Podcasts about American Composers Orchestra

Curtis Stewart returns to TRILLOQUY to chat about his life since becoming Artistic Director of the American Composers Orchestra, his engagements with the Gateways Music Festival, and his newest work, "Seasons of Change". Loki speaks to what he thinks people should think about as it relates to current TV shows and movies that deal with group resistance. **Support for TRILLOQUY comes from WDAV-FM!Curtis Stewart"Krishna" (from Curtis Stewart's "of Love.")LOVE SHARK, by Curtis StewartGrassroots Organizing Wisdom Will Be Crucial With a Fascist in the White HouseThe Smithsonian PURGE: Trump Team Removes Artifacts of Black Resistance ★ Support this podcast ★

Daniela Candillari grew up in Serbia and Slovenia.  She holds a Doctorate in Musicology from the Universität für Musik in Vienna, a Master of Music in Jazz Studies from the Indiana University Jacobs School of Music, and a Master of Music and Bachelor's degree in Piano Performance from the Universität für Musik in Graz. She is also a Fulbright Scholarship recipient.Daniela is in her fourth season as principal conductor at Opera Theatre of Saint Louis. In celebration of its 50th anniversary season, she is conducting the company's 44th world premiere, This House, with music by Ricky Ian Gordon and libretto by Pulitzer Prize-winner Lynn Nottage and her daughter, Ruby Aiyo Gerber.Daniela made her New York Philharmonic debut in its inaugural season in the new David Geffen Hall, conducting cellist Yo-Yo Ma in Elgar's Cello Concerto.  And she made her “Carnegie Hall Presents” debut leading the American Composers Orchestra in a program of premieres.  Other engagements include debuts with the Metropolitan Opera and Deutsche Oper Berlin, and productions with Lyric Opera of Chicago, Minnesota Opera, Detroit Opera, Orchestre Métropolitan Montreal, and Classical Tahoe Festival.Finally, Daniela has been commissioned by established artists including instrumentalists from the Boston, Cleveland, Detroit, and Pittsburgh Symphonies, as well as the three resident orchestras of Lincoln Center: the Metropolitan Opera Orchestra, the New York Philharmonic, and the New York City Ballet. She is deeply involved with Music Academy of the West's programming for young artists and she recently participated in master classes and discussions at DePaul University, Chicago Humanities Festival, and Valissima Institute.It's a pleasure to have her with me on this episode.

Shara Nova is a composer, vocalist, and producer currently creating from Detroit, Michigan. Shara has released six albums under the monikerMy Brightest Diamond and has composed works for The Crossing, Conspirare, yMusic, Brooklyn Rider, Roomful of Teeth, Aarhus Symfoni, and American Composers Orchestra among many others. In 2024 she starred in the Tony Award Winning musical “Illinoise” on Broadway, directed by Justin Peck, co-written by Jackie Sibblies Drury with music by Sufjan Stevens, witha live album released on Nonesuch Records.

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Jerod Impichchaachaaha' Tate's compositions are finding evermore ardent fans among the public and musical institutions alike. This interview took place just days after his return to his Oklahoma City home from an eventful week in New York. While there he heard the New York Philharmonic play the string-arrangement premiere of his piece “Pisachi.” He also not only experienced the Carnegie Hall premiere of his “Clans” performed by the American Composers Orchestra; he also performed in it, singing alongside his 10-year-old son, Heloha. Onstage as well were several fellow members of the Chickasaw Nation dressed in traditional regalia.Jerod's work has been performed all over the country, and the rest of this musical season will remain busy for him. Dover String Quartet is touring his new quartet, “Woodland Songs”; Oklahoma's Canterbury Voices premieres his first opera, “Loksi' Shaali' (Shell Shaker);” and he will curate an all-American-Indian program in Washington D.C. for the PostClassical Ensemble.In this interview, Jerod, who is a 2022 inductee into the Chickasaw Hall of Fame, describes how he developed his distinctive multi-traditional composition style as well as his hyper-local and collaborative ethos. https://jerodtate.com/

Professor of the Practice in the Department of Music at Duke University, Anthony Kelley joined the Duke faculty in 2000 after serving as Composer-in-Residence with the Richmond Symphony for three years under a grant from Meet the Composer, Inc. He received his Bachelor's and Master's degrees from Duke University, and he earned a Ph.D. in Musical Composition from the University of California at Berkeley.In 2021, Kelley was appointed as Composer in Residence for the North Carolina Symphony. His major works for symphony orchestra include: Spirituals of Liberation (commissioned and  premiered in 2022 by the North Carolina Symphony, with Evan Feldman and Michelle Di Russo, conducting); the piano concerto, Africamerica (premiered in 1999, by the Richmond Symphony with piano soloist, Donal Fox and George Manahan, conducting); and The Breaks (commissioned and premiered in 1998 by The American Composers Orchestra under the direction of Gerard Schwartz). The Baltimore, Detroit, Atlanta, Oakland East Bay, Marin (CA) and San Antonio symphony orchestras have also performed Kelley's symphonic music.Among his awards and honors are the Charles Ives Scholarship from the American Institute and Academy of Arts and Letters, and composition fellowships from the North Carolina Arts Council, the Virginia Commission for the Arts and the Mid-Atlantic Arts Foundation.  Some of his other work includes his soundtracks to the H. Lee Waters/Tom Whiteside film, Conjuring Bearden, (2006), and Dante James's film, The Doll (2007), explores music as linked with other media, arts, and sociological phenomena. A recording of Kelley's work, Grist for the Mill (commissioned by the Mallarme Chamber Players), was released in August, 2009 and is available for purchase on iTunes.Support the Show.

Blossom Your Awesome Podcast Creativity For Healing With Tina DavidsonTina Davidson is a nationally acclaimed composer and author of 'Let Your Heart Be Broken, Life and Music of a Classical Composer'. Tina has composed and created works with major ensembles and orchestras, such as The Philadelphia Orchestra, American Composers Orchestra, St. Paul Chamber Orchestra, Kronos Quartet, Cassatt Quartet and more. To learn more about Tina Davidson go here. To get her book click here. To follow me, get bonus content from the show, my own takeaways and favorite quotes, along with access to my Check me out here at my Substack. This is the best place to support my work. Or sign up for my Weekly Newsletter here. To see more of my work check me out at my website where I write and cover mindfulness and other things to help you Blossom Your Awesome. Or checkout my other site where I right about arts and culture, wellness, essays and op-eds. Or follow me on instagram where I post fairly regularly and ask an inquisitive question or two weekly in hopes of getting you thinking about your life and going deeper with it. My Instagram - i_go_by_skdTo see more of who I'm talking to on the Podcast, to advertise your brand on the Blossom Your Awesome Podcast or just get in touch click here.  

Curtis Stewart is a violinist/composer who is at the forefront of the new music world as a solo performer and recording artist, founding member of the Publiqartet, Artistic Director of the American Composers Orchestra and professor at The Juilliard School. We talk about his new Grammy nominated album, Of Love, the influence of his musician parents, teaching music at his own NYC high school for 10 years, and play a round of “Not My Gig”, where we find out just how much Mr. Publiquartet knows about…the Public Library.

Brandon and Sarah have a fascinating interview with the renowned violin soloist and composer, Curtis Stewart.  Curtis talks about his multifaceted career as composer, Artistic Director of the American Composers Orchestra, professor at The Juilliard School, and member of award-winning ensembles PUBLIQuartet.  He shares the ways in which he realizes a vision to find personal and powerful connections between styles, cultures and musical traditions, while “turning people's heads” towards important social issues through art.  He also talks about his personal journey with loss and grief, with his new all-original recording, “Of Love,” which is dedicated to his mother, Elektra Kurtis, a Greek/Jazz violinist who passed away from brain cancer.Support the show

SynopsisOn today's date in 1975, the Oakland, California, Youth Orchestra gave the first performance of a symphony by a Bay area resident, American composer Lou Harrison. He began sketches for this symphonic score back in 1942 and tinkered with it off and off until the day of its premiere performance, even stapling in 15 additional measures to the young players' parts at their final dress rehearsal.The commission for Harrison's Fourth Symphony, subtitled The Elegiac, came from the Koussevitzky Foundation, and in part was written as a tribute to the memory of Serge and Natalie Koussevitzky, two of the 20th century's greatest new music patrons. But the intensely personal tone of this elegiac symphony was prompted by the death of Harrison's mother, which was followed by the death of his close friend, iconoclastic American composer and instrument inventor Harry Partch.The symphony's first movement is titled “Tears of the Angel Israfel” — the angel of music in Islamic lore — and the score also bears two inscriptions. The first reads “Epicurus said of death: where death is, we are not; where we are, death is not; therefore, death is nothing to us.” The second inscription is a quote from Horace: “Bitter sorrows will grow milder with music.”Music Played in Today's ProgramLou Harrison (1917-2003) Symphony No. 2 (Elegiac); American Composers Orchestra; Dennis Russell Davies, cond. MusicMasters 60204

Grammy-nominated flutist Brandon Patrick George is a member of Imani Winds and has appeared as a soloist with soloist with the Atlanta, Baltimore, and Albany symphonies, American Composers Orchestra, and the Orchestra of St. Luke's, among others.  He's also on the faculty of the Curtis Institute of Music. Suzanne spoke with Brandon Patrick George about his debut 2020 solo recording, and welcomed him back in Fall 2023 to talk about his second solo recording, TWOFOLD, which pairs solo flute works by composers such as C.P.E. Bach, Ruth Crawford Seeger, and Claude Debussy with new works by composers including Reena Esmail, Saad Haddad, and Shawn E. Okpebholo.

It is a pleasure to welcome multi-instrumentalist, composer, and singer Ezra Grey to The Jake's Take with Jacob Elyachar Podcast. Ezra is no newcomer to the music industry. He composed, recorded, and toured internationally with numerous bands since he was 15-years-old. Ezra Grey has served as guitarist, bass player, and pianist for countless hip-hop, R&B, rock, heavy metal, classical and jazz bands. He has won awards for his performances (including Downbeat Magazine's Outstanding Performance in Pop/Rock/Blues) and compositions from the American Composers Orchestra. As a vocalist, he has performed at Gracie Mansion (for Mayor Bloomberg), on VH1's Big Morning Buzz, and with Mike Malinin, former drummer of the Goo Goo Dolls. He also has a double degree in music and philosophy from Columbia University. In addition, he has worked with several music industry greats, including Tony Levin, bassist for Peter Gabriel, King Crimson, and former bassist for John Lennon, David Bowie, and Frank Zappa. Ezra is expected to debut his solo extended play, Afterall, for release on February 16, 2024. The EP highlights the artist's evolution as a solo artist, featuring his original compositions from age 15 to the present, all with themes of love, heartbreak, or introspection. Additionally, the EP will showcase Ezra's versatility, weaving together guitar-driven melodies with influences from his touring experiences with metal bands like GAREK, Sinaro, and Etherius. He incorporates in what he calls “deceptively technically difficult guitar arrangements” reminiscent of metal, intertwined with jazz harmonies and hints of Latin and reggae influences. In this edition of The Jake's Take with Jacob Elyachar Podcast, Ezra Grey spoke about touring with metal bands GAREK, Sinaro, and Etherius. He also previewed the EP and the story behind the single: “Into the Sun.”

Gregg August is a New York double bassist who successfully balances careers in classical and jazz music, as well as composition. He is member of the Orpheus Chamber Orchestra (Associate), the American Composers Orchestra, Westchester Philharmonic and Orchestra of St. Luke's. He is also an active composer and performer in avant-garde, jazz and Latin jazz worlds. We talk about his background, how he balances these multiple disciplines, his 2020 project "Dialogues on Race," his experience with the innovative "Bang on a Can" summer festival, and much more. Enjoy, and be sure to check out Gregg's website to learn more about his exceptional work!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsors!   Carnegie Mellon University Double Bass Studio – The School of Music at CMU highly values each and every individual who wants to be a part of an innovative fine arts community immersed in a top research university.   Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   theme music by Eric Hochberg

Loki Karuna (formerly Garrett McQueen) began his life in music as a bassoonist, earning degrees in music and performing in orchestras. His passion for music and justice propelled his career as a musician, leading him to become a radio and podcast producer, and an activist. An eloquent storyteller, Loki Karuna spoke with Suzanne about his weekly podcast Trilloquoy, his job as Director of Artist Equity of the American Composers Orchestra, and his nationally- syndicated radio programs - The Sound of 13 and Gateways Music Festival. He also shared some of his thoughts about diversity, disruption, and discovery in the world of classical music.

SynopsisAt Carnegie Hall on today's date in 2002, the American Composers Orchestra presented new works inspired by the Hebrew Psalms. The program included the premiere of a new work by the American composer David Lang entitled How to Pray.In his program note, Lang wrote: “[The] Psalms are so central to religious experience [because] they are a comprehensive catalogue of how to talk to the Almighty... Of course, it's like reading one side of a correspondence... I am not a religious person. I don't know how to pray. I do, however, know some of the times and places and formulas that are supposed to help make prayer possible. Sometimes I find myself sending those messages out. And then I wait, secretly hoping that I will recognize the response.”The minimalist-style, patterned repetition in Lang's How to Pray, reminded some listeners of a “mandala”—those intricate graphic patterns intended to be an aid to meditation for Hindu or Buddhist believers.Stravinsky fans with sharp ears might also recognize the running piano line from the beginning of Stravinsky's Symphony of Psalms, which Lang borrows and weaves into the pattern of How to Pray as both a tribute and inspiration.Music Played in Today's ProgramDavid Lang (b. 1957) How to Pray; Real Quiet ensemble; Gil Rose, cond. Naxos 8.559615

Episode 330 - A Conversation with Author & Composer Tina Davidson on Story & Music Link to Video on YouTube:       https://youtu.be/nlMBE4qktvc  About Tina https://www.tinadavidson.com/  I am a classical composer and writer, now for 45 years. I am articulate about my unique life (traveling in many countries, meeting Ernest Hemingway as a child) and the traumas I experienced as a child - being adopted by my birth mother, but not told about my true identity. I share my story (in my memoir) of years of depression and dissociation, until I started working to reclaim myself through therapy and spiritual practice. All the while, I am a single parent, composing and creating works with major ensembles and orchestras, such as The Philadelphia Orchestra, American Composers Orchestra, St. Paul Chamber Orchestra, Kronos Quartet, Cassatt Quartet, as well as have recordings with Albany Music and on Deutsche Grammophon  (performed by Grammy winner violinist, Hilary Hahn).       Order NOW: https://www.amazon.com/Let-Your-Heart-Broken-Classical/dp/1633376974   Tina Davidson is three-and-a-half when she is adopted from her foster home in Sweden by a visiting American professor. Soon she is the oldest of five children, living with her mother and stepfather in Turkey, Germany, and Israel. She studies music and becomes a prolific pianist and composer. But something about her birth remains unnamed and hidden. When she returns to Sweden, she contacts the Swedish adoption agency. "Come," says the voice on the phone, "I have information for you." https://www.tinadavidson.com/ 

Dr. Kendall K Williams, son of Trinidadians, began playing pan at the age of 4 and later performed with large, world-renowned steel bands in Trinidad and Tobago as well as bands in the New York-based scene for years, then after studies in architecture, he graduated from Florida Memorial University with a BA in Music under the direction of Dr. Dawn Batson, with his main instrument being the steel pan. He continued to further his studies at NYU Steinhardt, where he pursued a Master of Music Degree in Music Theory & Composition, studying with Julia Wolfe, Michael Gordon, and Rich Shemaria. There he also actively participated in the NYU Steel band under the leadership of Artist Faculty member Josh Quillen. Kendall was awarded the opportunity to work with the Brooklyn Philharmonic on a project that involved steel pan and contemporary music compositions. From 2013 t0 2014 he was the Van Lier Fellow with the American Composers Orchestra and graduated with his PHD in music composition at Princeton University! One of his goals is establishing steel pan music programs in colleges and universities that will allow musicians to major in steel pan and heads the WIADCA educational/development programs for schools, especially as he teaches in elementary schools to universities. Dr. Williams sits as CEO of Pan in Motion, an organization that he started in 2014, to promote history, education, and sustainability in steel pan. He has played in the Macy's Parade and has won the People's Choice award and placed 4th at the Panorama steelpan competition this past September in his second year of competition. In honor of the steelpan, which is the only new instrument invented in the 20th century in its birthplace of the twin islands of Trinidad and Tobago, Kendall's dream is to own a building dedicated to the steelpan, its culture and history, with a steelpan museum, concert halls, performance spaces for mas and other aspects of carnival, rehearsal space, soundproof rooms for recordings, reading and teaching rooms, board rooms, artwork, storage for steel pans. He dreams of offering his employees: 401K retirement benefits, just like any other Fortune 500 company. He is passionate about raising the view of the steelpan to the level of rock, funk, soca, classical music in the eyes and ears of the world. Follow him at: https://www.paninmotion.com   --- Support this podcast: https://podcasters.spotify.com/pod/show/ozzie-stewart/support

“I collaborate with the music.” Composer Tina Davidson explores in her memoir Let Your Heart Be Broken: Life and Music from a Classical Composer, described as “a lyrical reckoning with what it takes to compose a life of cohesion and beauty, out of shattered bits and broken stories.”  In Let Your Heart Be Broken, Tina juxtaposes memories, journal entries, and insight into the life of an artist—and a mother—at work. Along the way, she meets Ernest Hemingway and Carl Sandburg, survives an attack by nomads in Turkey, and learns her birth father is a world-famous scientist. And throughout, there is the thread of music, an ebb and a crescendo of a journey, out of the past, and into the present, through darkness and into the light. Tina is a writer and classical composer, now for 45 years, whose works have been performed by ensembles and orchestras across the country, including The Philadelphia Orchestra, American Composers Orchestra, Kronos Quartet, St. Paul Chamber Orchestra, Cassatt Quartet, as well as recordings with Albany Music and on Deutsche Grammophon, performed by Grammy winning violinist, Hilary Hahn - all while being a single parent. Her life is filled with experiences that are as amazing as they are touching, heart-wrenching as they are instructive, as she shares her dealing with depression and dissociation, and her work to reclaim herself through therapy and spiritual practice. Let Your Heart Be Broken has also been described as a “lyrical reckoning with what it takes to compose a life of cohesion and beauty out of shattered bits and broken stories” and we discussed her writing process as well, along with forgiveness, grieving and spiritual connection.  Tina has written that “we are, in the end, a measure of the love we leave behind.” I cannot think of any better way to live a life in full.

THC 127 - A Musical Path to Forgiveness with Tina DavidsonOn this episode of Trauma Hiders Club my guest is Tina Davidson, who is a highly regarded American composer, creates music that stands out for its emotional depth and lyrical dignity. Lauded for her authentic voice, The New York Times has praised her “vivid ear for harmony and colors.” Opera News describes Tina Davidson's music as, “transfigured beauty,” and the Philadelphia Inquirer writes that she writes “real music, with structure, mood, novelty and harmonic sophistication – with haunting melodies that grow out of complex, repetitive rhythms." Her book, Let Your Heart Be Broken, was published in 2023. Her memoir traces her extraordinary life in equally lyrical language, juxtaposing memories, journal entries, notes on compositions in progress, and insights into the life of an artist – and a mother – at work.  Over her forty-five year career, Davidson has been commissioned by well-known ensembles such as National Symphony Orchestra, OperaDelaware, Roanoke Symphony, VocalEssence, Kronos Quartet, Cassatt Quartet, and public television (WHYY-TV). Her music has been widely performed by many orchestras and ensembles, including The Philadelphia Orchestra, American Composers Orchestra, St. Paul Chamber Orchestra, Relâche Ensemble, and Orchestra 2001. She is recorded on Albany Records, New World Records, and Deutsche Grammophone.On this episode of Trauma Hiders Club, we talk about forgiveness, reparenting, and the extraordinary power of music to soothe the soul as Tina shares her powerful story.From discovering her adoption at a tender age, the profound effects it had on her sense of identity and belonging and how music changed and became a part of her identity and life.You'll hear about the secrecy she shrouded her adoption in and the eventual emotional upheaval of leaving their foster family. Tina's experiences shed light on the complex dynamics of family and attachment. With an artistic career as a backdrop, Tina has confronted her trauma, and is firmly on the path towards healing and self-discovery.“From a very early age, I don't want to say music was my alter ego, but it was a place that I could be safe.” Tina DavidsonThis Week on Trauma Hiders Club:• Gilbert and Sullivan• Melodies• Adoption• Growth over dysfunction• Forgiveness• Reparenting• Teaching• Story through music Resources:Tina Davidson's Website: https://www.tinadavidson.com/Tina on Facebook: https://www.facebook.com/tina.davidson.5205/Tina on IG: https://www.instagram.com/tinadavidson.music/Tina on YouTube:  https://www.youtube.com/channel/UCrDxwJr9x_EvCiCT8LHt2wQTina Davidson's memoir, Let Your Heart Be Broken, Life and Music from a Classical Composer on Amazon: https://www.amazon.com/Let-Your-Heart-Broken-Classical/dp/1633376974Where High Achievers Get Through Shit - TOGETHER Thanks for tuning into this week's episode of Trauma Hiders Club ‘The Podcast' with Karen Goldfinger Baker. If you enjoyed this episode, please subscribe and leave a review wherever you get your podcasts. Apple Podcasts | TuneIn | GooglePlay | Spotify | Amazon Music Be sure to share your favorite episodes on social media to help me reach more high achievers, like you. Join me on Facebook, Instagram, and LinkedIn and visit my website to discover the rules of Trauma Club and grab your free download:Discover 5 Ways Your Fuckery Is Getting In The Way of The Next Level of Your Success.VISIT TRAUMA HIDERS CLUB WEBSITE

In this episode, nationally acclaimed composer and author, Tina Davison, discusses her personal growth story and how trauma shaped her life. She reads incredible passages from her memoire, "Let Your Heart Be Broken". She talks about how we need to stop resisting our brokenness because it will bite you anyway. It's best to meet it.In regard to illness, it is a great teacher, and you also have to let it go. Also, share rather than teach and share your joy!BIOI am a classical composer and writer, now for 45 years. I am articulate about my unique life (traveling in many countries, meeting Ernest Hemingway as a child) and the traumas I experienced as a child - being adopted by my birth mother, but not told about my true identity.I share my story (in my memoir) of years of depression and dissociation, until I started working to reclaim myself through therapy and spiritual practice. All the while, I am a single parent, composing and creating works with major ensembles and orchestras, such as The Philadelphia Orchestra, American Composers Orchestra, St. Paul Chamber Orchestra, Kronos Quartet, Cassatt Quartet, as well as have recordings with Albany Music and on Deutsche Grammophon  (performed by Grammy winner violinist, Hilary Hahn).Composer - Tina DavidsonFacebook(52) Tina Davidson | LinkedIn(14) Tina Davidson - YouTubeTina Davidson (@tinadavidson.music) • Instagram photos and videos#composer #bestsellingauthor #illness #joy #book #amazon #artist #music #orchestra #childhoodtrauma #survivor #love #joy #personalgrowth #positivity #forgiveness #mentalhealthawareness #spiritualgrowth #communitybuilding #podcast #podcastshow #alittlelessfearpodcast #podcaster This is Dr. Lino Martinez the host for A Little Less Fear Podcast. For more information, please use the information below. Thanks so much for your support!Author | A Little Less FearWriters Work | Write Your Way to the Life You WantA Little LESS FEAR Podcast (@alittlelessfearpodcast) • Instagram photos and videosLino Marinez (@alittlelessfear) TikTok | Watch Lino Marinez's Newest TikTok Videos

Avondale Estates resident, Cara Consilvio, is a female director and producer of opera, film, and theater. Consilvio produced and directed mini-documentaries for the NEA Opera Honors, NEA Jazz Masters videos, OPERA America, and the American Composers Orchestra. Her latest project is “For the Love of Friends,” a documentary chronicling activist Brent Nicholson Earle's 10,000-mile run around the country in 20 months to bring awareness to the AIDS epidemic. The documentary will be airing for the first time on Public Broadcast Stations on June 1st.  

Curtis Stewart is a violinist, composer and arranger, and the current Artistic Director of the American Composers Orchestra. He is also the son of two professional jazz musicians, and when, at some point, he was offered the choice between composition and improvisation, he said “yes please” and took both. So on his own and with the improvising string quartet known as PubliQuartet, along with The Mighty Third Rail, Curtis Stewart plays a huge variety of music. Stewart and several musical friends: (Aaron Diehl, Eleanor Oppenheim, students from the Kaufman Music Center, Special Music School, and PubliQuartet) give just a hint of his range, performing in-studio. (-John Schaefer) Set list: Trad.: "Thalassaki Mou" Stewart: "Call, Response" with PubliQuartetTrad.: "Deep River", with PubliQuartet, with Eleanor Oppenheim, students from the Kaufman Music Center, Special Music School of Love. by Curtis Stewart

This episode is also available as a blog post: https://thecitylife.org/2023/05/05/next-festival-partners-with-american-composers-orchestra-and-guitarist-yvette-young-for-10th-anniversary-season/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Angel Subero is a Venezuelan trombonist who attended the Conservatorio Itinerante in Caracas, Venezuela, where he studied with the legendary Michel Becquet. After coming to the United States in 2001, he attended  Boston Conservatory, where he studied with Lawrence Isaacson, and New England Conservatory of Music, where he studied with Douglas Yeo. He also studied with John Rojak at the Aspen Music Festival. Subero has performed with numerous orchestras, including the Boston Symphony Orchestra, Boston Pops Esplanade Orchestra, Boston Ballet, Pittsburgh Symphony, American Composers Orchestra, the Venezuela Symphony, Simon Bolivar Symphony, and the Boston Modern Orchestra Project, to name a few. He has worked with such conductors as John Williams, Seiji Ozawa, Kurt Masur, Sir Colin Davis, Christoph von Dohnanyi, Keith Lockhart, and Robert Spano, among many others. In the realms of jazz, Latin and commercial music, Subero has appeared with artists such as Bob Brookmeyer, Aretha Franklin, Slide Hampton, Jim McNeely, Claudio Roditi, Danilo Perez, Chris Botti, and many more.

Synopsis Late in 2013, the musical world was gearing up to celebrate the 70th birthday of British composer John Tavener, but sadly he died, so his 70th birthday, which fell on today's date in 2014, became a memorial tribute instead. Tavener had suffered from ill health throughout his life: a stroke in his thirties, heart surgery and the removal of a tumor in his forties, and two subsequent heart attacks. In his early twenties, Tavener became famous in 1968 with his avant-garde cantata entitled The Whale, based loosely on the Old Testament story of Jonah. That work caught the attention of one of The Beatles, and a recording of it was released on The Beatles' own Apple label. Tavener converted to the Russian Orthodox Church in 1977, and his music became increasingly spiritual. Millions who watched TV coverage of the funeral of Diana, Princess of Wales, in 1997, were deeply moved by his “Song for Athene,” which was performed to telling effect as Diana's casket left Westminster Abbey. Taverner was knighted in 2000, becoming Sir John Tavener In 2003, Tavener's Ikon of Eros, commissioned for the Centennial of the Minnesota Orchestra, and premiered at St. Paul's Cathedral—the one in St. Paul, Minnesota, that is, not the one in London—and Tavener came to Minnesota for the event. Music Played in Today's Program Sir John Tavener (1944-2013) Ikon of Eros Jorja Fleezanis, vn; Minnesota Chorale; Minnesota Orchestra; Paul Goodwin, conductor. Reference Recording 102 On This Day Births 1791 - French opera composer Louis Joseph F. Herold, in Paris; 1898 - Italian-American composer Vittorio Rieti, in Alexandria, Egypt; 1944 - British composer Sir John Tavener, in London; Deaths 1935 - Russian composer Mikhail Ippolitov-Ivanov, age 75, in Moscow; 1947 - Venezuelan-born French composer Reynaldo Hahn, age 72, in Paris; Premieres 1725 - Bach: Sacred Cantata No. 92 ("Ich hab in Gottes Herz und Sinn") performed on Septuagesimae Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1828 - Schubert: Piano Trio in Bb, Op. 99 (D. 898), at a private performance by Ignaz Schuppanzigh (violin), Josef Linke (cello), and Carl Maria von Bocklet (piano); 1830 - Auber: opera "Fra Diavolo" in Paris at the Opéra-Comique; 1876 - Tchaikovsky: "Serenade mélancolique" for violin and orchestra, in Moscow (Julian date: Jan. 18); 1897 - Glazunov: Symphony No. 5, in London; 1915 - Ravel: Piano Trio in a, in Paris, by Gabriel Wilaume (violin), Louis Feuillard (cello), and Alfredo Casella (piano); 1916 - Granados: opera "Goyescas," at the Metropolitan Opera in New York; 1927 - Copland: Piano Concerto, by the Boston Symphony conducted by Serge Koussevitzky, with the composer as soloist; 1941 - Copland: "Quiet City," at Town Hall in New York City by the Little Symphony conducted by Daniel Saidenberg; This music is based on incidental music Copland wrote for Irwin Shaw's play of the same name produced by the Group Theater in New York in 1939; 1944 - Bernstein: Symphony No. 1 ("Jeremiah"), at the Syria Mosque in Pittsburgh by the Pittsburgh Symphony conducted by the composer, with mezzo-soprano Jennie Tourel as vocal soloist; 1972 - Scott Joplin: opera "Treemonisha" (orchestrated by T.J. Anderson), in Atlanta; 1990 - Joan Tower: Flute Concerto, at Carnegie Hall in New York, with soloist Carol Wincenc and the American Composers Orchestra, Hugh Wolff, conducting; 1995 - Elinor Armer: “Island Earth” (to a text by Sci-Fi writer Usula K. Le Guin), at the University of California, Berkeley, by the various San Francisco choirs and the Women's Philharmonic, conducted by JoAnn Falletta; On the same program were the premiere performance's of Chen Yi's “Antiphony” for orchestra and Augusta Read Thomas's “Fantasy” for piano and orchestra (with piano soloist Sara Wolfensohn); 1997 - Morten Lauridsen: “Mid-Winter Songs” (final version) for chorus and orchestra, by the Los Angeles Master Chorale, John Currie conducting; Earlier versions of this work with piano and chamber orchestra accompaniment had premiered in 1981, 1983, and 1985 at various Californian venues; 2000 - André Previn: "Diversions," in Salzburg, Austria, by the Vienna Philharmonic, the composer conducting; Others 1742 - Jonathan Swift, Dean of St. Patrick's Cathedral in Dublin (and the author of "Gulliver's Travels"), objects to the cathedral singers taking part in performances of Handel's works while the composer is in that city (Gregorian date: Feb. 8); Rehearsals for the premiere performance of Handel's "Messiah" would begin in April of that year, involving the choirs of both Christ Church and St. Patrick's Cathedrals in Dublin; 1971 - William Bolcom completes his "Poltergeist" Rag (dedicated to Teresa Sterne, a one-time concert pianist who was then a producer for Nonesuch Records); According to the composer's notes, the "Poltergeist" Rag was written "in a converted garage next to a graveyard in Newburgh, N.Y." Links and Resources On Tavener

Shara Nova has released five albums under the moniker My Brightest Diamond and has composed works for The Crossing, Conspirare, Cantus Domus, Brooklyn Youth Chorus, Roomful of Teeth, many community choirs, as well as yMusic, Brooklyn Rider, violist Nadia Sirota, Aarhus Symfoni, North Carolina Symphony, Indianapolis Symphony, American Composers Orchestra and the BBC Concert Orchestra, among others.In 2019, she composed for over 600 community musicians and the Cincinnati Symphony in celebration of their 125th season, a piece entitled "Look Around," with director Mark DeChiazza. Her baroque chamber p'opera “You Us We All” premiered in the US in October 2015 at BAM Next Wave Festival. With co-composer and performer Helga Davis, Nova created a four-screen film entitled “Ocean Body,” along with director Mark DeChiazza, which premiered at The Momentary in August 2021, shortly followed by the premiere of “Infinite Movement,” her baroque masque for 100 musicians, set to text by artist Matthew Ritchie, which premiered at The University of North Texas in November 2021.Ms. Nova is the featured singer on “The Blue Hour” with the string orchestra A Far Cry and co-composers Rachel Grimes, Angélica Negrón, Sarah Kirkland Snider and Caroline Shaw on Nonesuch Records (Sept ‘22). A collection of songs by Nico Muhly with Detroit's acclaimed wind ensemble Akropolis Quintet also features Ms. Nova's voice entitled Hymns for Private Use (Oct ‘22). A number of music composers, including Sarah Kirkland Snider, Bryce and Aaron Dessner, Steve Mackey and David Lang have created works specifically for her voice. She has collaborated with Matthew Barney, The Decemberists, The Blind Boys of Alabama, Sufjan Stevens, David Byrne, Laurie Anderson, and many others.Shara has a couple different branches to her life:Singer and Composer Branch: https://shara-nova.com/Pop Music Branch: https://www.mybrightestdiamond.com/Instagram: @mybrightestdiamondTwitter: @MyBrightestDmndWriting on Substack: https://substack.com/profile/91251132-shara-nova

Synopsis At Carnegie Hall in New York City on today's date in 1990, a new work by the American composer and jazz trumpeter Hannibal Lokumbe had its premiere performance by the American Composers Orchestra. November 11th also happens to be the birthday of its composer, who was born Marvin Peterson, in Smithville, Texas, in 1948, but now goes by the name Hannibal. The new work was an oratorio titled African Portraits, which traces the story of slavery in America and black culture's contributions to American music. It's scored for orchestra, jazz quartet, blues guitar, chorus, gospel singer, plus African storyteller and African instruments. In composing this work, which in Biblical terms he calls his personal “burning bush,” Hannibal drew inspiration from a variety of sources, ranging from the spirituals he listened to while working in the cotton fields of Texas to the drums of the Masai people in Africa, with whom he lived for a time. A critic for the Washington Post described the work as follows: “The dramatic power conveyed by Portraits is cumulative. It's derived from the drums and the chants, the procession of blues, jazz and gospel refrains, the symphonic sweep and narrative form, the great compression of time, anguish and triumph. It's a listening experience you'll not soon forget.” Music Played in Today's Program Hannibal Lokumbe (b. 1948) African Portar Chicago Symphony Orchestra; Daniel Barenboim Teldec 81792

Conductor Devin Patrick Hughes is joined by composer Sean Friar. Friar grew up in Los Angeles, and has been described by Slate Magazine as having a sensibility that is "refreshingly new and solidly mature… and instead takes joy in the process of discovery and in the continual experience of suspense and surprise that good classical music has always championed." A winner of the Rome Prize, Friar composes for ensembles of all stripes from orchestra and chamber ensembles to a junk car percussion concerto, a laptop orchestra, and a microtonal piano duo. He's been commissioned by ensembles the world over including the Los Angeles Philharmonic, the Berlin Philharmonic, the American Composers Orchestra, and Alarm Will Sound.  Thank you for joining us on One Symphony and thanks to Sean Friar for sharing his music and insights. Thank you to all the incredible performers and record labels that made this episode possible! Velvet Hammer and Before and After were performed by the NOW Ensemble on New Amsterdam Records.  You can check out the music of Sean Friar wherever you listen to your music, and online at https://www.seanfriar.com. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Thank you to Sam, Jenny, and Alicia for making this show possible! Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

This episode is also available as a blog post: https://thecitylife.org/2022/04/24/the-apollo-american-composers-orchestra-present-the-gathering-a-collective-sonic-ring-shout-a-concert-for-healing-resilience-and-unity-on-saturday-may-7-live-in-person/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

The American Composers Orchestra and The Apollo have collaborated to revive the ritual of the "Ring Shout" and bring it to a new generation. We speak with Melissa Ngan, American Composers President/ CEO and Leatrice Ellzy, Apollo's Senior Director of Programming.

Synopsis For the 1984 Olympic Games in Los Angeles, a major international arts festival was planned, and, as its centerpiece, a gigantic day-long music-theater work designed and coordinated by the avant-garde American director Robert Wilson.   Wilson titled the work “the CIVIL warS: A Tree Is Best Measured When It Is Down,” with a story line loosely inspired by Matthew Brady's famous photographs from America's Civil War, but also incorporating myths, images, and historical icons from around the world. The idea was that the various sections of the work would be contributed by a team of composers, each section connected by what Wilson called “knee plays” – short “joints” if you will, linking the parts to the whole. The “knee play” music was contributed by the American pop musician David Byrne, a member of the “Talking Heads.” The Fifth and final act of “Civil Wars,” was written by the minimalist composer Philip Glass. It was dubbed “The Rome Section,” since it was commissioned and premiered as a separate work by the Rome Opera on today's date in 1984. In the end, Wilson's ambitious day-long epic wasn't staged in Los Angeles as planned. The reason given at the time was “funding problems.” Music Played in Today's Program Philip Glass (b. 1937) — Rome Section, fr The Civil Wars (Giuseppe Sabbatini, tenor; American Composers Orchestra; Dennis Russell Davies, cond.) Nonesuch 79487

Join me and Jane for an outstanding episode. You won't be disappointed. Jane Cavalier is one of the country's leading brand strategists and author of the new #1 Amazon Bestseller, The Enchanted Brand. She has worked on over 100 brands and with some of the most powerful brands of our time including American Express, IBM, Citibank, Snapple, Samsung and Johnson & Johnson. She helped Snapple go mainstream with Made from the Best Stuff on Earth and Qwest become a 4th telecom with the Ride the Light brand. Jane has taught branding as an adjunct professor at the NYU Stern School of Business and Yale School of Management and publishes a monthly blog called Overhead Space that reaches over 50k executives each month. She sits on the boards of the Nemours Children's Health System, Pardee RAND Graduate School, Marpai, Inc. (MRAI, Nasdaq) and the American Composers Orchestra. She is the founder and CEO of BrightMark Consulting which provides branding and reputation-building solutions to Fortune 5000 enterprises, privates companies, non-profits and visionary entrepreneurs.

Synopsis Today's date marks the birthday of a 20th century Czech composer you perhaps have never heard of. Viktor Kalabis was born in 1923 and by age 6, was giving public piano performances. All the signs pointed to a brilliant career. But first Kalabis had to face – and surmount–two major political hurdles. First, his formal musical studies were delayed by the Nazi occupation of his country in 1938, when he was forced into factory work; then, after the war, Kalabis met and married a young harpsichordist named Zuzana Ruzickova, who was a concentration camp survivor. Victor was a Gentile, but in Stalinist Czechoslovakia, anti-Semitism was rampant and marrying a Jew was frowned upon. To make matters worse, both Victor and Zuzana refused to join the Communist Party, hardly what one would call “a smart career move” in those years. Even so, Kalabis began to attract commissions and performances of his music at home and abroad, and following the 1989 Velvet Revolution, Kalabis assumed a more prominent position in his country's musical life. His symphonies, concertos, and chamber works are now regarded as some of the most important contributions to Czech music in the late 20th century. Music Played in Today's Program Viktor Kalabis (1923 – 2006) — Piano Concerto No. 1 (Zuzana Ruzickova, p; Czech Philharmonic; Karel Sejna, cond.) MRS Classics MS-1350 On This Day Births 1848 - English composer (Sir) Hubert Parry, in Bournemouth; Deaths 1887 - Russian composer Alexander Borodin, age 53, at a fancy dress ball in St. Petersburg (Julian date: Feb. 15); Premieres 1729 - Bach: Sacred Cantata No. 159 ("Sehet, wie gehn hinauf gen Jerusalem") probably performed in Leipzig on Estomihi Sunday as part of Bach's fourth annual Sacred Cantata cycle (to texts by Christian Friedrich Henrici, a.k.a. "Picander") during 1728/29; 1737 - Handel: opera “Giustino,” in London (Julian date: Feb. 16); 1740 - Handel: oratorio “L'Allegro, il Penseroso, ed il Moderato,” in London at Lincoln's Inn Field, with the premiere of Handel's Organ Concerto in Bb, Op. 7, no. 1 (Gregorian date: Mar. 9); 1814 - Beethoven: Symphony No. 8, in Vienna, with composer conducting; 1908 - Amy Beach: Piano Quintet, at Boston's Potter Hall, with the Hoffmann Quartet and the composer at the piano; 1913 - Walter Damrosch: opera, "Cyrano de Bergerac," at the Metropolitan Opera in New York City; 1915 - Miaskovsky: Symphony No. 3, in Moscow (Julian date: Feb. 14); 1940 - William Schuman: String Quartet No. 3, at Town Hall in New York City, by the Coolidge Quartet; 1945 - Amy Beach: opera "Cabildo," by the Opera Workshop at the University of Georgia in Athens, directed by Hugh Hodgson; The first professional production occurred on May 13, 1995, at Alice Tully Hall in New York City as a "Great Performances" telecast conducted by Ransom Wilson; 1947 - Hindemith: Piano Concerto, by the Cleveland Orchestra, George Szell conducting, with Jesús Maria Sanromá the soloist; 1947 - Peter Mennin: Symphony No. 3, by the New York Philharmonic, Walter Hendel conducting; 1949 - Elliott Carter: Woodwind Quintet, at Times Hall in New York City, at a new music concert of the National Association for American Composers and Conductors, sharing a program with Henry Cowell's Suite for Wind Quintet, Vincent Perischetti's "Pastorale," Richard Franko Goldman's Duo for Tubas, Ingolf Dahl's "Music for Five Brass Instruments," and a revised version of Carl Ruggles; "Angles" for seven brass instruments; 1949 - Wm. Schuman: Symphony No. 6, by the Dallas Symphony, Antal Dorati conducting; 1950 - Elliott Carter: Cello Sonata, at Town Hall in New York, by cellist Bernard Greenhouse and pianist Anthony Markas; 1958 - Peter Mennin: Piano Concerto, by the Cleveland Orchesttra conducted by George Szell, with Eunice Podis the soloist; 1984 - Libby Larsen: "Parachute Dancing" for orchestra, by the American Composers Orchestra, Tom Nee conducting; 1986 - U. Zimmermann: opera "Weisse Rose" (White Rose), in Hamburg by the Opera stabile; 1999 - Peter Lieberson: Horn Concerto, at Carnegie Hall, with soloist William Purvis and the Orpheus Chamber Orchestra. Others 1885 - First documented American performance of Handel's Concerto Grosso in B Minor (op. 6, no.12), by the Boston Symphony, William Gericke conducting. Links and Resources On Viktor Kalabis Kalabis tribute (PDF)

Synopsis In February of 1794, the Austrian composer Franz Joseph Haydn arrived in England for his second visit, and the premiere performances of some of his newest symphonies, beginning with one in E-flat Major that we know as his Symphony No. 99. Haydn would write 104 symphonies in all – an astonishing accomplishment, considering both their quantity and quality. In typically modest fashion, Haydn once commented: “I compose music so that the weary and worn, or the man burdened with affairs, may enjoy a few moments of solace and refreshment. I know that God has bestowed a talent upon me, and I thank Him for it. I think I have done my duty and been of use in my generation by my works. Let others do the same.” Well, these days, as in Haydn's, to write a symphony one needs talent AND an orchestra willing to perform it. The American composer Daniel Asia has a way to go before matching Haydn's output, but has composed at least SIX symphonies to date. The first was commissioned by the American Composers Orchestra and the Seattle Symphony, and received its premiere performance in Seattle, Asia's hometown, on today's date in 1990. Music Played in Today's Program Franz Josef Haydn (1732 — 1808) — Symphony No. 99 (Royal Concertgebouw Orchestra; Sir Colin Davis, cond.) Philips 442 614 Daniel Asia (b. 1953) — Symphony No. 4 (New Zealand Symphony; James Sedares, cond.) Summit 256

Synopsis In Boston on today's date in 1945, the Armenian-American composer Alan Hovhaness served as both the soloist and conductor in the first performance of a piano concerto entitled “Lousadzak.” The exotic title, Hovhaness explained, was a “made-up” Armenian word meaning “dawn of light.” When Hovhaness repeated his new concerto at Town Hall in New York, one newspaper sent the composer Lou Harrison as its music critic to cover the event. “[It] was the closest I've ever been to one of those renowned artistic riots,” recalled Harrison. “In the lobby, the Chromaticists and the Americanists were carrying on at high decibels. What had touched it off was the fact that here was a man from Boston whose obviously beautiful music had nothing to do with either camp and was its own very wonderful thing. My guest John Cage and I were very excited, and I dashed off  [to] a rave review while John went back to the Green Room to meet Alan.” For his part, Hovhaness said: “I believe in melody, and to create a melody one needs to go within oneself. I was very touched when John Cage said my music was like inward singing.” Music Played in Today's Program Alan Hovhaness (1911 - 2000) — Lousadzak (Keith Jarrett, piano; American Composers Orchestra; Dennis Russell Davies, cond.) MusicMasters 60204

Synopsis Many good things come in threes – at least William Bolcom seems to think so. On today's date in 1971, in a converted garage next to a graveyard in Newburgh, New York, American composer and pianist William Bolcom put the finishes touches to the second of three piano pieces he collectively titled “Ghost Rags.” “Ghost Rag” No. 2 was titled “Poltergeist” and dedicated to Tracey Sterne, who at that time was a dynamic record producer at Nonesuch Records.  In her youth Sterne pursued a career as a concert pianist, but in the 1960s and 70s was responsible for assembling the Nonesuch label's astonishingly diverse catalog of old, new and world music.   “Ghost Rag” No. 3, titled “Dream Shadows,” was described by Bolcom as a “white rag” which evoked “the era of white telephones and white pianos” and “was in the white key of C Major.” Bolcom dedicated this rag to his fellow composer, William Albright. And Bolcom's ‘Ghost Rag” No. 1, which has proved to be the most popular of the three, was titled “Graceful Ghost.”  Bolcom dedicated this music to the memory of his father, whose benign spirit Bolcom said he often felt hovering around his piano while he played at night. Music Played in Today's Program William Bolcom (b. 1938) — Graceful Ghost Rags (Paul Jacobs, piano) Nonesuch 79006 On This Day Births 1791 - French opera composer Louis Joseph F. Herold, in Paris; 1898 - Italian-American composer Vittorio Rieti, in Alexandria, Egypt; 1944 - British composer Sir John Tavener, in London; Deaths 1935 - Russian composer Mikhail Ippolitov-Ivanov, age 75, in Moscow; 1947 - Venezuelan-born French composer Reynaldo Hahn, age 72, in Paris; Premieres 1725 - Bach: Sacred Cantata No. 92 ("Ich hab in Gottes Herz und Sinn") performed on Septuagesimae Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1828 - Schubert: Piano Trio in Bb, Op. 99 (D. 898), at a private performance by Ignaz Schuppanzigh (violin), Josef Linke (cello), and Carl Maria von Bocklet (piano); 1830 - Auber: opera "Fra Diavolo" in Paris at the Opéra-Comique; 1876 - Tchaikovsky: "Serenade mélancolique" for violin and orchestra, in Moscow (Julian date: Jan. 18); 1897 - Glazunov: Symphony No. 5, in London; 1915 - Ravel: Piano Trio in a, in Paris, by Gabriel Wilaume (violin), Louis Feuillard (cello), and Alfredo Casella (piano); 1916 - Granados: opera "Goyescas," at the Metropolitan Opera in New York; 1927 - Copland: Piano Concerto, by the Boston Symphony conducted by Serge Koussevitzky, with the composer as soloist; 1941 - Copland: "Quiet City," at Town Hall in New York City by the Little Symphony conducted by Daniel Saidenberg; This music is based on incidental music Copland wrote for Irwin Shaw's play of the same name produced by the Group Theater in New York in 1939; 1944 - Bernstein: Symphony No. 1 ("Jeremiah"), at the Syria Mosque in Pittsburgh by the Pittsburgh Symphony conducted by the composer, with mezzo-soprano Jennie Tourel as vocal soloist; 1972 - Scott Joplin: opera "Treemonisha" (orchestrated by T.J. Anderson), in Atlanta; 1990 - Joan Tower: Flute Concerto, at Carnegie Hall in New York, with soloist Carol Wincenc and the American Composers Orchestra, Hugh Wolff, conducting; 1995 - Elinor Armer: “Island Earth” (to a text by Sci-Fi writer Usula K. Le Guin), at the University of California, Berkeley, by the various San Francisco choirs and the Women's Philharmonic, conducted by JoAnn Falletta; On the same program were the premiere performance's of Chen Yi's “Antiphony” for orchestra and Augusta Read Thomas's “Fantasy” for piano and orchestra (with piano soloist Sara Wolfensohn); 1997 - Morten Lauridsen: “Mid-Winter Songs” (final version) for chorus and orchestra, by the Los Angeles Master Chorale, John Currie conducting; Earlier versions of this work with piano and chamber orchestra accompaniment had premiered in 1981, 1983, and 1985 at various Californian venues; 2000 - André Previn: "Diversions," in Salzburg, Austria, by the Vienna Philharmonic, the composer conducting; Others 1742 - Jonathan Swift, Dean of St. Patrick's Cathedral in Dublin (and the author of "Gulliver's Travels"), objects to the cathedral singers taking part in performances of Handel's works while the composer is in that city (Gregorian date: Feb. 8); Rehearsals for the premiere performance of Handel's "Messiah" would begin in April of that year, involving the choirs of both Christ Church and St. Patrick's Cathedrals in Dublin; 1971 - William Bolcom completes his "Poltergeist" Rag (dedicated to Teresa Sterne, a one-time concert pianist who was then a producer for Nonesuch Records); According to the composer's notes, the "Poltergeist" Rag was written "in a converted garage next to a graveyard in Newburgh, N.Y." Links and Resources On William Bolcom

In this episode of Opera Uprising we talk about: * Libretto Creation * The Priestess of Morphine  * Voice type inclusivity * Writing for Trans Voices * Including LGBTQIA+ Stories Find out more about Aiden Feltkamp Anthology of New Music: Trans & Nonbinary Voices, Vol. 1  Website: aidenkimfeltkamp.com Twitter: @TransCherubino  Bio: Aiden K. Feltkamp (they/he) began their artistic life at the age of 5 playing a quarter-size cello and now they're "upending preconceptions about voice and gender" (New York Times) as a trans nonbinary writer.   Aiden's written work spans the serious and the ridiculous, the real and the surreal. Some of their favorite projects include: an opera with Dana Kaufman about Emily Dickinson's queerness, an interactive fiction experience about alien communication coded in Javascript (“Hello, Aria”), new English translations of Jewish lesbian erotic poet Marie-Madeleine's work (The Priestess of Morphine with Rosśa Crean), and a four-part series decoupling gender and voice types. Most recently, their work has been commissioned by Cantus, Amherst College, and the International Museum of Surgical Sciences, and has been published in Crêpe & Penn, Bait/Switch, and NewMusicBox.   Before pursuing their medical transition, Aiden performed opera professionally, specializing in Baroque opera and new music. Their most fulfilling roles include Hansel, Prince Orlofsky, Cherubino, Ottavia in L'incoronazione di Poppea (especially in a Baroque gesture production with director Drew Minter), and Elizabeth in the World and NY premieres of Griffin Candey's Sweets by Kate. They continue to train their new voice and have recently performed as Figaro in ChamberQUEER's abridged Le Nozze di Figaro.   As an equity and inclusion specialist, they consult for performing arts organizations, funders, universities, and businesses. Aiden has worked with Johnson & Johnson, Yelp, the Detroit Symphony Orchestra, OPERA America, the League of American Orchestras, and the LA Phil. Currently, they wrangle composers and arts administrators as the first-ever Director of Emerging Composers and Diversity for the American Composers Orchestra. Aiden is a Turn the Spotlight fellow (20/21 cohort), mentoring with Kathleen Kelly. As part of the fellowship, they curated New Music Shelf's Anthology of New Music: Trans & Nonbinary Voices, Vol. 1. They graduated from Bard College Conservatory's Graduate Vocal Arts Program (under the direction of Dawn Upshaw) with a Masters of Music, and received their B.S. in Vocal Performance from Hofstra University. They hold certifications in Diversity, Equity, and Inclusion (Cornell University) and Data Science (BrainStation). They currently live in Jersey City with their partner, cat, parrots, and robot dog. 

Synopsis On today's date in 1993, the American composer Daniel Asia conducted the Phoenix Symphony in the premiere performance of his Symphony No. 4. The work included a slow movement, written as an orchestral elegy for Asia's friend and composer colleague, Stephen Albert, who had died in a car crash the previous year. But Asia cast his symphony in the traditional four-movements familiar from the symphonies of Haydn and Beethoven. And, as in the symphonies of Haydn and Beethoven, Asia left room for a wide range of emotions – including humor. So, in addition to a slow, elegiac movement, Asia's Symphony has a second movement Scherzo, with a traditional, but jaunty and very American-sounding trio section. “In this piece,” writes Asia, “I was rediscovering old formal ideas ... The second movement is a true scherzo. There are refractions of Beethoven scherzos, but sometimes a beat is chopped off, creating a skipping effect. Everything is in threes in the trio-section; the harmony is three-voiced, and the instrumentation is also in threesomes.” As both composer and conductor, Daniel Asia has worked with American orchestras for coast-to-coast performances of his orchestral works, ranging from his hometown Seattle Symphony to the American Composers Orchestra in New York. Music Played in Today's Program Daniel Asia (b. 1953) — Symphony No. 4 (New Zealand Symphony; James Sedares, cond.) Summit 256

Synopsis On today's date in 1991, the American Composers Orchestra gave a concert at Carnegie Hall, celebrating the 80th birthday of the Armenian-American composer Alan Hovhaness. Hovhaness himself was on hand, and conducted the world premiere performance of his Symphony No. 65. By the time of this death in the year 2000, Hovhaness had composed 67 symphonies, and ranks as one of the most prolific composers of symphonies in the 20th century. “I write too much, far too much,” he once wrote to a friend. “This is my insanity.” Even so, performers and audiences seemed to respond to the emotional forthrightness of his music. Hovhaness rejected the mid-20th century trends towards complexity and atonality, and instead turned to archaic and Eastern musical models. Many of his works were inspired by Armenian themes, real or imagined. In reviewing the premiere of his Symphony No. 65, the New York Timescritic wrote: “Mr. Hovhaness seems to have used liturgical roots to create his own imaginary Armenia, a music that may exist only in [his] imagination.” Music Played in Today's Program Alan Hovhaness (1911 – 2000) — Symphony No. 2 (Mysterious Mountain) (Chicago Symphony; Fritz Reiner, cond.) RCA 61957

La Tanya Hall is a renown singer and musician who has played with some of the world's most celebrated artists, including  Steely Dan, Diana Ross, and Aretha Franklin among many others. She has also appeared as a solo artist in her own right with the  American Composers Orchestra, The Denver Symphony, and the St. Louis  Symphony and at jazz clubs around the world. Her new record, Say Yes (Blue  Canoe Records), debuted in November of 2020. She is also a teacher, having created the first vocal jazz degree program at Oberlin Conservatory five  years ago and continues to teach there as an associate professor of jazz voice.In this episode John and La Tanya sit down to talk about the roots of Jazz, and by extension, almost all modern music not classical in nature. They discuss the soul and it's reaction to the beauty found in music. And along the way there is a Light-O-Meter test and a bunch of musical insight.Links:About La Tanya: www.latanyahall.comInterested in joining First Things Foundation? Check out our Join FTF page: https://first-things.org/opportunities for more info, or email Daniel at danielpadrnos@first-things.org.Gagimargos! Wait, what does that mean? Learn more about the Georgian Supra, why it's integral too our work, and its symbolic significance here: https://thesymbolicworld.com/articles/the-symbolism-of-the-supra/If you like this podcast, please consider leaving a review with your comments. Your support keeps this podcast alive and allows us to broaden our discussion. You can also check out First Things Foundation: https://first-things.org/ for more information on who we are and what we do.You can support our work around the world and this podcast by visiting https://first-things.org/donate - all recurring donors will also gain access to our weekly Podcourse: https://first-things.org/wawtar-podcourse where we further explore New World, Old World themes in an online class setting (capped off by a Supra dinner at the end of the semester).---CreditsMusic:Intro / Outro Provided by Edward Gares / Pond5.comSound effects and additional music:Sounds provided by https://www.zapsplat.comSupport the show (https://first-things.org/donate)

Carlos Rafael Rivera is a world-class award-winning film composer and guitarist, who just recently scored and was EMMY-nominated for the incredible Netflix Series, The Queen's Gambit! His music has been acclaimed by the Miami Herald, the San Francisco Examiner, and the LA Times, helping establish him as a composer with the unique ability of incorporating a large diversity of musical influences into his captivating compositions, which reflect his multi-cultural upbringing in Central America and the United States. He has recorded studio sessions for Island/Def Jam, and Universal Records; and had songs featured on NETFLIX' FIREFLY LANE, ABC's SCRUBS, MTV, and VH-1. His work for the performing arts has been featured by some of the most prominent ensembles and soloists, including Arturo Sandoval, Colin Currie, Chanticleer, Cavatina Duo, the Chicago Sinfonietta, the American Composers Orchestra, and the Los Angeles Guitar Quartet; commissioned by the Simon Bolivar Youth Symphony and the American Wind Symphony; recorded by Varêse-Sarabande, BMG, Warner, Sony, Naxos, and Cedille labels; and awarded by the Herb Alpert Foundation, the Guitar Foundation of America, BMI, and twice by ASCAP. He has served as Composer-in-Residence with the Miami Symphony Orchestra, and was a musical consultant for “Invitation to World Literature,” an educational series funded by the Annenberg Foundation and produced by WGBH. He is a voting member of the Television Academy (EMMY's), the Recording Academy (GRAMMY's), the Society of Composers and Lyricists (SCL), and is a sought out guest composer and lecturer throughout the globe.https://carlosrafaelrivera.com/https://www.imdb.com/name/nm2292589/https://www.instagram.com/composer313/?hl=en@thecareermusician@nomadsplace

Carlos Rafael Rivera is a world-class award-winning film composer and guitarist, who just recently scored and was EMMY-nominated for the incredible Netflix Series, The Queen's Gambit! His music has been acclaimed by the Miami Herald, the San Francisco Examiner, and the LA Times, helping establish him as a composer with the unique ability of incorporating a large diversity of musical influences into his captivating compositions, which reflect his multi-cultural upbringing in Central America and the United States. He has recorded studio sessions for Island/Def Jam, and Universal Records; and had songs featured on NETFLIX' FIREFLY LANE, ABC's SCRUBS, MTV, and VH-1. His work for the performing arts has been featured by some of the most prominent ensembles and soloists, including Arturo Sandoval, Colin Currie, Chanticleer, Cavatina Duo, the Chicago Sinfonietta, the American Composers Orchestra, and the Los Angeles Guitar Quartet; commissioned by the Simon Bolivar Youth Symphony and the American Wind Symphony; recorded by Varêse-Sarabande, BMG, Warner, Sony, Naxos, and Cedille labels; and awarded by the Herb Alpert Foundation, the Guitar Foundation of America, BMI, and twice by ASCAP. He has served as Composer-in-Residence with the Miami Symphony Orchestra, and was a musical consultant for “Invitation to World Literature,” an educational series funded by the Annenberg Foundation and produced by WGBH. He is a voting member of the Television Academy (EMMY's), the Recording Academy (GRAMMY's), the Society of Composers and Lyricists (SCL), and is a sought out guest composer and lecturer throughout the globe. https://carlosrafaelrivera.com/ https://www.imdb.com/name/nm2292589/ https://www.instagram.com/composer313/?hl=en @thecareermusician @nomadsplace

Synopsis In July of 1936, this notice concerning an upcoming Hollywood Bowl concert appeared in The Los Angeles Times: “William Grant Still will conduct two of his own works.” The nonchalance of the paper's music and dance critic overlooked the fact that the occasion marked the first time that an African-American conductor would lead a major American orchestra. On the second half of that July concert in Los Angeles, Still conducted his orchestral piece “The Land of Romance,” and the “Scherzo” from his “Afro-American Symphony.” The entire symphony had been premiered in 1931 by the Rochester Philharmonic – another landmark event, being the first time a symphonic work by an African-American composer was performed by an American orchestra. Meanwhile at a 1947 outdoor concert in Philadelphia, composer and pianist Duke Ellington joined forces with members of the Philadelphia Orchestra to play his “A New World a Coming,” marking Ellington's first appearance with a symphony orchestra.  It wouldn't be his last. In 1963 an album appeared entitled, “The Symphonic Ellington,” featuring Ellington and his band in recordings of original compositions recorded in Europe with symphony orchestras from Paris, Stockholm, Hamburg, and the Orchestra of La Scala in Milan.   Music Played in Today's Program Duke Ellington (1899 – 1974) (arr. Peress): "New World A-Comin" (Sir Roland Hanna, p; American Composers Orchestra; Maurice Peress, cond.) MusicMasters 7011

Synopsis In July of 1936, this notice concerning an upcoming Hollywood Bowl concert appeared in The Los Angeles Times: “William Grant Still will conduct two of his own works.” The nonchalance of the paper's music and dance critic overlooked the fact that the occasion marked the first time that an African-American conductor would lead a major American orchestra. On the second half of that July concert in Los Angeles, Still conducted his orchestral piece “The Land of Romance,” and the “Scherzo” from his “Afro-American Symphony.” The entire symphony had been premiered in 1931 by the Rochester Philharmonic – another landmark event, being the first time a symphonic work by an African-American composer was performed by an American orchestra. Meanwhile at a 1947 outdoor concert in Philadelphia, composer and pianist Duke Ellington joined forces with members of the Philadelphia Orchestra to play his “A New World a Coming,” marking Ellington's first appearance with a symphony orchestra.  It wouldn't be his last. In 1963 an album appeared entitled, “The Symphonic Ellington,” featuring Ellington and his band in recordings of original compositions recorded in Europe with symphony orchestras from Paris, Stockholm, Hamburg, and the Orchestra of La Scala in Milan.   Music Played in Today's Program Duke Ellington (1899 – 1974) (arr. Peress): "New World A-Comin" (Sir Roland Hanna, p; American Composers Orchestra; Maurice Peress, cond.) MusicMasters 7011

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

Synopsis “How do you get to Carnegie Hall?” Well, the usual reply is, “By practicing!” But back in 1891, Peter Tchaikovsky would have probably answered, “by ship”–since he had, in fact, sailed from Europe to conduct several of his pieces at the hall’s gala opening concerts. The first concert in Carnegie Hall, or as they called it back then, “The Music Hall,” occurred on today’s date in 1891, and included a performance of Tchaikovsky’s “Coronation March,” conducted by the composer. The review in the New York Herald offered these comments: “Tchaikovsky’s March... is simple, strong and sober, but not surprisingly original. The leading theme recalls the Hallelujah chorus, and the treatment of the first part is Handelian… Of the deep passion, the complexity and poetry which mark other works of Tchaikovsky, there is no sign in this march.” Oh well, in the days that followed, Tchaikovsky would conduct other works of “complexity and poetry,” including his First Piano Concerto. Tchaikovsky kept a travel diary and recorded these impressions of New York: "It is a huge city, not beautiful, but very original. In Chicago, I’m told, they have gone even further–one of the houses there has 21 floors!" Music Played in Today's Program Peter Tchaikovsky (1840 – 1893) Coronation March Boston Pops; John Williams, cond. Philips 420 804 Orchestral Suite No. 3, Op. 55 New Philharmonia; Antal Dorati, cond. Philips 464 747 On This Day Births 1819 - Polish composer Stanislaw Moniuszko, in Ubiel, province of Minsk, Russia; 1869 - German composer and conductor Hans Pfitzner, in Moscow, of German parents (Julian date: April 23); Premieres 1726 - Handel: opera "Alessandro," in London at King's Theater in the Haymarket, with the Italian soprano Faustina Bordini marking her London debut in a work by Handel (Gregorian date: May 16); 1917 - Debussy: Violin Sonata, in Paris, by violinist Gaston Poulet with the composer at the piano (his last public appearance); 1926 - Copland: Two Pieces ("Nocturne" and "Ukelele Serenade"), in Paris by violinist Samuel Dushkin with the composer at the piano; 1930 - Milhaud: opera "Christophe Colomb" (Christopher Columbus),at the Berlin State Opera; 1941 - Britten: "Paul Bunyan" (text by W.H. Auden) at Columbia University in New York City; 1945 - Barber: "I Hear an Army," "Monks and Raisins," "Nocturne,""Sure On This Shining Night," during a CBS radio broadcast, with mezzo Jennie Tourel and the CBS Symphony, composer conducting; 1946 - Douglas Moore: Symphony in A, in Paris; 1977 - George Crumb: oratorio "Star Child," by the New York Philharmonic, Pierre Boulez conducting; 1982 - Ellen Taaffe Zwilich: Symphony No. 1, at Alice Tully Hall in New York, by the American Composers Orchestra, Gunther Schuller conducting; This work won the Pulitzer Prize in 1983; 1987 - John Williams: "A Hymn to New England," by the Boston Pops conducted by the composer (recorded by the Pops and Keith Lockhardt ); 1991 - Joan Tower: "Fanfare for the Uncommon Woman" No. 3(dedicated to Frances Richard of ASCAP), at Carnegie Hall, by members of the Empire Brass and the New York Philharmonic, Zubin Mehta conducting; 2000 - Christopher Rouse: "Rapture" for orchestra, by the Pittsburgh Symphony, Mariss Jansons conducting; 2001 - Christopher Rouse: "Rapturedux" cello ensemble, by the Royal Northern College of Music Cellists in Manchester (U.K.); Others 1891 - Carnegie Hall opens in New York City with a concert that included Beethoven's "Leonore" Overture No. 3 conducted by Walter Damrosch, and Tchaikovsky's "Marche Solennelle" (Coronation March) conducted by its composer. Links and Resources On Carnegie Hall On Tchaikovsky

Synopsis Haydn’s oratorio “The Seasons” had its premiere performance on this date in Vienna in 1801. Like its predecessor, “The Creation,” Haydn’s new oratorio was a great success, and, as before, Haydn received help with the text and a lot of advice from the versatile Gottfried Bernhard Baron van Swieten, an enthusiastic admirer of Handel oratorios and the music of J. S. Bach. Swieten’s text for “The Seasons” included many opportunities for Baroque-style “tone painting”—musical representations of everything from croaking frogs and workers toiling in the fields, sections that raised a lot of smiles in 1801 and still do today. Haydn, famous for his sense of humor, in this case humored the old-fashioned tastes of the Baron as well. Speaking of the text, since Haydn was tremendous popular in England, Baron van Swieten prepared an English-language version of his text, trying to fit the English words to the rhythm of his original German. Alas, the good Baron’s command of English was, to put it diplomatically, perhaps not as firm he imagined. So these days, ensembles wishing to perform Haydn’s oratorio have a choice: they can opt for Swieten’s quaint but clunky English version, or his more graceful German original. Music Played in Today's Program Franz Joseph Haydn (1732 - 1809) Ländler, fr The Seasons Academy of St Martin in the Fields; Neville Marriner, cond. Philips 438715 On This Day Deaths 1921 - Dutch composer Alfons Diepenbrock, age 58, in Amsterdam; 1948 - Mexican composer Manuel Ponce, age 65, in Mexico City; 1998 - American composer Mel Powell, age 75, in Sherman Oaks, Calif.; He won the Pulitzer Prize for Music in 1990; Premieres 1742 - Handel: oratorio, "Messiah" (Julian date: April 13); 1801 - Haydn: oratorio "The Seasons," in Vienna; 1950 - Bernstein: incidental music "Peter Pan" (play by J.M. Barrie) at the Imperial Theater in New York City, conducted by Ben Steinberg; 1957 - Ives: String Quartet No. 1, in New York City (This music was completed in 1896); 1988 - Anthony Davis: "Notes from the Underground" (dedicated to Ralph Ellison), at Carnegie Hall in New York by the American Composers Orchestra, Paul Lustig Dunkel conducting; 1990 - Bright Sheng: "Four Movemenets" for piano trio, at Alice Tully Hall in New York City , by The Peabody Trio; 1992 - Joan Tower: Violin Concerto, with soloist Elmar Oliveira and the Utah Symphony, Joseph Silverstein conducting; 1997 - Stephen Paulus: opera "The Three Hermits," at House of Hope Presbyterian Church in St. Paul, Minn., with Thomas Lancaster conducting; Links and Resources On Haydn

In this 13th episode of "Meet the Musicians" Podcast, host Matthew LaPine has an energetic conversation with musician, Diane Bruce. Violinist Diane Bruce performs regularly at Carnegie Hall and Lincoln Center with the American Symphony, American Composers Orchestra and American Ballet Theater, among others. She spends her summers playing with the Chautauqua Symphony where she is Principal Second Violin. She has played for many Broadway shows, including Les Mis, An American in Paris and The King and I, as well as the  the Christmas Spectacular at Radio City Music Hall and  Encores at City Center.Diane received her Bachelor's and Master's degrees in music from the Juilliard School.She maintains a teaching studio in Metuchen, NJ, where she teaches violin and the Alexander Technique, https://www.dianebruce-alexandertechnique.com.When not performing or teaching Diane enjoys swimming and biking, gardening, meditation and playing fetch with her indefatigable Whippet."Meet the Musicians" Podcast is produced by Rise Up Chorus, a community chorus organization whose mission is to bring the community together and enrich lives through musical experiences. For more information about Rise Up Chorus, visit us online at www.riseupchorus.org.

Synopsis Haydn’s oratorio “The Seasons” had its premiere performance on this date in Vienna in 1801. Like its predecessor, “The Creation,” Haydn’s new oratorio was a great success, and, as before, Haydn received help with the text and a lot of advice from the versatile Gottfried Bernhard Baron van Swieten, an enthusiastic admirer of Handel oratorios and the music of J. S. Bach. Swieten’s text for “The Seasons” included many opportunities for Baroque-style “tone painting”—musical representations of everything from croaking frogs and workers toiling in the fields, sections that raised a lot of smiles in 1801 and still do today. Haydn, famous for his sense of humor, in this case humored the old-fashioned tastes of the Baron as well. Speaking of the text, since Haydn was tremendous popular in England, Baron van Swieten prepared an English-language version of his text, trying to fit the English words to the rhythm of his original German. Alas, the good Baron’s command of English was, to put it diplomatically, perhaps not as firm he imagined. So these days, ensembles wishing to perform Haydn’s oratorio have a choice: they can opt for Swieten’s quaint but clunky English version, or his more graceful German original. Music Played in Today's Program Franz Joseph Haydn (1732 - 1809) Ländler, fr The Seasons Academy of St Martin in the Fields; Neville Marriner, cond. Philips 438715 On This Day Deaths 1921 - Dutch composer Alfons Diepenbrock, age 58, in Amsterdam; 1948 - Mexican composer Manuel Ponce, age 65, in Mexico City; 1998 - American composer Mel Powell, age 75, in Sherman Oaks, Calif.; He won the Pulitzer Prize for Music in 1990; Premieres 1742 - Handel: oratorio, "Messiah" (Julian date: April 13); 1801 - Haydn: oratorio "The Seasons," in Vienna; 1950 - Bernstein: incidental music "Peter Pan" (play by J.M. Barrie) at the Imperial Theater in New York City, conducted by Ben Steinberg; 1957 - Ives: String Quartet No. 1, in New York City (This music was completed in 1896); 1988 - Anthony Davis: "Notes from the Underground" (dedicated to Ralph Ellison), at Carnegie Hall in New York by the American Composers Orchestra, Paul Lustig Dunkel conducting; 1990 - Bright Sheng: "Four Movemenets" for piano trio, at Alice Tully Hall in New York City , by The Peabody Trio; 1992 - Joan Tower: Violin Concerto, with soloist Elmar Oliveira and the Utah Symphony, Joseph Silverstein conducting; 1997 - Stephen Paulus: opera "The Three Hermits," at House of Hope Presbyterian Church in St. Paul, Minn., with Thomas Lancaster conducting; Links and Resources On Haydn

Astrid Baumgardner, JD, PCC, is the lawyer, career coach, speaker, and author of Creative Success Now: How Creatives Thrive in the 21st Century who teaches Creativity and Entrepreneurship at Yale's University School of Music to musicians and arts leaders on their career path. As a professional speaker, she's been recently featured in TEDx talk with the topic - Cracking the Code on Creativity: The Secret to Full-Blast Living. Her entire career is built upon the initiative that she loves helping creative people be successful. Being the President of her coaching company - Astrid Baumgardner Coaching + Training, Astrid's main students and clients are musicians, arts leaders, and creative professionals. She also handles guest lectures on creative success at conservatories and summer festivals, including The Juilliard School, Norfolk Chamber Music Festival, Sō Percussion Summer Institute and Idyllwild Arts. She's even conducted leadership training workshops at Opera America and Ensemble Connect, the teaching artist academy at Carnegie Hall. In her early years, Astrid graduated from Mount Holyoke College and Rutgers Newark School of Law where she became a member of the Law Review and practiced law in New York City for 25 years. She later on moved to combine her professional skills with her love for the arts and served as Deputy Executive Director of the French Institute Alliance Française of New York and subsequently became an independent consultant to nonprofit art boards. As for her musical career, Astrid is a lifelong amateur pianist and a champion of new music. She is a board member of and was previously the board Chair of the Sō Percussion and board member, previous Chair, and Co-Chair of the board of the American Composers Orchestra. Astrid's book, Creative Success Now: How Creatives Thrive in the 21st Century, is available in all major bookstores and her TEDx feature - Cracking the Code on Creativity, can be viewed here: https://www.youtube.com/watch?v=0IAJsmOq6cgYou can learn more, connect, and follow Astrid Baumgardner on the following links:Website - https://www.astridbaumgardner.com/LinkedIn - https://www.linkedin.com/in/astridbaumgardner/If you know anyone that needs to hear what we talked about today, please subscribe and leave us a review or go to https://heart-hustle-and-humor.simplecast.com/.

Puerto Rican-born composer and multi-instrumentalist Angélica Negrón's music is deeply personal, reflecting a sensitive, playful nature that takes nothing for granted. Even the most mundane sounds--a stapler, a calculator, crumpling paper, pots and pans become beautiful in her sound sculptor's able hands.  Her music has been described as “wistfully idiosyncratic and contemplative,” while The New York Times noted her “capacity to surprise.” Negrón has been commissioned by the Bang on a Can All-Stars, loadbang, MATA Festival, Brooklyn Youth Chorus, Sō Percussion, the American Composers Orchestra and the New York Botanical Garden, among others. We hope you enjoy her music as much as we did this week.

The American composer Daniel Robert "Danny" Elfman is best known for writing the opening theme of The Simpsons and for scoring movies directed by his friend Tim Burton. But on today’s date in 2005, Elfman had, for him, a rather unusual experience—namely, hearing some of his music played live at Carnegie Hall when the American Composers Orchestra gave the premiere of “Serenada Schizophrana,” his first-ever foray into composing a symphonic concert work. In notes for a subsequent recording of the piece, Elfman said: “I’ve always had visuals to drive my orchestral music… As I’d never done anything like this before, figuring out how to begin was daunting. I began several dozen short improvisational compositions… Slowly, some of them began to develop themselves until finally I had six separate movements … I more or less let the movements take themselves wherever they wanted to go in a kind of musical stream of consciousness (which, with the way my brain works, was not a very smooth stream).” Hearing the work at Carnegie Hall, Elfman concluded, was (quote), “a thrilling and surreal experience.”

The American composer Daniel Robert "Danny" Elfman is best known for writing the opening theme of The Simpsons and for scoring movies directed by his friend Tim Burton. But on today’s date in 2005, Elfman had, for him, a rather unusual experience—namely, hearing some of his music played live at Carnegie Hall when the American Composers Orchestra gave the premiere of “Serenada Schizophrana,” his first-ever foray into composing a symphonic concert work. In notes for a subsequent recording of the piece, Elfman said: “I’ve always had visuals to drive my orchestral music… As I’d never done anything like this before, figuring out how to begin was daunting. I began several dozen short improvisational compositions… Slowly, some of them began to develop themselves until finally I had six separate movements … I more or less let the movements take themselves wherever they wanted to go in a kind of musical stream of consciousness (which, with the way my brain works, was not a very smooth stream).” Hearing the work at Carnegie Hall, Elfman concluded, was (quote), “a thrilling and surreal experience.”

In today’s episode, we are in the “Windy City”, the “City of Big Shoulders”, or more commonly Chicago! He is originally from Reno, Nevada, but now lives in Chicago where he attends the University of Chicago in pursuit of his PhD in Music Composition. I met Paul when he was just in high school and he blew me away with his musical knowledge and insanely deep musical intuition. He is a brilliant composer and we know he will be a big star very soon. He was recently the recipient of the American Composers Orchestra’s 2020 Underwood Commission for a new work that will premiere in Carnegie Hall. Paul also traveled to Burapha, Thailand, as part of the Thai Experimental Laboratory for Young Composers where he collaborated with Thai musicians and composed a new piece for traditional Thai instruments. He currently has several commissions from ensembles including the Boston New Music Initiative, KINETIC Ensemble, and Willinger Duo. In our episode today, we talk about Scriabin, harmonic melody, the erhu, the idea of “ma”, and having a life changing experience by having a pieced performed as a young person. Guest: Paul Novak Paul Novak’s website: www.paulnovakmusic.com ( http://www.paulnovakmusic.com ) Music Included in this Episode: As Light begins to Drift by Paul Novak. Performed by the American Composers Orchestra, conducted by George Manahan. © Paul Novak 2019 Anatomies of Fragile Things by Paul Novak. Performed by Julia Simpson (oboe), Angela Bae (violin), and Wesley Ducote (piano) © Paul Novak 2018 Figures in Violet Light by Paul Likhuta. Performed by students of Burapha University. © Paul Novak 2018. Ensemble Links: www.americancomposers.org ( http://www.americancomposers.org ) Hosts: William F. Montgomery - www.williammontgomerycomposer.com ( http://www.williammontgomerycomposer.com ) Hillary Lester - www.thehealthymusiciansite.com ( http://www.thehealthymusiciansite.com ) Become a Patreon: Patreon Link - https://www.patreon.com/soundsoftheworldpodcast Links for social media: Website – www.soundsoftheworldpodcast.com ( http://www.soundsoftheworldpodcast.com ) Host site link - https://redcircle.com/shows/sounds-of-the-world Instagram - https://www.instagram.com/soundsoftheworldpodcast Facebook - https://www.facebook.com/soundsoftheworldpodcast Apple - https://podcasts.apple.com/us/podcast/sounds-of-the-world/id1532113091 © Sounds of the World Podcast 2020 Support this podcast at — https://redcircle.com/sounds-of-the-world/donations

They receive about as much training as olympic athletes, and yet very few people have a sense of what life looks like for classical musicians today. This interview with Chilean-American violist Georgina Rossi covers a lot of ground: the nuts and bolts of a career in classical music, how society defines and compensates artistic labor, and simple things we as listeners can do to support the musicians that we love. Interwoven throughout the interview are excerpts from Georgina’s new album Mobili: Music for Viola and Piano from Chile. Enjoy! WORKS CITED Stone, Russell Dean. “‘He’s Got A Point, It’s Just That His Point Sucks’ – Artists React to Spotify CEO Saying They Need to Work Harder.” Vice, August 7, 2020. https://www.vice.com/en/article/5dzje3/daniel-ek-spotify-artists-pay-interview. Wark, McKenzie. Capital Is Dead: Is This Something Worse? Verso, 2019. MUSIC Interlude 1: Rafael Díaz, Al fondo de mi distancia se asoma tu casa (https://www.youtube.com/channel/UCrWhxGd6TZNb-u1n7Yqjwmw) Interlude 2: Carlos Botto, Fantasia Interlude 3: Juan Orrego-Salas, Mobili Interlude 4: David Cortes, Tololo (http://davidcortes.cl) Interlude 5: Rafael Díaz, ¿Habrá alguien que en sus manos sostenga este caer? All music from the album: Mobili: Music for Viola and Piano from Chile: https://www.newfocusrecordings.com/catalogue/georgina-isabel-rossi-mobili-music-for-viola-and-piano-from-chile/ Viola: Georgina Rossi (www.georginarossi.com) Piano: Silvie Cheng (www.silviecheng.com) Released by: New Focus Recordings (https://www.newfocusrecordings.com) Recorded at: Oktaven audiO (http://www.oktavenaudio.com/) WHERE TO HIRE CLASSICAL MUSICIANS Hire Juilliard Performers (www.juilliard.edu/stage-beyond/hire-juilliard-performers) WHERE TO STREAM MUSIC Bandcamp (bandcamp.com) A SELECTION OF MUSICIAN-LED COLLECTIVES & ENSEMBLES TO SUPPORT ACRONYM (www.acronymensemble.com/albums) American Composers Orchestra (americancomposers.org) American Stories Podcast ‎(podcasts.apple.com/us/podcast/american-stories/id1512423110) Argus Quartet (fundraising.fracturedatlas.org/argus-quartet) Cheng2Duo (https://www.cheng2duo.com) Digital Camerata (digitalcamerata.org/#support) Kettle Corn New Music (kettlecornnewmusic.com/support) Music for Food (musicforfood.net) New Focus Recordings (www.newfocusrecordings.com) Oktaven AudiO (http://www.oktavenaudio.com/) Project Music Heals Us (www.pmhu.org) Shouthouse (www.shouthousemusic.com) Switch Ensemble (www.switchensemble.com) Tak Ensemble (www.takensemble.com) Tenet Vocal Artists (https://tenet.nyc/support) The Crossing (www.crossingchoir.org) The Westerlies (www.westerliesmusic.com) Ulysses Quartet (www.ulyssesquartet.com) Versoi Ensemble (www.versoiensemble.org) Not included in this list are dozens of regional orchestras and summer music festivals across the country. Look up your local symphony, chamber orchestra, or music festival, and make a point of buying tickets and attending concerts! --- Send in a voice message: https://anchor.fm/capital-a/message

Librettist & Singer Aiden K. Feltkamp, who serves as the Emerging Composers and Diversity Director at the American Composers Orchestra, shares how they work with large institutions to identify & dismantle internal discriminatory practices & address unconscious biases. Aiden speaks openly about their personal experience transitioning, the impact that Gender Dysphoria (experiencing discord between one's gender identity & one's assigned sex at birth) had on their mental health, & how writing helped their healing process. We discuss our shared experiences of mental illness, or what Aiden & fellow diversity educators call Neurodivergence, & the benefits of therapy & medication in treating Anxiety, Depression, & ADHD   www.AidenKimFeltkamp.com   Questions or comments may be shared on Julia Adolphe's YouTube Channel

Jessie Montgomery is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation, the Sphinx Medal of Excellence, and her works are performed frequently around the world by leading musicians and ensembles. Her music interweaves classical music with elements of vernacular music, improvisation, poetry, and social consciousness, making her an acute interpreter of 21st- century American sound and experience. Her profoundly felt works have been described as “turbulent, wildly colorful, and exploding with life.” Jessie was born and raised in Manhattan's Lower East Side in the 1980s during a time when the neighborhood was at a major turning point in its history. Artists gravitated to the hotbed of artistic experimentation and community development. Her parents - her father a musician, her mother a theater artist and storyteller - were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, performances, and parties where neighbors, activists, and artists gathered to celebrate and support the movements of the time. It is from this unique experience that Jessie has created a life that merges composing, performance, education, and advocacy. Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports young African - American and Latinx musicians. She currently serves as composer-in-residence of the Sphinx Virtuosi, their Organization’s flagship professional touring ensemble. She was a two-time laureate of the Annual Sphinx Competition and was awarded their highest honor, the Sphinx Medal of Excellence. She has received additional grants and awards from the ASCAP Foundation, Chamber Music America, AMerican Composers Orchestra, the Joyce Foundation, and the Sorel Organization. The New York Philharmonic has selected Jessie as a featured composer for their Project 19, which marks the centennial of the ratification of the 19th amendment, granting equal voting rights in the United States to women. Other forthcoming works include a nonet inspired by the Great Migration, told from the perspective of Montgomery’s great-grandfather William McCauley and to be performed by Imani Winds and the Catalyst Quartet; a cello concerto for Thomas Mesa jointly commissioned by Carnegie Hall, New World Symphony, and The Sphinx Organization; and a new orchestral work for the National Symphony. The question of the week is, "What will the next period of classical music look like?" Ms. Montgomery and I discuss what she believes will define the next period of classical music, how to avoid making the same mistakes as our predecessors when writing the narrative of classical music, the widening skillsets of classical musicians, and why it is important for musicians to know how to improvise. You can find out more about Jessie Montgomery and her amazing music on her website, jessiemontgomery.com.

At Carnegie Hall on today’s date in 2002, the American Composers Orchestra presented new works inspired by the Hebrew Psalms. The program included the premiere of a new work by the American composer David Lang entitled “How to Pray.” In his program note, Lang wrote: “[The] Psalms are so central to religious experience [because] they are a comprehensive catalogue of how to talk to the Almighty... Of course, it's like reading one side of a correspondence... I am not a religious person. I don't know how to pray. I do, however, know some of the times and places and formulas that are supposed to help make prayer possible. Sometimes I find myself sending those messages out. And then I wait, secretly hoping that I will recognize the response.” The minimalist-style, patterned repetition in Lang’s “How to Pray,” reminded some listeners of a “mandala”—those intricate graphic patterns intended to be an aid to meditation for Hindu or Buddhist believers. Stravinsky fans with sharp ears might also recognize the running piano line from the beginning of Stravinsky's Symphony of Psalms, which Lang borrows and weaves into the pattern of “How to Pray” as both a tribute and inspiration.

At Carnegie Hall on today’s date in 2002, the American Composers Orchestra presented new works inspired by the Hebrew Psalms. The program included the premiere of a new work by the American composer David Lang entitled “How to Pray.” In his program note, Lang wrote: “[The] Psalms are so central to religious experience [because] they are a comprehensive catalogue of how to talk to the Almighty... Of course, it's like reading one side of a correspondence... I am not a religious person. I don't know how to pray. I do, however, know some of the times and places and formulas that are supposed to help make prayer possible. Sometimes I find myself sending those messages out. And then I wait, secretly hoping that I will recognize the response.” The minimalist-style, patterned repetition in Lang’s “How to Pray,” reminded some listeners of a “mandala”—those intricate graphic patterns intended to be an aid to meditation for Hindu or Buddhist believers. Stravinsky fans with sharp ears might also recognize the running piano line from the beginning of Stravinsky's Symphony of Psalms, which Lang borrows and weaves into the pattern of “How to Pray” as both a tribute and inspiration.

At Carnegie Hall on today’s date in 1991, Dennis Russell Davies conducted American Composers’ Orchestra in the premiere performance of a new orchestral work entitled “Black Light.” Its composer was Daniel Asia, a Seattle native who has emerged as one of the most productive contemporary composers of orchestral works. Asia has written several symphonies to date, and a number of concertos and shorter orchestral works. The final page of the score for Asia’s “Black Light” is inscribed, “October 15, 1990—In Memoriam Leonard Bernstein.” Bernstein had died the previous day, as Asia was just finishing his new score, and a year later, almost to the day, Asia’s “Black Light” was premiered in New York. Bernstein was a composer that Asia openly acknowledges as a big influence in his own work. But it would be wrong to suggest that “Black Light” was conceived as an elegy for Bernstein. Asia has been associated with the University of Arizona in Tucson, and says the closing section of “Black Light” is “suggestive of the fierceness of the appearance of the sun, particularly in the Southwest, in all its glory at that first instant of daybreak.”

Ep. 123: Lisa Bielawa, composer and vocalist. Let's Talk Off The Podium with Tigran Arakelyan. In this podcast Bielawa talks about a recent project called Broadcast from Home, work with Philip Glass, time at Yale, various major projects and much more. Composer, producer, and vocalist Lisa Bielawa is a Rome Prize winner in Musical Composition and takes inspiration for her work from literary sources and close artistic collaborations. Her music has been described as “ruminative, pointillistic and harmonically slightly tart,” by The New York Times. She is the recipient of the 2017 Music Award from the American Academy of Arts & Letters and was named a William Randolph Hearst Visiting Artist Fellow at the American Antiquarian Society for 2018.  Bielawa consistently executes work that incorporates community-making as part of her artistic vision. She has created music for public spaces in Lower Manhattan, the banks of the Tiber River in Rome, on the sites of former airfields in Berlin in San Francisco, and to mark the 30th anniversary of the fall of the Berlin Wall. Her music has recently been premiered at the NY PHIL BIENNIAL, Lincoln Center, Carnegie Hall, The Kennedy Center, SHIFT Festival, and Naumburg Orchestral Concerts, among others. She will have her second residency as a performer/composer at John Zorn’s venue The Stone in March 2020. Orchestras that have championed her music include the The Knights, Boston Modern Orchestra Project, American Composers Orchestra, and the Orlando Philharmonic. Premieres of her work have been commissioned and presented by the Chamber Music Society of Lincoln Center, Brooklyn Rider, Seattle Chamber Music Society, American Guild of Organists, and more.  Bielawa began touring as the vocalist with the Philip Glass Ensemble in 1992 and in 2019 she became the inaugural Composer-in-Residence and Chief Curator of the Philip Glass Institute at The New School. In 1997 Bielawa cofounded the MATA Festival, which celebrates the work of young composers, and for five years she was the artistic director of the San Francisco Girls Chorus.  She received a 2018 Los Angeles Area Emmy nomination for her unprecedented, made-for-TV-and-online opera Vireo: The Spiritual Biography of a Witch's Accuser, created with librettist Erik Ehn and director Charles Otte. Vireowas filmed in twelve parts in locations across the country and features over 350 musicians. Vireo was released on CD/DVD in 2019 (Orange Mountain Music) and she is also recorded on the Tzadik, TROY, Innova, BMOP/sound, Supertrain Records, Sono Luminus, and Cedille labels. For more information about Lisa Bielawa please visit: www.lisabielawa.net © Let's Talk Off The Podium, 2020

Conductor Composer Stephen P Brown jabbers with Paul Hostetter, the Ethel Foley Distinguished Chair in Orchestral Activities for the Schwob School of Music at Columbus State University. He has conducted the New York City Opera, the Opera Theatre of Pittsburgh, the New Jersey Symphony Orchestra, the Orlando Philharmonic, the American Composers Orchestra, Philharmonia Virtuosi, the Naples Philharmonic, the Syracuse Symphony, the San Francisco Contemporary Music Players, and the Delaware Symphony Orchestra among many others. His 53 commercially released recordings have received honors including a Grammy Award, a Downbeat Critics Award, five stars for performance in the BBC Music Magazine, and two NY Times Top Five annual listings.

Composers and performers are finding incredibly creative ways to continue connecting and making great music in the midst of a global pandemic. Seth talks with composers Suzanne Farrin, Gene Pritsker, Carlos Simon, Liza Sobel and Greg Bartholomew as well as countertenor Anthony Roth Costanzo and American Composers Orchestra's Artistic Director Derek Bermel. MUSIC Nacht (excerpt) by Suzanne Farrin Performed by: Suzanne Farrin, ondes Martenot Alice Teyssier, voice Ross Karre, percussion Randall Zigler, bass Nuiko Wadden, harp Ryan Streber, audio engineer Pandemic Dance #32 and #30 by Gene Pritsker Performed by: Carson Cooman, organ Kristof Knoch - bass clarinet Gene Pritsker - electric guitar Another Rising by Carlos Simon Presented as part of American Composers Orchestra's Connecting ACO Community Performed by: Anthony Roth Constanzo, counter tenor Brooklyn Youth Chorus, Dianne Berkun Menaker - Founder and Artistic Director Brian Losch, sound editing and mixing Reverse Forward by Liza Sobel Performed by the Civic Orchestra of Chicago, Ken-David Masur - conductor Fire and Ice and Prairie Spring by Greg Bartholomew Performed by: Matt Curtis Useless Machines for Thinking, Dreaming, Feeling mvmt 3 Mind Fire by Seth Boustead Performed by Ford Fourqurean - bass clarinet David Keller - cello Henry Zheng - violin

In this episode, Wayne du Maine discusses the joys and challenges of living the life of a performing musician. We also discuss how he lives his life in a loud, strong way and the teachers and mentors that helped him get to where he is today. We also discuss the teachers that shed light on what not to do as an educator. We discuss hopes, dreams, family, softball, beer, and more! Enjoy this upbeat and fun hour with our friend Wayne du Maine.​A native of St. Louis, Wayne J. du Maine currently performs with the Metropolitan Opera Orchestra, Orpheus Chamber Orchestra, American Composers Orchestra, New York City Opera, Rodney Mack Philadelphia Big Brass, Chamber Music Society of Lincoln Center and with contemporary music ensembles such as Speculum Musicae, Sospeso, and ST-X Xenakis. Mr. du Maine is a member of the Manhattan Brass and with Mercury and the Brooklyn Philharmonic Brass Quintets, he is dedicated to performing and introducing live music to thousands of school children in the NYC area, NJ and PA. Wayne has worked with a broad spectrum of artists ranging from Leonard Bernstein and Leonard Slatkin to Hank Jones, Wynton and Branford Marsalis, Patti Lupone and Audra MacDonald. He has been a soloist with the orchestras of St. Louis, Cincinnati and Pittsburgh. He can be heard on recordings with the New York Philharmonic, Met Opera Orchestra, numerous commercials, motion pictures and with Prince on his New Power Soul recording. See omnystudio.com/listener for privacy information.

This week, I have the incredible honor of welcoming renowned pianist Ursula Oppens to the show. A legend among American pianists, Ursula is widely admired for both her original and perceptive readings of new music, and for her knowing interpretations of the standard repertoire. As you'll hear in the episode, she's an incredibly passionate and wise musician!  Her and I covered several topics, from the reality of a career in music today, to how she approaches learning repertoire, and how she's stays focused in the practice room! In this episode, Ursula expands on: Her love of new music and how it developed early on in her life How she approaches bringing new music to life Why she doesn't think musicians should have a niche but should, instead, be interested in learning Her view of the musical landscape of today What improvisation can bring to our playing How she loves practicing (and I love that she said that so much!) How mental and muscle memory develop together Why she thinks it's important to memorize music in order to learn it better Her strategies to find energy, motivation, and focus to practice Why flexibility is a crucial skill to develop How a well-rounded education is also very helpful Her very wise piece of advice for young musicians Ursula is a force of nature and very generous with her insight. I know you'll love this discussion!     The Mind Over Finger Podcast on YouTube: https://www.youtube.com/channel/UCtQSB1IVNJ4a2afT1iUtSfA/videos   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! Click HERE or visit www.mindoverfinger.com!   MORE ABOUT URSULA: Website: https://colbertartists.com/artists/ursula-oppens/ YouTube channel: https://www.youtube.com/channel/UCqj7e-6dIIBw2OkKmHxYItw   Ursula Oppens, a legend among American pianists, is widely admired particularly for her original and perceptive readings of new music, but also for her knowing interpretations of the standard repertoire. No other artist alive today has commissioned and premiered more new works for the piano. A prolific and critically acclaimed recording artist with five Grammy nominations, Ms. Oppens most recently released a new recording of Frederic Rzewski's The People United Will Never Be Defeated, nominated for a Grammy in 2016, and Piano Songs, a collaboration with Meredith Monk. Earlier Grammy nominations were for Winging It: Piano Music of John Corigliano; Oppens Plays Carter; a recording of the complete piano works of Elliott Carter for Cedille Records (also was named a “Best of the Year” selection by The New York Times long-time music critic Allan Kozinn); Piano Music of Our Time featuring compositions by John Adams, Elliott Carter, Julius Hemphill, and Conlon Nancarrow for the Music and Arts label, and her cult classic The People United Will Never Be Defeated by Frederic Rzewski on Vanguard. Ms. Oppens recently added to her extensive discography by releasing a two-piano CD for Cedille Records devoted to Visions de l'Amenof Oliver Messiaen and Debussy's En blanc et noir performed with pianist Jerome Lowenthal. Over the years, Ms. Oppens has premiered works by such leading composers as John Adams, Luciano Berio, William Bolcom, Anthony Braxton, Elliott Carter, John Corigliano, Anthony Davis, John Harbison, Julius Hemphill, Laura Kaminsky, Tania Leon, György Ligeti, Witold Lutoslawski, Harold Meltzer, Meredith Monk, Conlon Nancarrow, Tobias Picker, Bernard Rands, Frederic Rzewski, Allen Shawn, Alvin Singleton, Joan Tower, Lois V Vierk, Amy Williams, Christian Wolff, Amnon Wolman, and Charles Wuorinen. As an orchestral guest soloist, Ms. Oppens has performed with virtually all of the world's major orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Los Angeles Philharmonic, the American Composers Orchestra, the Boston Modern Orchestra Project (BMOP), and the orchestras of Chicago, Cleveland, San Francisco, and Milwaukee. Abroad, she has appeared with such ensembles as the Berlin Symphony, Orchestre de la Suisse Romande, the Deutsche Symphonie, the Scottish BBC, and the London Philharmonic Orchestras.  Ms. Oppens is also an avid chamber musician and has performed with the Arditti, Cassatt, JACK, Juilliard, and Pacifica quartets, among other chamber ensembles. Ursula Oppens joined the faculty of the Mannes College of Music in the fall of 2017, and is a Distinguished Professor of Music at Brooklyn College and the CUNY Graduate Center in New York City. From 1994 through the end of the 2007-08 academic year she served as John Evans Distinguished Professor of Music at Northwestern University in Evanston, IL. In addition, Ms. Oppens has served as a juror for many international competitions, such as the Concert Artists Guild, Young Concert Artists, Young Pianists Foundation (Amsterdam), and Cincinnati Piano World Competition.   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/    

***We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies!*** Sign up by 10/31 for a chance for you and a friend to chat with The Brass Junkies! TBJ121: Trumpeter Wayne du Maine on working with Bernstein and Prince, but not at the same time. He is one of the busiest and most successful musicians working today and he shares how he balances it all with a smile on his face. From his bio: A native of St. Louis, Wayne J. du Maine currently performs with the Metropolitan Opera Orchestra, Orpheus Chamber Orchestra, American Composers Orchestra, New York City Opera, Rodney Mack Philadelphia Big Brass, Chamber Music Society of Lincoln Center and with contemporary music ensembles such as Speculum Musicae, Sospeso, and ST-X Xenakis. Mr. du Maine is a member of the Manhattan Brass and with Mercury and the Brooklyn Philharmonic Brass Quintets, he is dedicated to performing and introducing live music to thousands of school children in the NYC area, NJ and PA. Wayne has worked with a broad spectrum of artists ranging from Leonard Bernstein and Leonard Slatkin to Hank Jones, Wynton and Branford Marsalis, Patti Lupone and Audra MacDonald. He has been a soloist with the orchestras of St. Louis, Cincinnati and Pittsburgh. He can be heard on recordings with the New York Philharmonic, Met Opera Orchestra, numerous commercials, motion pictures and with Prince on his New Power Soul recording. Mr. du Maine is on the faculty of Columbia and Princeton Universities as well as Bar Harbor Brass Week. At the Juilliard School, Wayne teaches trumpet in the Music Advancement Program and serves as a teaching assistant in the Instrumental Music Program. He is also on the conducting faculty of the Elisabeth Morrow Summer Strings and now is Music Director of the Concert Band and Jazz Ensemble at the Elisabeth Morrow School. Recently, Wayne made his Brooklyn Philharmonic conducting debut to critical acclaim and will make his Westchester Philharmonic debut in Spring, 2011. Mr. du Maine has performed at music festivals in Aspen, Spoleto, Tanglewood, Vermont Mozart, Bowdoin, Marlboro, Berkshire Choral, and the Manchester (VT) Music Festival. Wayne just completed a two year run of Fiddler on the Roof where he was associate conductor. He is currently a member of the show How The Grinch Stole Christmas and has served as associate conductor at the hit revival of South Pacific at Lincoln Center. Highlights of recent performances include the Boys Choir of Harlem, Take 6, Martha's Vineyard Chamber Music Society, Absolute Ensemble, soloist with the Cincinnati Symphony, Peter, Paul and Mary, and the rock band Jesus H. Christ, where he plays keyboards. A member of two softball leagues in Central Park, Wayne resides in New Jersey with his wife, Sharon and daughter Sequoia. In this fun and lively discussion, we cover: Stanley Cup/St. Louis Blues NYU brass program Learning the ropes as an administrator Recruiting and fundraising Negotiating and the art of pricing 1990 Tanglewood performance of Copland's Third Symphony under Bernstein Conducting Scotch and cigarettes Prioritization and scheduling Playing in the stage bands at The Met Mark Gould Portfolio career/freelancing Looking 7-9 months ahead to manage uneven income Playing on Broadway while still in school The importance of sightreading How he guides his students Wayne du Maine's Beer Course With Trumpet Recording with Prince Links: NYU Steinhardt Brass page Manhattan Brass Westchester Philharmonic NY Times article Wayne du Maine's Beer Course With Trumpet Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies! Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Composer and pianist Wang Lu was born in the Xi’an, China, the country’s ancient capital. Brought up in a musical family with strong Chinese opera and folk music traditions, her compositions are inspired by both of these forms, and fused with urban environmental sounds. Wang’s works have been performed internationally by the Ensemble Modern, The Minnesota Orchestra, The American Composers Orchestra and Holland Symfonia, to name just a few. As a spring 2019 Fellow at the Academy, Wang is working on new pieces, and she’ll be performing works from Urban Inventory in the city as well. Producer Tony Andrews sat down with Wang to discuss her work.

What possibilities emerge when we begin to question the tacitly accepted — and easily overlooked — limits that govern who we can be and what we can do? Composer Samuel Adams, rock climber/BASE jumper Steph Davis, and arts leader Ed Yim all push past traditional limitations in their everyday lives by writing music that reaches new emotional depths, scaling cliffs and flying off of them, or making a platform for artists to create without compromise. Each of them offers a unique and insightful perspective on this question in the debut episode of Imagination Radio. Music in this episode: — Dylan Mattingly: from Stranger Love (2018) — Contemporaneous — Samuel Adams: Tension Study no. 2 (2010) — Living Earth Show — Judd Greenstein: Change (2009) — NOW Ensemble — David Moore: Broad Channel (2015) — Bing & Ruth — Samuel Adams: from Chamber Concerto: Prelude (One by One) (2017) — Karen Gomyo, violin — Samuel Adams: Shade Study (2014) — Sarah Cahill, piano — Samuel Adams: Drift & Providence (2012) — National Orchestral Institute Philharmonic & James Ross, conductor; Samuel Adams, electronics — John Lewis: Silver (1964) — John Lewis, piano; Orchestra U.S.A.; Gunther Schuller & Harold Farberman, conductors — Dan Trueman: Silicon / Carbon (2008) — Princeton Laptop Orchestra (PLOrk); American Composers Orchestra & Jeffrey Milarsky, conductor — Ólafur Arnalds: Hands, Be Still (2013) — Philip Glass: from Symphony No. 4 (1996): I. Heroes — American Composers Orchestra & Dennis Russell Davies, conductor — Pyotr Ilyich Tchaikovsky: from String Quartet No. 1, Op. 11 (1871): II. Andante cantabile — New York Philharmonic & Leonard Bernstein, conductor — Julia Wolfe: from Fuel (2007): Part II — Ensemble Resonanz & Brad Lubman, conductor — Hector Berlioz: from Symphonie fantastique, Op. 14 (1830): V. Songe d'une nuit du Sabbat — Orchestre Révolutionnaire et Romantique & John Eliot Gardiner, conductor — Gustav Mahler: from Symphony No. 8 in E-flat, Symphony of a Thousand (1906): Accende lumen sensibus — Schola Cantorum of New York, Juilliard Chorus, Columbus Boychoir; New York Philharmonic & Leonard Bernstein, conductor — James Horner: from Star Trek II: The Wrath of Khan (1982) — Ludwig van Beethoven: from String Quartet in E-flat, Op. 74 (1809): I. Poco adagio; Allegro — Artemis Quartet — Samuel Adams: Quartet Movement (2016) — Spektral Quartet — Meredith Monk & Mieke van Hoek: Vow (2011) — Katie Geissinger, voice — Steve Reich: Proverb (1995) — Theatre of Voices; Steve Reich Ensemble & Paul Hillier — Dylan Mattingly: from Atlas of Somewhere (on the Way to Howland Island) (2011): II. Islanded in a Stream of Stars — Contemporaneous — Morton Feldman: String Quartet No. 2 (1983) — FLUX Quartet — Anthony Motto: Live at GGBY in Moab (2017) With gratitude and admiration, this episode is dedicated to the memory of composer, conductor, pedagogue, and family man Harold Farberman (1929-2018).