrating the March birthday of Frederic Chopin - Two performances from our WCRB Studio: Chopin: Cello Sonata in G minor, Op.65 with Alisa Weilerstein, cello; Inon Barnatan, piano Chopin: Ballade No. 1 with Lise de la Salle, piano Recorded at WCRB’s Fraser Performance Studio (May 1, 2008 and November 10, 2009)

Picks from the week on In Tune, featuring bass Sir John Tomlinson; cellist Alisa Weilerstein; folk musicians Sam Lee, Lisa Knapp and Nathanial Mann; pianist Martin James Bartlett; and tenor Michael Spyers.

Jennifer Higdon började komponera vid 21 års ålder, efter att mest ha lyssnat på rock, country och bluegrass. Hon komponerar kvalitetsmusik som samtidigt kommunicerar med många människor. Tonsättaren och virtuosa flöjtspelaren Jennifer Higdon är en av USAs flitigast spelade tonsättare och fick 2010 det finaste pris man kan få inom konstmusiken i USA, Pulitzerpriset, för sin Violin Concerto. Samma år vann Jennifer Higdons Slagverkskonsert en Grammy. Hennes musik finns inspelad på över 60 CD-skivor. Jennifer Higdons filosofi är enkel: Musiken måste sjunga, den måste tala, den måste kommunicera.Hon skriver musik för musikerna och för lyssnarna och tror stenhårt på att hon kan skriva kvalitetsmusik och samtidigt kommunicera med många människor. Om Jennifer Higdon har det skrivits att hon i sin musik hellre använder klangfärger och melodier än teman. Hon håller med: -Mitt klangfärgstänkade kommer ur mina kompositionsstudier hos tonsättaren George Crumb. George Crumb själv listar hennes musikaliska fingeravtryck så här: rytmisk vitalitet, spännande färgsättning och känslighet för nyanser och klang. Det var den världskända violonisten Hilary Hahn som beställde Violinkonserten. Pulitzerprisjuryn skrev: Jennifer Higdons Violinkonsert är ett djupt engagerande verk som kombinerar flödande lyrism med bländande virtuositet. Hilary Hahn drog åt tumskruvarna och hetsade Higdon att göra verket svårare och svårare. Pulitzerpriset förändrade Jennifer Higdons liv över en natt. Redan första dagen fick hon, som har eget notförlag, 200 nya beställningar. Hon hade dock inte tid för dem alla och slussade helt sonika beställarna vidare till andra tonsättarvänner. Jennifer Higdons notförlag heter Lawdon Press och förläggare är Cheryl Lawson, Jennifer Higdons hustru. De möttes i gymnasiet för 31 år sen, och de lever helt öppet för att kunna vara stöd och förebilder för unga lesbiska kvinnor. Många av Higdons stycken kräver att musikerna använder utökade tekniker på sina instrument, som överblåsning, omvänd fingersättning eller instrumentbyte. Stycket On A Wire skrev hon för gruppen Eight Blackbird och symfoniorkester. Eight Blackbird inleder stycket med att spela inuti en flygel med fiskelinor. Jennifer Higdon var här inspirerad av Bowed Piano Ensemble från Colorado. -Strängarna sjunger då på ett utsökt och mystiskt sätt, förklarar Jennifer Higdon. Jag gillar att ge publiken överraskningar och på det sättet dra in dem i skeendet på scenen. Jennifer Higdon fick uppdraget att skriva musik till 75-årsjubiléet för Curtis Institue of Music i Philadelphia där hon studerat och numera verkar som professor. Detta händer ett år efter att hennes bror Andy Blue Higdon dör i cancer, endast 33 år gammal. Jennifer skriver det vackra, personliga stycket Blue Cathedral, ett tonpoem, som varje weekend spelas någonstans i världen. Walt Whitmans poem When Lilacs Last in the Dooryard Bloom'd skrev han kort efter lönnmordet på president Abraham Lincoln, 1865. Jennifer Higdons tonsatte av delar av dikten och gav stycket titeln Dooryard Bloom. Det framförs av den Panama-Amerikanske barytonen Nmon Ford. - Nmon Ford är svart och det är vackert att just han sjöng vid premiären och desuutom spelade in stycket på skiva, säger Higdon. Det var ju Abraham Lincoln som upphävde slaveriet i USA. 2015 hade Higdons första opera Cold Mountain världspremiär. Librettot är baserat på den internationella bestsellern Åter till Cold Mountain av författaren Charles Frazier. Läs om Jennifer Higdon på nätet: http://www.jenniferhigdon.com/ http://www.composersforum.org/content/jennifer-higdon  Musiklista:Percussion Concerto Jennifer Higdon Colin Currie (percussion) & London Philharmonic Orchestra (Marin Alsop)              Marin Alsop Conducts MacMillan, Ades, Higdon LPO 0035 Blue Cathedral Jennifer Higdon Atlanta Symphony Orchestra. Robert Spano, dir Robert Spano - Respons on the death of her brother Rainbow Body TELARC RECORDS CD 80596 Southern Harmony Jennifer Higdon Ying-Kvartetten United States_ Lifemusic (2) Jennifer Higdon Rapid Fire Jennifer Higdon Jennifer Higdon, flöjt "rapid.fire" I Virtuosi - IVR 501 Piano Trio, Sats 1 Pale Yellow Jennifer Higdon Anne Akiko Meyers, violin. Alisa Weilerstein, Adam Neiman, piano Higdon Piano Trio Voices Impressions  NAXOS 14590 On A Wire Jennifer Higdon Eight Blackbirds Atlanta Symphony Orchestra. Robert Spano, dir. CD 1001 ASO Media Konsert for Violin & Orkeste Jennifer Higdon Hilary Hahn, violin Vasilij Petrenko, dir. Royal Liverpool Philharmonic Orchestra Hilary Hahn Violin Concertos Percussion Concerto Jennifer Higdon Colin Currie (percussion) & London Philharmonic Orchestra (Marin Alsop)                  Marin Alsop Conducts MacMillan, Ades, Higdon LPO 0035 Impressions For String Quartet/ 3. To the Point Jennifer Higdon CYPRESS-Kvartetten: /Ward, Cecily (Vl) Stone, Tom (Vl) Filner, Ethan (Vla) Kloetzel, Jennifer (Vlc)/ (Iens) Impressions For String Quartet/ 2. Quiet Art Jennifer Higdon Cypress-Kvartetten: /Ward, Cecily (Vl) Stone, Tom (Vl) Filner, Ethan (Vla) Kloetzel, Jennifer (Vlc)/ (Iens) Dooryard Bloom Jennifer Higdon Nmon Ford, baryton. Robert Spano, dir. Atlanta Symphony Orchestra Transmigration TELARC CD-80673

  Start your Valentine’s Day week with cellist Alisa Weilerstein’s introduction to the music of Sergey Rachmaninov. Who was this romantic man, and what makes him different from all the other guys – I mean, composers? Weilerstein walks us through Rachmaninov’s Sonata in G Minor for Cello and Piano. Plus, she talks about her musical relationship with performing partner, pianist Inon Barnatan, and what it’s like to be part of a long-term creative duo.   Music in this episode is all from Weilerstein and Barnatan’s CD, Chopin and Rachmaninov Cello Sonatas: Sonata in G Minor for Cello and Piano, Opus 19. Sergey Rachmaninov. Audio production by Todd “Toight like a toiger” Hulslander with grrrr aargh’s from Dacia Clay and editing by Mark DiClaudio. If you enjoyed this episode with Alisa Weilerstein, check out her other Classical Classroom episode – all about the Aspen Music Festival and playing solo cello.

Happy New Year, everybody! Get ready for an astonishing onslaught of awesome, a veritable juggernaut of wow, from Classical Classroom in 2016 (John Luther Adams! The Force Awakens! Alisa Weilerstein!), starting with this episode featuring Rufus Wainwright.   You may know Rufus Wainwright as a singer-songwriter, a piano man, a dude who hangs out with Elton John and Joni Mitchell. But as it turns out, he also writes classical music and opera. In this episode, he talks about his new opera, Prima Donna, and writing a traditional romantic opera today. Audio production by Todd “Toddwright” Hulslander with polite claps from Dacia Clay and editing by Mark DiClaudio. All music in this episode from the opera Prima Donna, available on Deutsche Grammophon.

The cellist Alisa Weilerstein talks to Sean Rafferty.

It’s summertime, and the classical musicians have all disappeared. No, it’s not a classical music-specific alien body snatching situation. It’s just that they’re all at music festivals! Because we miss them, we’ve decided to follow the musicians to a different fest each summer. This year, we head to the Aspen Music Festival! In our four-show series, we’ll be interviewing festival leaders, musicians, and whoever else will talk to us. In this, the fourth and final episode of our miniseries, we speak with cellist Alisa Weilerstein about music (and the composers who write it) for solo cello. You’ll learn about the All-Stars of the cello world, unexplained gaps in cello music history will be explained, and – perhaps most importantly – you’ll learn how to pronounce the name “Kodaly”. Music in this episode: Music for Children, Op. 65 Arr. Piatigorsky – March Bach Suite No. 1 Prelude and Minuet (from Classic FM YouTube video) Sonata for Solo Cello, Op.8 – 3. Allegro molto vivace Omaramor For Solo Cello Suite For Solo Cello – 3. Intermezzo e Danza Finale Audio production by Todd “Team Edward” Hulslander with sparkling by Dacia Clay and editing by Mark DiClaudio and possibly Nick Dulworth. For more about Alisa Weilerstein: www.alisaweilerstein.com For more about the Aspen Music Festival: www.aspenmusicfestival.com

When Alisa Weilerstein came to the WQXR Café, it was during the epic cold blast that gripped New York, sending residents scurrying indoors while impairing string instruments with wayward pitch. Yet after a thorough warm-up, the cellist launched into soulful renditions of solo works by Osvaldo Golijov and J.S. Bach and the icy temps may have receded into memory. Weilerstein, who is a 2011 recipient of the MacArthur "Genius" grant and a busy touring artist, performed what she described as "one of the most beloved pieces for cello," the Gigue from Bach's Cello Suite No. 3: Thoughts about the weather were further put aside when Weilerstein brought up her latest recording, an all-Dvorak affair that includes the Cello Concerto along with several miniatures (read more and get a free download here). She recorded the concerto last summer in Prague with the Czech Philharmonic. "There’s a kind of warmth and depth to their playing which I found very unique,” she said of the orchestra's sound. Weilerstein spent a day at Dvorak’s 18th-century house on the outskirts of Prague where she performed beneath a portrait of Josefina Čermakova, the composer’s sister-in-law who died at any early age. The composer dedicated the third movement of his Cello Concerto to Čermakova, with whom he fell in love (it was not returned though and he eventually married her younger sister). Weilerstein then stayed for a photo shoot in the adjacent woods – that portrayed in his work From the Bohemian Forest. The Dvorak Concerto has another significance for Weilerstein. In February 2009 she played the piece as part of an audition for Gustavo Dudamel. Ten months later, she was invited to play it with the conductor's Simon Bolivar Orchestra in Caracas. The performance was a hit, and led to a spontaneous invitation to join the orchestra on a Venezuelan tour. There she encountered Rafael Payare, a young conductor who also played French horn in the ensemble. A relationship emerged and, last August, Weilerstein and Payare got married at the Caramoor Center in Katonah, NY. Their wedding, which was featured in the New York Times, came just two months after her trip to Prague. The couple appear to be developing a professional relationship too: this week, Weilerstein and Payare are performing the Brahms Double Concerto together in Hamburg, Germany (Weilerstein is scheduled to perform the Dvorak Concerto in December with the New York Philharmonic). Below, Weilerstein performs Osvaldo Golijov’s Omaramor, a fantasia inspired by the legendary tango singer Carlos Gardel. “The cello is supposed to be walking through the streets of Buenos Aires," Weilerstein explained in lightly accented English. "Sometimes it’s melancholic, sometimes it’s very rough, sometimes very reflective. It’s a piece that I’ve played a lot over the past eight years and one that’s really important to be in the core cello repertoire." Video: Amy Pearl; Audio: George Wellington; Text & Production: Brian Wise; Interview: Jeff Spurgeon

It is hard to overstate 30-year-old cellist Alisa Weilerstein’s musical achievements. In 2011, she was named a MacArthur fellow, aka “genius,” for her accomplishments as a musician and as an “advocate for contemporary music.” She is constantly in demand, performing, giving master classes, rehearsing, and recording with the world’s best orchestras. And she’s just released an album on Decca Classics—the first time the label has signed on a cellist in over 30 years. The CD, Elgar, Carter: Cello Concertos, features concertos by Edward Elgar and Elliott Carter along with Max Bruch’s Kol Nidrei and is conducted by Daniel Barenboim and performed with the Berlin Staatskapelle. The last few weeks have been particularly tumultuous for her, with the last-minute cancellation of her Carnegie Hall concert because of the danger posed by a crane dangling above the concert... See acast.com/privacy for privacy and opt-out information.

The 2010 Virginia Arts Festival ends with a concert by the Virginia Symphony in Williamsburg. Joann Falletta will conduct the orchestra in the Royal Fireworks Music of Handel, Tchaikovsky’s Mozartiana and, with cellist Alisa Weilerstein, the dvorak Cello Concerto. Dwight Davis spoke with Joann Falletta about the concert.

The outstanding young cellist Alisa Weilerstein will perform twice in Williamsburg as part of the 2010 Virginia Arts Festival. She spoke with Dwight Davis about the pieces she will be performing, first discussing the Bach cello suites.

WPAS speaks with cellist Alisa Weilerstein about her February 6 recital at accoustically rich Sixth and I Historic Synagogue in vibrant downtown Washington as the first performance in WPAS' exciting new Encore Series. Her program features Beethoven's Cello Sonata No. 5, Britten's Cello Sonata in C, Chopin's Cello Sonata in G minor plus Suite Populaire Espagnole by Manuel de Falla. Tickets at 202-785-WPAS or WPAS.org.

WPAS speaks with cellist Alisa Weilerstein about her upcoming appearance with the Pittsburgh Symphony Orchestra on May 4th at 8pm in the Kennedy Center Concert Hall. On the program - Haydn's Cello Concerto No. 1, Beethoven's Symphony No. 7 and Death and Transfiguration by Richard Strauss. Tickets at 202-785-WPAS or WPAS.org.