Podcasts about american orchestras

Sonja Thoms is expanding the Wheeling Symphony Orchestra’s community presence through an innovative outreach strategy. Building on her decades of experience with the League of American Orchestras, Thoms recently established the WSO Community Choir, which will make its debut performing alongside the Symphony this season. Her plans include bringing the established Wheeling Youth Orchestra under READ MORE The post S. 2. 11. Sonja Thoms: Stewarding the Legacy and Future of the Wheeling Symphony Orchestra first appeared on Accelerando Podcast.

Two exceptional local musicians are making waves, proving that classical music is a universal language that transcends racial boundaries.Classical music is taking on a transformative dimension as pipe organist Wolff von Roos and pianist Teneh Karimeo are paving the way for a new generation of Black musicians in the classical world.According to a 2023 study published by the League of American Orchestras, Black musicians only made up 2.4% of orchestra musicians nationwide.Not only do these two musicians excel in their craft, but they are also driven to nurture the younger generation.Karimeo and von Roos both actively advocate for a more diverse and inclusive classical music community.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Simon Woods brings more than 30 years of experience working with orchestras to his leadership role as president and CEO of the League of American Orchestras.Simon is known throughout the world of classical music as a highly trusted mentor and advisor to orchestra management professionals.His leadership includes regular columns in professional periodicals about the future of orchestras, as well as lectures and speaking engagements at conferences and orchestra boardrooms around the country.  I was fortunate enough recently to host a panel discussion with him on the subject of the presentation of classical music.Prior to joining the League in 2020, Woods served as CEO of the Los Angeles Philharmonic; he was interim executive director of the Grand Teton Music Festival, president and CEO of the Seattle Symphony, chief executive of the Royal Scottish National Orchestra, as well as serving the New Jersey Symphony Orchestra and The Philadelphia Orchestra. Born in London, England, Woods earned a degree in music from Cambridge University and a diploma in conducting from the Guildhall School of Music and Drama in London. He currently serves on the boards of Astral Artists and the Performing Arts Alliance.

The music composed for video games has come a long way. Once limited to simple tunes generated by early synthesizer chips, it now encompasses complex musical scores written for full orchestra. Video game music is now also considered a key access point to orchestral music among young people, and concert venues around the world are seeing new and diverse audiences attend live performances of gaming soundtracks. This could a development the classical music world will seek to build upon. A study by League of of American Orchestras suggests audiences for concerts have dropped by 26% since 2020, with young people being the minority of attendees. But the genre's not always been embraced by classical music lovers. In this episode, we'll hear about the origins of music written for video games; speaking to composers and orchestras who are embracing new audiences and exciting musical works. And we'll go backstage before opening night of a concert tour showcasing music from a major video game franchise. (Image: Gaming Prom – From 8-Bit to Infinity, The Royal Philharmonic Orchestra conducted by Robert Ames, in the Royal Albert Hall, on 1 August 2022, as part of the BBC Proms.)Presented and produced by Sean Allsop

On this episode of the Circuspreneur Podcast, host Shenea Stiletto interviews ADEI Consultant and Professor of Music at the University of Michigan Dr. Antonio C. Cuyler. He is the founder of Cuyler Consulting, which partners with cultural organizations to maximize their performance and community relevance through access, diversity, equity, and inclusion or (ADEI). Dr. Cuyler has established an international reputation as a thought leader in the creative sector on ADEI and creative justice issues by presenting research around the globe. Among his clients includes the Arts Administrators of Color Network, Cathedral Choral Society, Chorus America, the Hewlett Foundation, League of American Orchestras, Lyric Opera of Chicago, Youth Orchestras of San Antonio (YOSA), Spencer Museum, and Winston-Salem Symphony Orchestra, among others.

This week, Dalanie and Katie talk about The Fearless Fund. IN THIS EPISODE PURCHASE OUR MERCH!: https://www.classicallyblackpodcast.com/store JOIN US ON PATREON! https://patreon.com/ClassicallyBlackPodcast SIGN UP FOR OUR MAILING LIST! https://www.classicallyblackpodcast.com/newsletter-sign-up FOLLOW US ON SOCIAL MEDIA! https://linktr.ee/classicallyblack Donate to ISBM! https://fundraising.fracturedatlas.org/international-society-of-black-musicians Check out our website: https://www.isblackmusicians.com American Composers Orchestra Announces New EarShot Publishing in Partnership with Boosey & Hawkes with Support from the Sphinx Organization https://www.americancomposers.org/earshot-composer-incubator/publishing Boulanger Initiative to Host Festival Celebrating Female Composers https://theviolinchannel.com/boulanger-initiative-announces-2024-woco-fest-to-be-held-in-april/ Gateways Music Festival Makes Debuts in D.C. & Chicago, Where Week of Events Concludes with Full Orchestral Concert Featuring Anthony Parnther & Take 6 https://www.gatewaysmusicfestival.org/202324-chicago Lee Koonce Wins League of American Orchestras' Gold Baton https://theviolinchannel.com/lee-koonce-wins-the-golden-baton-of-the-league-of-american-orchestras/ FROM LAST WEEK: Help get Jakalin to the International Timpani Intensive https://www.gofundme.com/f/help-get-jakalin-to-houston?utm_campaign=p_lico+share-sheet&utm_medium=copy_link&utm_source=customer Register for Notes Noire https://docs.google.com/forms/d/e/1FAIpQLSeN56JaI89cmwv5xDcLq889kE5eRvoBFsh_GRoBfAdkwbYM-A/viewform Help Emanuel attend Violin Making School https://www.gofundme.com/f/help-emanuel-attend-violin-making-school?utm_campaign=p_lico+share-sheet&utm_location=FIRSTTIME&utm_medium=copy_link&utm_source=customer Black Excellence: Rachel Johnson https://memphisjazzworkshop.org/about/mjw-team-staff-teachers/ Piece of the Week: Concerto Grosso - Errolyn Wallen https://youtu.be/k0yazfvsziQ?si=a19UMi4V5UNh6Ols

On this episode of One Symphony, conductor Devin Patrick Hughes interviews Henry Fogel, a prominent figure in the orchestral music field. Fogel discusses his early life in music, his exciting journey in radio, and his passion for making symphonic music more accessible. They also delve into Fogel's contribution to orchestras as a director and a manager. From his beginnings in a home where Broadway musicals were the high end of musical taste, to his rise as a key figure in the world of orchestral music, Fogel's insights on board members and anecdotes about conductors provide a unique window into the business side of the symphony orchestra. Henry Fogel has served as President and CEO of the League of American Orchestras, where he significantly impacted the orchestral landscape by supporting and consulting with over 190 orchestras during his tenure. His leadership as President of the Chicago Symphony for 18 years saw substantial growth in the organization's endowment and community engagement efforts. Henry's extensive career also includes leadership positions at the National Symphony Orchestra of Washington, D.C., and the New York Philharmonic. He is actively involved in various nonprofit boards and serves as Chair of the Chicago Classical Music Recording Foundation. Henry's contributions to the American symphonic landscape have been recognized through honorary doctorate degrees and many awards, including the League of American Orchestras' Gold Baton Award. Beyond his professional achievements, Fogel is an accomplished narrator and producer, sharing his passion for classical music over the radio waves for 5 decades. Henry enjoys spending time with his children, grandchildren, and pursuing his interest in Chinese cuisine.   Thank you for joining us on One Symphony. Thanks to Henry Fogel for sharing his wealth of wisdom. Musical selections on this episode today include   Mass in B Minor, BWV 232: I. Kyrie: No. 1, Kyrie eleison I (Chorus)[Music Download] From the album Bach: Mass in B Minor, BWV 232 By: The Netherlands Bach Society & Jos van Veldhoven   Glagolitic Mass, From the album Janáček: Glagolitic Mass - Martinů: Field Mass By: Czech Philharmonic, Prague Philharmonic Choir, Václav Neumann, Josef Veselka, Jan Hora, Gabriela Beňačková, Věra Soukupová, František Livora, Karel Průša   Berwald: Symphony No. 4 in E flat major - I. Allegro risoluto[Music Download] From the album Schubert: Symphony No.4 "Tragic" / Berwald: Symphonies Nos.3 "Singulière" & 4 By: Berliner Philharmoniker and Igor Markevitch   Symphony No. 9 in E-Flat Major, Op. 70: V. Allegretto[Music Download] From the album Shostakovich: Symphony Nos. 5 & 9 By: Leonard Bernstein and the New York Philharmonic Orchestra   Corigliano: Symphony No. 1[Music Download] Symphony No. 1: I. Apologue. Of Rage and Remembrance By: Daniel Barenboim and the Chicago Symphony Orchestra   Nielsen: Symphonies Nos. 3 & 5[Music Download] Symphony No. 5, Op. 50, FS 97, CNW 29: I. Tempo giusto - Adagio By: Leonard Bernstein and the Royal Danish Orchestra https://www.wfmt.com/programs/collectors-corner-with-henry-fogel/ https://devinpatrickhughes.com You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

John Jeter has been music director and conductor of the Fort Smith Symphony since 1997. He is the recipient of the Governor's Award for “Individual Artist of the State of Arkansas”, the Helen M. Thompson Award presented by the League of American Orchestras, and the Mayor's Achievement Award for services to the City of Fort Smith. Jeter has guest conducted numerous orchestras in the US and Europe. His music education programs for schools reach up to 10,000 students annually. He is also involved in a growing number of music and wellness projects, and has a long history as a media guest and host. He's recently released a new album on Naxos, featuring the music of Louis Wayne Ballard, the first Native American concert composer.  His music is wonderful and his life and career make for a fascinating story.   You can listen to the music at the link above. Our conversation touched on numerous topics including diversity in programming, audience development, the difficulties and rewards of rediscovering a composer, and why we all need to be proactive in this!  Follow the Fort Smith Symphony and John Jeter at their website. Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. I have three 1:1 coaching slots available this season. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!  

Lee Mills is internationally recognized as a passionate, multifaceted and energetic conductor. In naming Mills as the ‘New Artist of the Month' for March 2022, Musical America praised his ‘omnivorous musical temperament eager to try out highly contrasting musical styles and approaches.'As you'll hear, Lee left his mark wit the Seattle Symphony during the COVID pandemic, stepping in at crucial times. The League of American Orchestras selected Lee Mills for the 2018 Bruno Walter National Conductors Preview where he conducted the Nashville Symphony Orchestra. In 2017 he was selected as a semi-finalist in both the Sir Georg Solti International Conducting Competition and the Opera Royal de Wallonie-Liege International Opera Conducting Competition. In addition, he conducted alongside David Robertson in the highly acclaimed U.S. Premiere of John Cage's Thirty Pieces for Five Orchestras with the Saint Louis Symphony.    At the invitation of the Baltimore Symphony Orchestra Music Director Marin Alsop, he received the prestigious BSO-Peabody Institute Conducting Fellowship in 2011. Under the tutelage of Gustav Meier and Marin Alsop, Mills received his Graduate Performance Diploma and Artist's Diploma in Orchestral Conducting at the Peabody Institute. He was a conducting fellow at the American Academy of Conducting at Aspen during the summers of 2012 and 2013, working closely with Larry Rachleff, Robert Spano and Hugh Wolff. Lee Mills graduated cum laude from Whitman College, where he studied with Robert Bode.

Antonio C. Cuyler, PhD, is a professor of music in entrepreneurship and leadership at the University of Michigan School of Music, Theatre and Dance. On this episode of Michigan Minds, Cuyler discusses findings from a report he coauthored published by the League of American Orchestras, titled, Racial/Ethnic and Gender Diversity in the Orchestra Field in 2023. Cuyler explains the ways in which this research can help the creative sector accelerate progress towards equity, diversity, and inclusion in orchestras. Hosted on Acast. See acast.com/privacy for more information.

Charles (Chuck) Dickerson III is the founder, Executive Director and Conductor of the Inner City Youth Orchestra of Los Angeles. He is also the founder, Executive Director and Conductor of both the South Side Chicago Youth Orchestra, and the Youth Orchestra of Tsakane, South Africa.  He also serves as Director Special Ensembles at California State University, Dominguez Hills, as Director of Music at Rolling Hills United Methodist Church, and as the Choir Director at Leo Baeck Temple in Bel Air, California.  He serves on the Board of Directors of the League of American Orchestras.  He was recognized in December 2019 as a Professional of the Year by Musical America.He holds a Master of Music Degree with a focus on conducting from California State University, Los Angeles, and degrees from Howard University (B.S.) and American University (J.D.).  He has studied with esteemed Conductors Gustav Meier, Daniel Lewis, and Kenneth Kiesler. He formerly served as Music Director and Conductor of the Southeast Symphony (2004-2011) and as Director of Music at Holman United Methodist Church.  He has held important public and civic leadership positions in Washington DC and Los Angeles.Chapters is a multi-part series concerning the history and the lessons of civil rights violations or civil liberties injustices carried out against communities or populations—including civil rights violations or civil liberties injustices that are perpetrated on the basis of an individual's race, national origin, immigration status, religion, gender, or sexual orientation.This project was made possible with support from Chapman University and The California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.Guest: Charles Dickerson IIIHosts: Jon-Barrett IngelsProduced by: Past Forward

Join us on this episode of That Music Podcast as we discuss trauma-informed music education with guest Courtney Gazda. We'll learn about the basics of trauma and trauma-informed education, how music can help students who have experienced trauma, and specific strategies for implementing trauma-informed music education in the classroom. We'll also explore the benefits of this approach and hear about some challenges that teachers may face when trying to implement it. Don't miss out on this informative and important discussion! Courtney Gazda is the Manager of Learning Programs with The Cleveland Orchestra. She develops and facilitates impactful music education programming for children ages PreK-12 in the Cleveland Metropolitan School District. She also creates and presents meaningful educator training for Early Childhood Teachers and specializes in a Trauma-Informed lens, being mindful of the impact trauma has on a child's development and utilizing necessary social-emotional learning and self-regulation practices in music education. An award-winning Music Educator, Ms. Gazda also maintains her State of Ohio Music Teaching License and was previously a classroom music educator in Northeast Ohio. She holds a Master of Arts Administration degree from the University of Akron and a Bachelor of Music Education degree from the University of Mount Union, in addition to having training in Kodaly methodology and Trauma-Informed Teaching. She also serves on the League of American Orchestra's Education and Community Engagement Leadership Committee. Episode Chapters: 3:40 Background & Benefits 14:30 Implementation 21:30 Challenges & Obstacles Links and Resources: Elementary Newbie Guide Disabilities Guide Steady Beat Survival Guide That Music Teacher Masterclass

Welcome to Season 3, Episode 6! Do you think all Asian Pacific Islanders play classical music? There are a lot of APIs who play classical music, but not all of us fulfill that stereotype, especially in the professional sector. The truth is, according to the 2016 report The Racial/Ethnic and Gender Diversity in the Orchestra Field by the League of American Orchestras, the vast majority of professional classical musicians are white, and although Asian Pacific Islanders are the most represented classical musicians who are people of color, they are a small minority. The representation drops further for any position of power. So this week we talk about three Asian Pacific Islander composers you should know: Zhou Long, Kenji Bunch, and Cerise Lim Jacobs. To learn more and get involved, we recommend visiting Kenji Bunch's Fear No Music and Cerise Lim Jacob's White Snake Projects which both mix classical music, empowerment, and activism. To open this episode, we discuss the Grammy award wins for the API community. To close the episode we launch a new thematic series called “Not as Asian as You Might Think” where we talk about the Lazy Susan and whether it's as Chinese as most people think. For previous episodes and information, please visit our site at https://asianamericanhistory101.libsyn.com or social media links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com. Segments 00:25 Reflecting on the Grammy Awards 03:31 Asian Pacific Islanders in Classical Music 14:09 Not as Asian as You Think: The Lazy Susan

Online editor Davina Shum speaks to Heather Noonan, the vice president for advocacy, League of American Orchestras. Heather attended the 19th CITES meeting in Panama City, where on 25 November, a decision was made to keep pernambuco wood under CITES Appendix II, with modified wording. What does that mean for you? Heather explains what the modified classification entails, as well what measures musicians and bow makers can take to ensure the future of this precious wood. Read: Future of pernambuco decided at CITES convention Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_

Self-awareness really is a superpower. Once you have the belief in yourself (regardless of what others assume about you), magic happens. In this episode we meet introvert, Catrina Franklin, a Senior Manager in R&D for a pharmaceutical company in Lake County, Illinois. Catrina shares her story of being told by a senior VP that they personally would not hire her as a project manager as her 'character' did not fit. She was deemed to be too quiet and not assertive. Luckily that did not deter Catrina and with her strong belief in herself as an introvert, and administrative arts background, she became her own self-advocate seeking out mentors and voluntary roles in which she could develop and gain experiences in being a leader. Catrina truly believes that in the corporate world, being quiet, not 'considered vocal enough', and speaking up - should not be seen as a lack of leadership quality. About Catrina Franklin Catrina Franklin is Senior Manager in R&D of AbbVie Pharmaceuticals in Lake County, Illinois. She previously worked for other companies such as Baxter and AmerisourceBergen as a project manager and in regulatory affairs for over 15 years. A native of Detroit, Michigan, Catrina is a graduate of Cass Technical High School and holds a bachelor's degree in Music and African American studies from The University of Michigan in Ann Arbor, Michigan; additionally, she holds a master's degree in business management from the University of Phoenix in Phoenix, Arizona. After earning her bachelor's degree, Catrina moved to Washington, DC to work for the American Symphony League (now League of American Orchestras), an organisation that leads, supports and champions America's orchestras and vitality of music they perform. She later moved back to the midwest to become Director of Operations for the Lake Forest Symphony in Lake Forest, Illinois, until she left to focus on her family and earn her master's degree. Catrina's graduate studies led her to the corporate arena, supporting regulatory affairs. She received numerous volunteer awards for her service with her company's business resource groups and the Healthcare Businesswomen's Association (HBA). Even though she is not currently working in the not-for-profit sector, her love for the arts lead her into service on various dance boards, and she now serves as Board President of The Red Clay Dance Company, Chicago, IL as well as Chief of Staff for the Project Management Institute (PMI) Chicagoland, President for the Midwest Region Education and Events for HBA. When she is not volunteering she enjoys traveling, sewing and spending time with her family and friends. https://www.linkedin.com/in/catrina-f-248b5724/

On today's episode, I talk to musician Robin Holcomb. Originally from Savannah, Georgia, Robin grew up in the Bay Area and began playing piano when she was six. In 1977, she moved with her partner, composer Wayne Horvitz, to New York City and was one of the foundational members of the NY downtown art scene. Since then, she has composed works for orchestras from Portland to Philly, has been awarded grants from the National Endowment for the Arts to the League of American Orchestras, and recorded albums for labels from Tzadik to Nonesuch. Her latest album, One Way or Another, vol. 1, was just released on Westerlies Records, and it's great! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter.

To open season four, we are thrilled to be joined by Anwar Nasir, Executive Director of the Louisiana Philharmonic Orchestra. Prior to his arrival in the Big Easy in the summer of 2021, he served as Chief Revenue and Advancement Officer at the Omaha Symphony, in addition to previous positions with the Los Angeles Philharmonic, Hollywood Bowl, and Atlanta Ballet. He is a Philadelphia native and a graduate of Syracuse University, who had a career as a professional dancer before pursuing arts management. He is also passionate about Diversity, Equity, and Inclusion in the Arts, serving on DEI committees with the League of American Orchestras and Tessitura Network and co-founding the Black Arts Leadership Alliance. Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.

Creston Herron is the current Director of Fine Arts for the Klein Independent School District and the Conductor of Rice University's Campanile Orchestra. He is the former Director of Orchestras at Klein High School and the former Director of Strings for the Yes Prep Public Schools. Mr. Herron's many engagements as a guest conductor include work with Regional and All State ensembles in Alabama, Arkansas, Florida, Georgia, Indiana, New Mexico, South Carolina, Tennessee and throughout Texas. He has also served on the summer faculty of the AFA Summer Music Festival, Stephen F. Austin University Summer Music Camp and the Indiana University Jacobs School of Music Summer Music Clinic. As a dedicated pedagogue, Mr. Herron enjoys working with current and future educators and young performers. He has presented masterclasses and guest lectures at The Midwest Clinic, Rice University, Shepherd School of Music, Indiana University Jacobs School of Music, University of Houston, Moores School of Music, Sam Houston State University, Texas Tech University, The American String Teachers Association, The League of American Orchestras, and the NAMM Believe in Music Webinar Series, American. He also gives professional development workshops to educators locally and nationally and is involved in judging UIL competitions and solo and ensemble contests. Mr. Herron enjoyed national recognition both as an educator and musician in tenure with the Klein High School orchestra who earned multiple national titles under his direction, including being named national winner of The American Prize, Grand Champions of the ASTA National Orchestra Festival, Texas Music Educators Association State Honor Orchestra, Grand Champions of the New York Orchestra Cup and invited group at the 75th Midwest Clinic held in Chicago, Illinois. Individually he has been recognized for his work in music education as Teacher of the Year at Klein High School, awarded the Marjorie Keller Outstanding Teacher of the Year Award by the state board of the Texas Chapter of ASTA and the Spec's Charitable Award for Excellence in Music Education awarded by the Houston Symphony. Alongside his work as an educator, Mr. Herron continues to hone his performing skills as a violinist, having collaborated with artists such as Renee Fleming, Mark O'Connor, and Rachel Barton-Pine. He has performed with Da Camera of Houston, CCM Spoleto Festival in Italy, Galveston Symphony, Trans-Siberian Orchestra Pasadena Philharmonic, Eutiner Festspiele Opera in Eutin, Germany and the Houston Latin Philharmonic. Creston Herron is a graduate of the University of Kansas in Lawrence, Kansas, where he received his B.M. in music performance, Rice University, Shepherd School of Music in Houston, TX, where he received his M.M. on scholarship as a Provost Fellow and a Brown Scholar, and recently received a M.Ed in school leadership from Sam Houston State University. Creston Herron lives in Houston with his wife, orchestra director Dawn Herron and two children. Mr. Herron can be reached at cherron1@kleinisd.net or on Twitter: @CrestonHerron --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/orchestrateacher/support

A conversation with art industry leader Aubrey Bergauer on the state of the classical music industry and how we can positively impact the future of our musical community.   MORE ABOUT AUBREY BERGAUER (bio below): Website: https://www.aubreybergauer.com/ Instagram: https://www.instagram.com/aubreybergauer/ LinkedIn: https://www.linkedin.com/in/aubreybergauer/ Twitter: https://twitter.com/aubreybergauer?lang=en YouTube: https://www.youtube.com/user/Aubreyyyy326 Medium: https://aubreybergauer.medium.com/     MIND OVER FINGER:   Visit MindOverFinger.com for resources on mindful practice and information on how to work with me. Sign up for my newsletter and receive your free guide to a highly productive mindful practice using a metronome. Don't forget to join the Join the Mind Over Finger Community  for access to my live videos and to exchange with a community of like-minded musicians. www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/   Aubrey Bergauer, Biography “Redefining the classical concert experience” —Southwest Airlines magazine Hailed as “the Steve Jobs of classical music” (Observer) and “the Sheryl Sandberg of the symphony” (LA Review of Books), Aubrey Bergauer is known for her results-driven, customer-centric, data-obsessed pursuit of changing the narrative for the performing arts. A “dynamic administrator” with an “unquenchable drive for canny innovation” (San Francisco Chronicle), her leadership as Executive Director of the California Symphony propelled the organization to double the size of its audience and nearly quadruple the donor base. In 2019, the side hustle became the main hustle as she moved her consulting practice full time and has now served dozens of clients across artistic disciplines, geographies, and budgets up to $300M. Bergauer's ability to cast and communicate vision moves large teams forward and brings stakeholders together across the institution, earning her “a reputation for coming up with great ideas and then realizing them” (San Francisco Classical Voice). Her drive to see opportunity in place of unsolvable challenges or irreversible trends produces different results than the norm, secures new revenue streams, and galvanizes audiences and donors. Bergauer builds strategic plans and organizations, leverages technology and new media to elevate and extend the brand, and prioritizes diversity and inclusion to create a stronger product on stage and off. A graduate of Rice University with degrees in Music Performance and Business, her work and leadership has been covered in national publications including Entrepreneur, Thrive Global, Wall Street Journal, and Southwest Airlines and Symphony magazines, and she is a frequent speaker at universities and conferences including TEDx, Adobe's Magento, the League of American Orchestras, Opera America, Chorus America, Classical:NEXT, APAP (Association of Performing Arts Professionals), Deutscher Orchestertag, and Orchestras Canada.  

Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russian masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. As Music Director of Chicago Opera Theater, Ms. Yankovskaya has led the Chicago premieres of Jake Heggie's Moby-Dick, Rachmaninov's Aleko, Joby Talbot's Everest, Tchaikovsky's Iolanta, and the world premiere of Dan Shore's Freedom Ride. Her daring performances before and amid the pandemic earned recognition from the Chicago Tribune, which praised her as “the very model of how to survive adversity, and also how to thrive in it,” while naming her 2020 Chicagoan of the Year. In the 2021/22 season, Ms. Yankovskaya makes a trio of Texan debuts, leading performances of Carmen at Houston Grand Opera, a tribute to Ruth Bader Ginsburg at Dallas Symphony Orchestra, and concerts featuring works by Gershwin and Dawson at Fort Worth Symphony. Elsewhere, she debuts with Chicago Symphony Orchestra in Prokofiev's Peter and the Wolf, leads a program of Brahms and Wagner at Elgin Symphony, conducts Boulanger, Debussy, and Ravel at Omaha Symphony, and makes her Pasadena Symphony debut conducting works by Tchaikovsky, Rimsky-Korsakov, and Gabriela Lena Frank. At Chicago Opera Theater, she conducts the Chicago premiere of Mark Adamo's Becoming Santa Claus and a concert version of Carmen, starring Jamie Barton opposite Stephanie Blythe. Ms. Yankovskaya has recently conducted Don Giovanni at Seattle Opera, Pia de' Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York's Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera. On the concert stage, she has been recently engaged with Chicago Philharmonic, Rhode Island Philharmonic, and the symphony orchestras of Hawaii and Oviedo, Spain. Ms. Yankovskaya is Founder and Artistic Director of the Refugee Orchestra Project, which proclaims the cultural and societal relevance of refugees through music, and has brought that message to hundreds of thousands of listeners around the world. In addition to a National Sawdust residency in Brooklyn, ROP has performed in London, Boston, Washington, D.C., and the United Nations. She has also served as Artistic Director of the Boston New Music Festival and Juventas New Music Ensemble, which was the recipient of multiple NEA grants and National Opera Association Awards under her leadership. As Music Director of Harvard's Lowell House Opera, Ms. Yankovskaya conducted sold-out performances of repertoire rarely heard in Boston, including Tchaikovsky's The Queen of Spades, Britten's A Midsummer Night's Dream, and the U.S. Russian-language premiere of Rimsky-Korsakov's The Snow Maiden. Her commitment to exploring the breadth of symphonic and operatic repertoire has also been demonstrated in performances of Rachmaninoff's Aleko and the American premieres of Donizetti's Pia de' Tolomei, Rubinshteyn's The Demon, and Rimsky-Korsakov's Kashchej The Immortal and Symphony No. 1. An alumna of the Dallas Opera's Hart Institute for Women Conductors and the Taki Alsop Conducting Fellowship, Ms. Yankovskaya has also served as assistant conductor to Lorin Maazel, chorus master of Boston Symphony Orchestra, and conductor of Boston Youth Symphony Orchestra. She has been featured in the League of American Orchestras Bruno Walter National Conductor Preview and Cabrillo Festival for Contemporary Music, and assisted Vladimir Jurowski via a London Philharmonic fellowship. Ms. Yankovskaya holds a B.A. in Music and Philosophy from Vassar College, with a focus on piano, voice, and conducting, and earned an M.M. in Conducting from Boston University. Her conducting teachers and mentors have included Lorin Maazel, Marin Alsop, Kenneth Kiesler, and Ann Howard Jones. Ms. Yankovskaya's belief in the importance of mentorship has fueled the establishment of Chicago Opera Theater's Vanguard Initiative, an investment in new opera that includes a two-year residency for emerging opera composers. Committed to developing the next generation of artistic leaders, she also volunteers with Turn The Spotlight, a foundation dedicated to identifying, nurturing, and empowering leaders – and in turn, to illuminating the path to a more equitable future in the arts. Recipient of Solti Foundation U.S. Career Assistance Awards in 2018 and 2021, Ms. Yankovskaya has been a featured speaker at the League of American Orchestras and Opera America conferences, and served as U.S. Representative to the 2018 World Opera Forum in Madrid.

Jerod Impichchaachaaha' Tate, is a classical composer, citizen of the Chickasaw Nation in Oklahoma and is dedicated to the development of American Indian classical composition. His Washington Post review states that “Tate is rare as an American Indian composer of classical music. Rarer still is his ability to effectively infuse classical music with American Indian nationalism.” Tate is Guest Composer/Conductor/Pianist for San Francisco Symphony Currents program Thunder Song: American Indian Musical Cultures and was recently Guest Composer for Metropolitan Museum of Art's Balcony Bar program Home with ETHEL and Friends, featuring his commissioned work Pisachi (Reveal) for String Quartet. Recent commissions include Shell Shaker: A Chickasaw Opera for Mount Holyoke Symphony Orchestra, Ghost of the White Deer, Concerto for Bassoon and Orchestra for Dallas Symphony Orchestra, Hózhó (Navajo Strong) and Ithánali (I Know) for White Snake Opera Company. His music was recently featured on the HBO series Westworld. His commissioned works have been performed by the National Symphony Orchestra, San Francisco Symphony and Chorus, Dallas Symphony Orchestra, Detroit Symphony Orchestra, Minnesota Orchestra, Buffalo Philharmonic Orchestra, Oklahoma City Philharmonic, Winnipeg Symphony Orchestra, South Dakota Symphony Orchestra, Colorado Ballet, Canterbury Voices, Dale Warland Singers, Santa Fe Desert Chorale and Santa Fe Chamber Music Festival. Tate has held Composer-in-Residence positions for Music Alive, a national residency program of the League of American Orchestras and New Music USA, the Joyce Foundation/American Composers Forum, Oklahoma City's NewView Summer Academy, Oklahoma Medical Research Foundation and Grand Canyon Music Festival Native American Composer Apprentice Project. Tate was the founding composition instructor for the Chickasaw Summer Arts Academy and has taught composition to American Indian high school students in Minneapolis, the Hopi, Navajo and Lummi reservations and Native students in Toronto. Mr. Tate is a three-time commissioned recipient from the American Composers Forum, a Chamber Music America's Classical Commissioning Program recipient, a Cleveland Institute of Music Alumni Achievement Award recipient, a governor-appointed Creativity Ambassador for the State of Oklahoma and an Emmy Award winner for his work on the Oklahoma Educational Television Authority documentary, The Science of Composing. In addition to his work based upon his Chickasaw culture, Tate has worked with the music and language of multiple tribes, such as: Choctaw, Navajo, Cherokee, Ojibway, Creek, Pechanga, Comanche, Lakota, Hopi, Tlingit, Lenape, Tongva, Shawnee, Caddo, Ute, Aleut, Shoshone, Cree, Paiute and Salish/Kootenai. Among available recorded works are Iholba‘ (The Vision) for Solo Flute, Orchestra and Chorus and Tracing Mississippi, Concerto for Flute and Orchestra, recorded by the San Francisco Symphony Orchestra and Chorus, on the Grammy Award winning label Azica Records. Tate earned his Bachelor of Music in Piano Performance from Northwestern University, where he studied with Dr. Donald Isaak, and his Master of Music in Piano Performance and Composition from The Cleveland Institute of Music, where he studied with Elizabeth Pastor and Dr. Donald Erb. He has performed as First Keyboard on the Broadway national tours of Les Misérables and Miss Saigon and been a guest pianist and accompanist for the Colorado Ballet, Hartford Ballet and numerous ballet and dance companies. Mr. Tate's middle name, Impichchaachaaha', means “his high corncrib” and is his inherited traditional Chickasaw house name. A corncrib is a small hut used for the storage of corn and other vegetables. In traditional Chickasaw culture, the corncrib was built high off the ground on stilts to keep its contents safe from foraging animals.

On paper, Vijay would seem to be an interesting guest because he is the founder and Artistic Director of Street Symphony, a community of musicians creating spaces of connection for people in reentry from homelessness, addiction and incarceration in Los Angeles. Or because Vijay is a famous speaker, who has a TED Talk (Music is Medicine, Music is Sanity) with millions of views and has spoken at places like the Mayo Clinic, US Psychiatric Congress, and the League of American Orchestras. Or maybe, most notably, because he's a talented musician who was a member of the first violin section of the Los Angeles Philharmonic for 12 years (and the youngest violinist to join the orchestra) and who has released multiple albums of his own work. Anyone one of those things would make Vijay an interesting guest and rightfully so. But what I found most interesting about Vijay was how deeply thoughtful he was about life and the human experience, while also having an artistic ability to communicate his thoughts in a way that makes you feel the words as much as hear them. For example, his value of "integrity", which he meant as an ability to live as your whole self in a way that your soul feels safe. As we progressed the discussion, we talked about the impact pain has on our lives and how it often plays this dual role of being the source of our problems but also the source of the answers. It seems the more we can embrace pain and try to understand it, the closer we are to living as our whole selves. Naturally we spent a good bit of time talking about art and the role it plays in Vijay's life and the world. Interestingly Vijay highlighted how art also seems to play this dual role of being a mirror into who we are but also the lens into how we communicate back out to the world. It was particularly cool to hear about his experience playing music for mentally ill people in Skid Row and the way in which classical music from hundreds of years ago can allow them to access insights about their own pain today. This was a really interesting and insightful conversation and I thank Vijay for sharing his perspective and values.

We are joined today by Joshua Thomas, Vice President of External Affairs at the Philly POPS. He joined the Philly POPS in 2019 as their Senior Manager of Development, having previously worked in administrative roles at the Chamber Orchestra of Philadelphia and the Cathedral of Saints Peter and Paul. He is also active with The League of American Orchestras and served as a consultant and mentor for The Tessitura Network's Early Career Development Program. He is a graduate of Temple University, where he studied voice with a concentration in opera. Joshua Thomas, welcome to Orchestrating Change! Orchestrating Change is available wherever you get your podcasts. We also have a new website! Go to www.orchestratingchange.com to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.

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. 

For many of us, a song or even the first few notes of a tune are enough to transport us to a particular time, feeling, place, or face. During the early days of the COVID-19 pandemic, virtual concerts, and online music events provided the healing and connections we needed. Now that the world is fumbling towards a new normal, everyone is trying to regroup. But even before the pandemic, certain facets of the arts community were already struggling. Orchestras and symphonies, needing to attract new devoted patrons, were falling short on appeal and relevance as a result of their lack of diversity and connection to prospective audiences. A 2016 study of the League of American Orchestras indicated that Black musicians made up less than 2% of orchestras despite being 12% of the US population. Why aren't there more Black musicians?On the new SheConfidential podcast episode, musician and CREATE (Cultural Rhythm Expressing Art to Empower) founder and president, Sana Colter describes the factors contributing to the underrepresentation of Black musicians and identifies ways this can be addressed. In addition, Sana also discusses:Links between school budgets and arts programs Options for careers in the artsWays to pay for musical training and instruments Importance of expanding diversity and inclusion efforts to attract and support young artistsRole of CREATE (Cultural Rhythm Expressing Art to Empower) in highlighting the work of Black/Latinx artists.Ways the public can support artists and programs/training for aspiring artists CONTENT WARNINGSNoneGUESTSana Coltermusician and founder and president of CREATE (Cultural Rhythm Expressing Art to Empower) - https://www.iamsanamalynda.com/ - YouTube: https://www.youtube.com/channel/UCEHmeuvXQcIZiPOTNGTQ2qQ- LinkedIn: https://www.linkedin.com/in/sanacolter/- Instagram: www.instagram.com/iamsanamalynda- Twitter: https://twitter.com/iamsanamalynda FOR MORE INFORMATION- Listen and subscribe to SheConfidential on your favorite podcast app.- Visit https://sheconfidential.com/ for complete episode details including guest information and discussion highlights- Follow on Instagram and Facebook @she.confidentialNOTEThe information provided on SheConfidential pertaining to your health or wellness, relationships, business/career choices, finances, or any other aspect of your life is not intended to be a substitute for individual consultations, professional advice, diagnosis or treatment rendered by your own provider.ACKNOWLEDGEMENTSEpisode artwork and video production by Eye AM Media https://www.eyeammedia.com/. Follow on Instagram @eyeammedia

Creating narrative change is always tough, but doing it in the arts, where beliefs and behaviour are grounded in centuries of stories and tradition can seem impossible. You need to be able to weave a powerful vision, rich data and purpose-driven leadership together into a compelling story that informs and inspires change. And that's exactly what I talk about in this episode with Aubrey Bergauer.As the CEO of Changing the Narrative, she uses classical music and the arts as a vehicle to create social and system change. Her work builds on her success as the Executive Director of the California Symphony, where she propelled the organization to double the size of its audience and nearly quadruple the donor base in less than five years.A graduate of Rice University with degrees in Music Performance and Business, Aubrey's work and leadership have been covered in national publications including Entrepreneur, Thrive Global, Wall Street Journal, and Southwest Airlines and Symphony magazines, and she is a frequent speaker at universities and conferences across North America, including Adobe's Magento, TEDx, Opera America, the League of American Orchestras, and Orchestras Canada. In our conversation, she tells us how she combined stories and data to find new opportunities and engage both staff and subscribers in a new narrative for classical music. She also unpacks her leadership approach to finding, testing and building on small experiments that ultimately pay off big for her clients. And she shows us how having a strong, clear purpose helps her create a bold vision that makes it easy to win the support of boards and donors alike. 

Hailed as “the Steve Jobs of classical music” (Observer) and “the Sheryl Sandberg of the symphony” (LA Review of Books), Aubrey Bergauer is known for her results-driven, customer-centric, data-obsessed pursuit of changing the narrative for the performing arts. A “dynamic administrator” with an “unquenchable drive for canny innovation” (San Francisco Chronicle), her leadership as Executive Director of the California Symphony propelled the organization to double the size of its audience and nearly quadruple the donor base. Bergauer's ability to cast and communicate vision moves large teams forward and brings stakeholders together across the institution, earning her “a reputation for coming up with great ideas and then realizing them” (San Francisco Classical Voice). Her drive to see opportunity in place of unsolvable challenges or irreversible trends produces different results than the norm, secures new revenue streams, and galvanizes audiences and donors. Bergauer builds strategic plans and organizations, leverages technology and new media to elevate and extend the brand, and prioritizes diversity and inclusion to create a stronger product on stage and off. A graduate of Rice University with degrees in Music Performance and Business, her work and leadership has been covered in national publications including Entrepreneur, Thrive Global, Wall Street Journal, and Southwest Airlines and Symphony magazines, and she is a frequent speaker at universities and conferences across North America, including Adobe's Magento, TEDx, Opera America, the League of American Orchestras, and Orchestras Canada. In 2020, she launched the Center for Innovative Leadership at the San Francisco Conservatory of Music while continuing her consulting practice empowering large nonprofits to deliver game-changing results.

Composer Jerod Tate and conductor Devin Patrick Hughes discuss Chickasaw musical culture, Jerod's influences and how composers are plugged into ethnicity and national identity, along with growing up with Stravinsky, Bartok, Barber, and Liszt. They also chat about Jerod's compositional process for some of his most performed works, American Indian hymns and much more.    Jerod Impichchaachaaha' Tate is a classical composer, citizen of the Chickasaw Nation in Oklahoma and is dedicated to the development of American Indian classical composition. He has recently worked as Guest Artist for the San Francisco Symphony Currents program Thunder Song: American Indian Musical Cultures and was recently Guest Composer for the Metropolitan Museum of Art's Balcony Bar program Home with ETHEL and Friends, featuring his commissioned work Pisashi (Reveal) for String Quartet. His commissioned works has been performed all over North American, including the National Symphony, Dallas and Detroit Symphonies, the Minnesota Orchestra, Buffalo Philharmonic, Winnipeg Symphony, South Dakota Symphony and many more! Jerod Tate has held the Composer-in-Residency for Music Alive, a national residency program of the League of American Orchestras and New Music USA, and brings music instruction and inspiration to the next generation through his work with the Chickasaw Summer Arts Academy, and has taught composition to American Indian high school students in Minneapolis, the Hopi, Navajo, and Lummi reservations, and to Native students in Toronto. Jerod has some amazing recordings available on the Grammy Award winning label, Azica Records, including Iholba' (The Vision) for solo Flute, Orchestra and Chorus, and Tracing Mississippi, a Concerto for Fute and Orchestra. He earned his music and composition degrees from Northwestern University and the Cleveland Institute of Music, and also performed on keyboard for the Broadway tours of Les Misérables and Miss Saigon.  Thank you for joining us on One Symphony and thanks to Jerod Impichchaachaaha' Tate for sharing his music and insights. Thank you to all the incredible performers and record labels that made this episode possible! Lowak Shoppala' (Fire and Light) was played by the Nashville String Machine and conducted by the composer, with the Chickasaw Nation Children's Chorus and Dance Troupe. Vocal Soloists are Stephen Clark, Chelsea Owen, Meghan Vera Starling, and Narrators are Lynne Moroney, Wes Studi, and Richard Ray Whitman. It's available on Azica Records. Tchaikovsky's Second Symphony was played by the Oslo Philharmonic and conducted by Mariss Jansons on the Chandos label. Pisachi was performed on Documerica, by ETHEL String Quartet with Ralph Farris (viola), Dorothy Lawson (cello), Kip Jones (violin) and Corin Lee (violin) on the Innova label. Heloha Okchamali was played by Elizabeth Hill, Piano and Anastasia Christofakis, Clarinet. Tracing Mississippi was recorded by the San Francisco Symphony and San Francisco Symphony Chorus conducted by Edwin Outwater and is available on Azica Records. You can check out Jerod's music online at https://jerodtate.com. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

A 2014 study by the League of American Orchestras found less than 2 percent of musicians in the approximately 800 orchestras surveyed were Black. The lack of Black representation in classical music is a nationwide issue that traces back to barriers to high-quality music education and a lack of representation in programming. Several organizations are working to diversify the field through music education.

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. Internationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO), Directeur Musical Honoraire of the Orchestre National de Lyon (ONL), and Conductor Laureate of the St. Louis Symphony Orchestra. He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator. Slatkin has received six Grammy awards and 35 nominations. A recipient of the prestigious National Medal of Arts, he also holds the rank of Chevalier in the French Legion of Honor. He has received the Prix Charbonnier from the Federation of Alliances Françaises, Austria's Decoration of Honor in Silver, the League of American Orchestras' Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. He is working on a third volume, Classical Crossroads: The Path Forward for Music in the 21st Century. The pieces included: Threnody, De Natura Sonoris No. 2, Diel Illa & Kanon For Orchestra.

Simon Woods joined the League of American Orchestras as President and CEO in 2020. Born in London, England, Mr. Woods earned a degree in music from Cambridge University and a diploma in conducting from the Guildhall School of Music and Drama in London. From the late 1980s to the late 1990s, he worked as a record producer at EMI Classics in London, where he initiated and produced recordings at Abbey Road Studios and on location with many of the world’s foremost classical artists and ensembles. From 1997 to 2004, he was Artistic Administrator and later Vice President of Artistic Planning & Operations at The Philadelphia Orchestra. From 2004 to 2005, he was President & CEO of the New Jersey Symphony Orchestra, before moving back to the UK in 2005 to become Chief Executive of the Royal Scottish National Orchestra, one of the United Kingdom’s leading symphony orchestras. Returning to the US in 2011, he became President & CEO of the Seattle Symphony, a post he held for seven years. In November 2017, Woods was appointed CEO of the Los Angeles Philharmonic, a post he held until September 2019. From February to August 2020, Woods was Interim Executive Director of the Grand Teton Music Festival, in Jackson Hole, Wyoming.Woods brings more than 30 years of experience working with orchestras. He is deeply committed to equity, to the role of arts organizations in community, and to nurturing the next generation of arts leaders. He is known throughout the sector as a highly trusted mentor to orchestra management professionals, emerging leaders, and conductors. For two decades he has contributed to the League of American Orchestras’ professional development programs, including acting as Director of the League’s signature immersive training program, Essentials of Orchestra Management. In March 2020 he joined the Board of Directors of National Arts Strategies.The Question of the Week is, "What are the characteristics of a strong organization in classical music?" Simon and I discuss what it was like becoming President and CEO of the League of American Orchestras during a pandemic, his experience running some of the biggest classical music organizations around the world, the difference between the American and British classical music scenes, what he hopes to pass on to the next generation of leaders, and why he hopes we do not go back to normal. You can find out more about the League of American Orchestras on their website, https://americanorchestras.org.

In this episode of Because, we hear the “becauses” of the League of American Orchestra’s President and CEO, Simon Woods.  Simon’s story begins in Wimbledon, England, and explores a musical life that began with an eclectic listening background, a strong connection to a piano teacher, and what can result when an individual remains flexible and follows opportunities as they present themselves! Stops on this journey include Abbey Road Studios, Philadelphia, Seattle, New Jersey, and New York.  Subscribe on your favorite podcast platform and leave us a 5-star review!Support the show (https://qcsymphony.secure.force.com/donate/?dfId=a0ni000000IEp9TAAT)

The Symphony No. 6 in A minor by Gustav Mahler, sometimes referred to as the Tragische (“Tragic”), was composed between 1903 and 1904 (rev. 1906; scoring repeatedly revised). The work's first performance was in Essen on 27-05-1906 and was conducted by Gustav Mahler. The tragic, even nihilistic, ending of No. 6 has been seen as unexpected, given that the symphony was composed at what was apparently an exceptionally happy time in Mahler's life: he had married Alma Schindler in 1902, and during the course of the work's composition his second daughter was born.The symphony is far from the most popular of Mahler's works. Statistics compiled by League of American Orchestras show that over the seven seasons in the U.S. and Canada ending with 2008-2009, the symphony was programmed considerably less often than Symphonies Nos. 1, 2, 4, and 5. However, both Alban Berg (1885-1935) and Anton Webern (1883-1945) praised it when they first heard it: for Alban Berg, it was “the only sixth, despite the Pastoral”; while Anton Webern conducted it on more than one occasion. ---A listening guide of Symphony No. 6 - Intro with Lew Smoley.

Aubrey Bergauer (U.S.A.) defies trends and then makes her own. Hailed by San Francisco Chronicle as a “dynamic and innovative administrator,” her focus on not just engaging—but retaining—new audiences grew Seattle Opera’s BRAVO! Club to the largest group for young patrons in the nation, led the Bumbershoot Festival to achieve an unprecedented 43% increase in revenue, and propelled the California Symphony to double the size of its audience and nearly quadruple the donor base.   Praised by Wall Street Journal for leadership which “points the way to a new style of audience outreach,” and which drove the California Symphony to become “the most forward-looking music organization around” (San Jose Mercury News), Bergauer’s ability to strategically and holistically examine and advance every facet of the organization, instilling and achieving common goals and vision across what are usually siloed marketing, development, and artistic departments creates a transformational change in the audience, in the office, on the stage, and in the community. A graduate of Rice University with degrees in Music Performance and Business, classical music is Bergauer’s vehicle to make the world around her better, through programs that champion social justice and equality, through marketing and audience development tactics on the forefront of trends and technology, and through delivering revenue and results in the rapidly changing landscape of funding, philanthropy, and consumer behavior. Bergauer shares these ideas in her consulting work and in speaking engagements across North America, including conferences for Adobe’s Magento, TEDx, Blackbaud, Capacity Interactive, Opera America, Orchestras Canada, and the League of American Orchestras. Website   ---------- Make Monday Mine is hosted by Deborah Claire Procter and produced by Clear Insight Productions This is about conversations so we’d love to hear your thoughts and take-aways.  Email your questions and comments to: comments@makemondaymine.com If you enjoyed this episode then it would be wonderful if you can head over to Apple Podcasts and kindly leave us a rating, a review and subscribe! ----------  

Aubrey Bergauer is Changing the Narrative of classical music and with her company Aubrey is changing the way businesses see themselves and propel companies to reach a broader audience. Contact InfoAubrey's Profilelinkedin.com/in/aubreybergauerWebsiteaubreybergauer.com/ (Company Website)TwitterAubreyBergauerAbout"Credited by Southwest Magazine with “redefining the classical concert experience as we know it,” Aubrey Bergauer defies trends and then makes her own. Her focus on not just engaging — but retaining — new audiences grew Seattle Opera's BRAVO! Club to the largest group for young patrons in the nation, led the Bumbershoot Festival to achieve an unprecedented 43% increase in revenue, and propelled the California Symphony to nearly double the size of its audience and quadruple its donor base.Praised by Wall Street Journal for leadership which “points the way to a new style of audience outreach,” Bergauer's ability to strategically and holistically advance every facet of an organization, instilling and achieving common goals and vision across typically siloed marketing, development, and artistic departments, is creating a transformational change in the audience, in the office, on the stage, and in the community.A graduate of Rice University with degrees in Music Performance and Business, Bergauer shares these ideas via her consulting work and speaking engagements across North America, including conferences for Adobe's Magento, TEDx, Capacity Interactive, Opera America, Orchestras Canada, and the League of American Orchestras."[Bergauer] points the way to a new style of audience outreach—one that's not for millennials only." —Wall Street Journal"A millennial who believes in both Mozart and metrics...redefining the classical concert experience as we know it.” —Southwest Airlines Magazine"[Bergauer] bristles with statistics, ideas and sharp new perspectives on the challenges facing symphony orchestras in the 21st century.” —San Francisco Chronicle“These days in the Bay Area, the California Symphony may be the most forward-looking music organization around.” —San Jose Mercury News" (LinkedIn, 2020)

My guest today is Aubrey Bergauer, one of the most dynamic trailblazers in the music industry on a mission to redefine the classical music experience as we know it. Sound ambitious? Keep reading. Aubrey has led the charge in not just engaging — but retaining — new audiences. What a concept…and we talk about a few really disturbing audience statistics that you are not going to believe. Aubrey is also going to bust a few myths about why free concerts don't work why it just doesn't matter if you wear jeans and a t-shirt to the concert hall and how human connection is the way to create real brand loyalty. And if you are a solopreneur who hates public speaking or thinks they hate sales and marketing, Aubrey is going to give you some perfect solutions for that too. I have been looking forward to this episode for months, so stop whatever you're doing, stop practicing, stop doing the dishes, and get ready to take some notes, because this conversation is going to dig deep on some big issues. About Aubrey Credited by Southwest Magazine with “redefining the classical concert experience as we know it,” Aubrey Bergauer defies trends and then makes her own. Her focus on not just engaging — but retaining — new audiences grew Seattle Opera's BRAVO! Club to the largest group for young patrons in the nation, led the Bumbershoot Festival to achieve an unprecedented 43% increase in revenue, and propelled the California Symphony to nearly double the size of its audience and quadruple its donor base. Praised by Wall Street Journal for leadership which “points the way to a new style of audience outreach,” Bergauer's ability to strategically and holistically advance every facet of an organization, instilling and achieving common goals and vision across typically siloed marketing, development, and artistic departments, is creating a transformational change in the audience, in the office, on the stage, and in the community. A graduate of Rice University with degrees in Music Performance and Business, Bergauer now shares these ideas via her consulting work and speaking engagements across North America, including conferences for Adobe's Magento, TEDx, Capacity Interactive, Opera America, Orchestras Canada, and the League of American Orchestras. Links LinkedIn: https://www.linkedin.com/in/aubreybergauer/ Twitter: https://twitter.com/AubreyBergauer Instagram: https://www.instagram.com/aubreybergauer/ Facebook: https://www.facebook.com/AubreyBergauer YouTube: https://www.youtube.com/AubreyBergauerTV Website: https://www.aubreybergauer.com   Honesty Pill Links Free Resource Library Facebook Group Mailing List   Other Links Movie: "Office Space" (1999) 

My guest this week is arts administrator and thought leader, Aubrey Bergauer. Credited by Southwest Magazine with “redefining the classical concert experience as we know it,” Aubrey Bergauer defies trends and then makes her own. Her focus on not just engaging — but retaining — new audiences grew Seattle Opera’s BRAVO! Club to the largest group for young patrons in the nation, led the Bumbershoot Festival to achieve an unprecedented 43% increase in revenue, and propelled the California Symphony to nearly double the size of its audience and quadruple its donor base.Praised by Wall Street Journal for leadership which “points the way to a new style of audience outreach,” Bergauer’s ability to strategically and holistically advance every facet of an organization, instilling and achieving common goals and vision across typically siloed marketing, development, and artistic departments, is creating a transformational change in the audience, in the office, on the stage, and in the community. A graduate of Rice University with degrees in Music Performance and Business, Bergauer now shares these ideas via her consulting work and speaking engagements across North America, including conferences for Adobe’s Magento, TEDx, Capacity Interactive, Opera America, Orchestras Canada, and the League of American Orchestras.The question of the week is, "Does the field of classical music focus enough attention on its audiences?" Aubrey and I discuss why those who are unfamiliar with classical music don't feel welcomed into the classical music space, her tenure as Executive Director of California Symphony, the siloed nature of departments in organizations, why diversity is essential for the survival of classical music, and the internet's role in growing classical music's audience. You can find out more about Aubrey Bergauer on her website, aubreybergauer.com, on Instagram @aubreybergauer, and read her articles on medium.com.

A captivating chat with one the most gifted American conductors of his generation. Currently in his 6th season as Artistic Director of Phoenix Symphony, in this episode, Tito shares his views on a number of topics including public education in NYC, the state of American Orchestras, diversity, equity and much more. To become a Down the Pit supporter, please visit www.Anchor.FM/Down-the-Pit http://titomunoz.com/ https://www.phoenixsymphony.org/musicians/tito-munoz --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/down-the-pit/support

David Whitehill currently serves as the Executive Director of the Asheville Symphony Orchestra and the chair of division five orchestras in the League of American Orchestras. During his time with the Asheville Symphony, Whitehill started the Biennial Asheville Amadeus Festival, bringing in world-renowned pianists Emmanuel Ax, Garrick Ohlsson, and violinist Midori. Under his leadership,  the Asheville Symphony has also recorded with the Grammy Award-winning Steep Canyon Rangers, Boyz II Men, and Secret Agent 23 Skidoo.  --- 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/thefortepodcast/message Support this podcast: https://anchor.fm/thefortepodcast/support

To celebrate Juneteenth, WQXR hosted a live call-in special – “The Black Experience in the Concert Hall” – with WQXR's Evening Host Terrance McKnight. Terrance spoke with leading figures in the world of classical music, including Wynton Marsalis, virtuoso trumpeter and Artistic Director of Jazz at Lincoln Center; Martina Arroyo, legendary soprano and founder of the Martina Arroyo Foundation; Jesse Rosen, CEO and President of the League of American Orchestras; and Khalil Gibran Muhammad, professor of History, Race, and Public Policy at Harvard Kennedy School and author of The Condemnation of Blackness. They discussed the ways in which the classical concert hall has historically excluded the black aesthetic, and in doing so, has been devoid of the American ethos that results from the nation’s diversity and the experience of black musicians on classical stages.

Today’s episode is about a new coalition recently formed to help support agencies during the pandemic. The coalition is called PAMAC, which stands for the Performing Arts Managers and Agents Coalition. This is a group of more than 150 artist managers, booking agents and independent producers in the performing arts industry, with support from 16 arts service organizations, including Americans for the Arts and the League of American Orchestras. In their own words: “PAMAC has united our sector with a mission of working together in collective action to advocate for arts support relief amidst the COVID-19 pandemic. We are bringing our message to Congressional leaders to urge them to legislate for extensions and recapitalization of funding for the entire arts sector." Joining me to talk about PAMAC is Laura Dunaway and Cindy Liu, both from Park Avenue Artists. Laura Dunaway joined Park Avenue Artists in 2016. Prior to joining PAA, Laura was an agent with United Talent Agency (formerly The Agency Group) where she booked a very diverse roster of artists such as Alison Balsom, Jake Shimabukuro, Jane Krakowski, Kishi Bashi, Snarky Puppy, and many more with orchestras and music venues/series all across North America. Cindy Liu joined Park Avenue Artists in 2018, as artist manager on the teams of Joshua Bell, Daniela Liebman, Ryan Silverman, and Larisa Martínez. As of this recording, the Coalition has received over 10,000 signatures and you can visit https://change.org/artsrelief to learn more about how to support their mission. Full disclosure, I immediately signed up when I heard about it and I encourage our listeners to do so as well. Please enjoy my conversation with Cindy and Laura. Link to APAP's guide to reopening https://www.apap365.org/Portals/1/PDFs/Advocacy/PACC%20Reopening%20Advisory%20%20Draft%20%20%20%20%20%20%20Ver%204.0.pdf

It's hard to believe it, but we've reached the end of Season 2 of The Mind Over Finger Podcast!!!  To celebrate, I have a great treat for you.  I'm speaking with one of the most acclaimed and frequently performed composers working today: Jennifer Higdon! It was an incredible honor to have the chance to sit with Jennifer and to soak up her wisdom and this wonderful energy that she's got!  Among many other things, you'll get to hear about her unusual path to a career as a composer, how she approaches the compositional process, her view on the classical music world today, and she tells us about the habit that has contributed to her success.   Mindful efficient practice can completely transform the way you perform and feel about-music making! If you think this would change your life…… then this is for YOU! Dr. Renée-Paule Gauthier invites you to join : THE MUSIC MASTERY EXPERIENCE A TRANSFORMATIONAL JOURNEY TO LOVING THE PRACTICE ROOM, ROCKING THE STAGE, WINNING THE JOB, AND TAKING YOUR CAREER TO NEW HEIGHTS A 3-month experience for all musicians, starting June 1st, 2020 BOOK A CALL AND LET'S SEE HOW WE CAN GET YOU RESULTS!   MORE ABOUT JENNIFER HIGDON: Website: http://jenniferhigdon.com/ YouTube: https://www.youtube.com/results?search_query=jennifer+higdon Facebook: https://www.facebook.com/Jennifer-Higdon-127096427366514/ Instagram: https://www.instagram.com/p/BwFJrDGB2sZ/   Pulitzer Prize and three-time Grammy-winner Jennifer Higdon taught herself to play flute at the age of 15 and began formal musical studies at 18, with an even later start in composition at the age of 21. Despite these obstacles, Jennifer has become a major figure in contemporary Classical music. Her works represent a wide range of genres, from orchestral to chamber, to wind ensemble, as well as vocal, choral and opera. Her music has been hailed by Fanfare Magazine as having "the distinction of being at once complex, sophisticated but readily accessible emotionally", with the Times of London citing it as "…traditionally rooted, yet imbued with integrity and freshness." The League of American Orchestras reports that she is one of America's most frequently performed composers. Higdon's list of commissioners is extensive and includes The Philadelphia Orchestra, The Chicago Symphony, The Atlanta Symphony, The Cleveland Orchestra, The Minnesota Orchestra, The Pittsburgh Symphony, the St. Paul Chamber Orchestra, as well such groups as the Tokyo String Quartet, the Lark Quartet, Eighth Blackbird, and the President's Own Marine Band. She has also written works for such artists as baritone Thomas Hampson, pianists Yuja Wang and Gary Graffman, violinists Nadja Salerno-Sonnenberg, Jennifer Koh and Hilary Hahn. Her first opera, Cold Mountain, won the prestigious International Opera Award for Best World Premiere in 2016; the first American opera to do so in the award's history. Performances of Cold Mountain sold out its premiere run in Santa Fe, North Carolina, and Philadelphia (becoming the third highest selling opera in Opera Philadelphia's history). Upcoming commissions include a chamber opera for Opera Philadelphia, a string quartet for the Apollo Chamber Players, a double percussion concerto for the Houston Symphony, an orchestral suite for the Made In America project, and a flute concerto for the National Flute Associations' 50th anniversary. Higdon received the 2010 Pulitzer Prize in Music for her Violin Concerto, with the committee citing the work as "a deeply engaging piece that combines flowing lyricism with dazzling virtuosity." She has also received awards from the Guggenheim Foundation, the American Academy of Arts & Letters, the Koussevitzky Foundation, the Pew Fellowship in the Arts, The Independence Foundation, the NEA, and ASCAP. As winner of the Van Cliburn Piano Competition's American Composers Invitational, Higdon's Secret & Glass Gardens was performed by the semi-finalists during the competition. Higdon has been a featured composer at many festivals including Aspen, Tanglewood, Vail, Norfolk, Grand Teton, and Cabrillo. She has served as Composer-in-Residence with several orchestras, including the Pittsburgh Symphony Orchestra, the Philadelphia Orchestra, and the Fort Worth Symphony. She was honored to serve as the Creative Director of the Boundless Series for the Cincinnati Symphony's 2012-13 season. During the 2016-17 and 2017-18 academic years Higdon served as the prestigious Barr Laureate Scholar at the University of Missouri Kansas City. Most recently, Higdon received the prestigious Nemmers Prize from Northwestern University which is awarded to contemporary classical composers of exceptional achievement who have significantly influenced the field of composition. Beginning in 2018, Higdon will complete two residences at the Bienen School of Music as the Nemmers Prize recipient. Also in the 2018-19 season, Higdon will be in residence at University of Texas, Austin, as part of the Eddie Medora King Award. Higdon enjoys more than 200 performances a year of her works. Her orchestral work, blue cathedral, is one of the most performed contemporary orchestral works in the repertoire, more than 600 performances since its premiere in 2000. Her works have been recorded on over 60 CDs. Higdon has thrice won the Grammy for Best Contemporary Classical Composition: first for her Percussion Concerto in 2010 and in 2018 for her Viola Concerto. Dr. Higdon received a Bachelor's Degree in Music from Bowling Green State University, an Artist Diploma from The Curtis Institute of Music, and an M.A. and Ph.D. from the University of Pennsylvania. She has been awarded honorary doctorates from the Hartt School and Bowling Green State University. Dr. Higdon currently holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Her music is published exclusively by Lawdon Press.   Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

As nonprofit and mission-driven leaders, we're dealing with a lot of stuff right now. Here are some tips, advice, and a pep talk to help get us through.  As mentioned in this episode, here are the resources sent out by the Virginia Commission for the Arts for arts organizations. Please reach out to the state or government agency for your particular sector for similar resources.  American Alliance for Museums COVID-19/Coronavirus Resources & Information for the Museum Field, contains advice applicable to museums and other cultural venues.   Americans for the Arts | https://www.americansforthearts.org/ Americans for the Arts (AFTA) has developed a Coronavirus (COVID-19) Resource and Response Center, that includes an Impact Survey. Take part in the survey, and see the multitude of resources (including many listed below).   Also, be advised that this year’s Arts Action Summit has been canceled.   ArtsReady | https://www.artsready.org/ ArtsReady is an online emergency preparedness service that collects and shares resources that help arts and cultural nonprofits plan for and respond to a crisis. ArtsReady has circulated practical examples of measures being implemented by cultural organizations, including this March 6 New York Times article and this February 26 ArtsReady Alert.   CERF+ (Craft Emergency Relief Fund) | https://cerfplus.org/ CERF+ is readiness, relief + resilience for studio artists, ensuring that they are as protected as the work they create.   NCAPER | https://www.ncaper.org/ NCAPER (National Coalition for Arts Preparedness and Emergency Response) has created a list of resources for arts organizations and artists.    Theatre Communications Group’s Coronavirus Preparedness Webinar and the Event Safety Alliance’s Prepare Your Organization for the Coronavirus Disease Outbreak—may be of particular interest to performing arts groups.   The League of American Orchestras coronavirus resources page includes examples of sample audience communications as well as other readiness recommendations.   COVID-19 and Freelance Artists https://covid19freelanceartistresource.wordpress.com/

In this episode, I chat with with Anthony McGill, principal clarinetist with the NY Philharmonic.  We have a great conversation about attention and presence, in both practice and performance. Among other things, we discuss his journey to the NY Phil, the importance of absolutely loving music in choosing it as a career, how to nurture focus and make practice more efficient, and how to work towards having more flow in performance. Anthony elaborates on: His musical path, from the Southside of Chicago to the NY Phil The various institutions he attended – the Merit School, the Interlochen Academy, and the Curtis Institute How important the community that surrounds us is as we develop as musicians/artists/people How to nurture focus: The importance of how loving what you do is in fostering focus The quote that really articulated that concept for him How focus starts from figuring out if you truly love what you do Cultivating quality presence, awareness, and curiosity in the practice room are the keys to solid focus How to make practice efficient How he primes and prepares for a practice session How wanting to practice, having a plan, being aware, and being methodical are at the core of a good practice session How he “tricks” himself to practice (which is similar to the trick I talk about in this blog entry: https://www.mindoverfinger.com/blog/commit-to-ten) How listening to music is important Focus in performance: How to work towards flow and overcome mistakes How important it is to develop our public speaking and self-marketing skills Why we should develop an interest in a hobby outside of music   MORE ABOUT ANTHONY: Website: http://www.anthonymcgill.com/ Find some YouTube videos about Anthony HERE Instagram: https://www.instagram.com/mcgillclarinet/ Facebook: https://www.facebook.com/Mcgillab/   Biography Clarinetist Anthony McGill is one of classical music's most recognizable and brilliantly multifaceted figures. He serves as the principal clarinet of the New York Philharmonic — that orchestra's first African-American principal player — and maintains a dynamic international solo and chamber music career. Hailed for his “trademark brilliance, penetrating sound and rich character” (The New York Times), as well as for his “exquisite combination of technical refinement and expressive radiance” (The Baltimore Sun), McGill also serves as an ardent advocate for helping music education reach underserved communities and for addressing issues of diversity, equity, and inclusion in classical music. McGill was honored to take part in the inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing alongside violinist Itzhak Perlman, cellist Yo-Yo Ma, and pianist Gabriela Montero.   McGill's 2018-19 season includes performances of concertos by Bolcom, Copland, Mozart, and Strauss with the New York Philharmonic, Los Angeles Chamber Orchestra, Tallahassee Symphony, Vermont Symphony, and Austin Symphonic Band. He will also collaborate together with soprano Miah Persson in a performance of Schubert's “The Shepherd on the Rock” together with Iván Fischer and the New York Philharmonic. Additional performances include a collaboration with the Dover Quartet for the Philadelphia Chamber Music Society and a recital with soprano Julia Bullock for the Metropolitan Museum of Art, along with collaborations with the Brentano Quartet for Princeton University and a tour of Asia with the Chamber Music Society of Lincoln Center.   McGill appears regularly as a soloist with top orchestras around North America including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony, San Diego Symphony, and Kansas City Symphony. As a chamber musician, McGill is a favorite collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takacs, and Tokyo Quartets, as well as Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He has led tours with Musicians from Marlboro and regularly performs for the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society. Festival appearances include Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, and the Santa Fe, Seattle, and Skaneateles Chamber Music Festivals.   In January 2015, McGill recorded the Nielsen Clarinet Concerto together with Alan Gilbert and the New York Philharmonic, which was released on DaCapo Records. He also recorded an album together with his brother Demarre McGill, principal flute of the Seattle Symphony, and pianist Michael McHale; and one featuring the Mozart and Brahms Clarinet Quintet with the Pacifica Quartet that were both released by Cedille Records.   A dedicated champion of new music, in 2014, McGill premiered a new piece written for him by Richard Danielpour entitled “From the Mountaintop” that was commissioned by the New Jersey Symphony, Kansas City Symphony, and Orchestra 2001. McGill served as the 2015-16 Artist-in-Residence for WQXR and has appeared on Performance Today, MPR's St. Paul Sunday Morning, and Mr. Roger's Neighborhood. In 2013, McGill appeared on the NBC Nightly News and on MSNBC, in stories highlighting the McGill brothers' inspirational story.   A graduate of the Curtis Institute of Music, McGill previously served as the principal clarinet of the Metropolitan Opera and associate principal clarinet of the Cincinnati Symphony Orchestra. In-demand as a teacher, he serves on the faculty of the Juilliard School, the Curtis Institute of Music, Bard College's Conservatory of Music, and the Manhattan School of Music. He also serves as the Artistic Advisor for the Music Advancement Program at the Juilliard School, on the Board of Directors for both the League of American Orchestra and the Harmony Program, and the advisory council for the InterSchool Orchestras of New York.   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. 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 producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/

TBJ69: Bass Trombonist Brian Hecht on Playing with the Atlanta Symphony, his Audition Preparation Strategy and Subbing with Almost Every Major American Orchestra by the Age of 32 Brian Hecht is the bass trombonist for the Atlanta Symphony and is a former member of the US Navy Band in Washington DC. He grew up in Dallas and spent some time in the Navy Band in Washington, DC before hitting the orchestral audition circuit, which led to him subbing with both the NY Phil and Philly Orchestra. He shares his audition preparation strategy, explains what he learned from legendary clarinetist Riccardo Morales and the importance of noise-canceling headphones. We also get into the topic of nerves, visualization and the value of a shower and a sandwich. And no Brass Junkies episode would be complete without a deep dive into Phish frontman and one of Andrew’s boyfriends, Trey Anastasio. We also spent an inordinate amount of time saying the phrase “poop truck.” Sorry.   LINKS: Personal site Atlanta Symphony bio Kennesaw State bio Want to help the show? Take a minute to leave us a rating and a review on iTunes. The Brass Area of the Mary Pappert School of Music at Duquesne University in Pittsburgh PA is our new partner (and Lance has been teaching euphonium there since 2000). If you are interested in learning more about the program, visit the site HERE! Check out Parker Mouthpieces fine offerings (including the Andrew Hitz and Lance LaDuke models) by clicking PARKER! You can help offset the costs of producing the show by making a small donation at https://www.patreon.com/thebrassjunkies. Your support is greatly appreciated! Last but not least, we are now on Instagram! Follow us at instagram.com/pray4jens/ TODAY! Expertly produced by Joey Santillo with love, care, and enthusiasm.

Jack McAuliffe is an organizational coach for arts organizations. He's had a long career in arts leadership including serving as the first Director of Marketing at the Kennedy Center and as the COO of the League of American Orchestras, where he commissioned several audience engagement studies including the legendary Orchestra "Churn Study." In this episode, Erik and Jack discuss the findings from four large audience research studies, why a good marketing director should have a role in programming, and how storytelling and context are so important for arts organizations.

As if free hoodies weren’t enough, Catherine Dehoney introduces you to the wealth of support available through Chorus America. She and Ryan also discuss the changing choral landscape, and exactly what it takes to thrive as a professional community chorus. And yes, for real...free hoodies. Listen:   Highlight to Tweet: “Choral singing creates community like no other activity on the planet.” - Catherine Dehoney Show Notes: Chorus America primarily assists those choruses serving their communities as 501c3 organizations, but their larger focus is choral arts advocacy. Many of the choral fields (church, school, community) overlap, and chorus directors tend to wear more than one hat. Chorus America tries to translate non-profit management principles to choruses, to help them survive and thrive in the world of grants and public monies. Having a well defined mission is essential. Choral music educators are essential in the overall health of the choral field. They are the ones who control the supply pipeline. Professionals: support choral educators! Offer up an in class clinic, free concert tickets...anything to help school choirs and their directors, and to refresh their spirits! Chorus America provides a tool to survey your audience about their preferences and motivations for attending your concerts. If you are not constantly trying to expand your audience, you are losing relevance in your community. Choir Nation...Chorus America is giving you hoodie!!! 3 Key Takeaways: Chorus America primarily serves the 501c3 choral community, but networks with all organizations in the choral field. Choral music educators control the future of choral singing. Register for Chorus America, and then email your receipt to membership@chorusamerica.org to claim your hoodie, a special gift for Choir Nation from Chorus America! Resources/links Mentioned: Chorus America NEA - National Endowment for the Arts Definition of insanity Cantus Intrinsic Impact Audience Survey – audience surveying data from 23 different choruses about the value audiences get from different types of choral programming.   https://www.chorusamerica.org/advocacy-research/intrinsic-impact-audience-project-executive-summary Chorus America 2009 Chorus Impact Study – this research shows the civic impact of choral singers plus provides data on the benefits of choral singing for kids in schools. https://www.chorusamerica.org/publications/research-reports/chorus-impact-study https://www.chorusamerica.org/advocacy-research/intrinsic-impact-audience-project-full-repo Email Patreon - Support the podcast! Biography: Catherine Dehoney, president and CEO of Chorus America, brings a wealth of experience in arts management and fundraising to her work in the choral field. She took on her current role at Chorus America in 2015, coming from the position of executive director of development at the Castleton Festival. Dehoney previously served as the chief development officer at Chorus America for over ten years. Her other experience includes a nine-year tenure as senior director of development at Gallaudet University, capital campaign management, development consulting for a variety of arts nonprofits, and fundraising positions at the League of American Orchestras, the Council for Advancement and Support of Education, and the Friends of the John F. Kennedy Center for the Performing Arts. Dehoney received her BA in music from the College of William and Mary and continues to be an avid singer, having sung professionally in church choirs and with a jazz band. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Musical coalitions are a powerful way to accomplish mutual goals. Heather Noonan, Vice President for Advocacy for the League of American Orchestras says that having really strong coalitions effects engaging national efforts and working strategically together is crucial for success.

In this episode, we get a chance to talk about the evolution of culture with Jesse Rosen, the President and CEO of the League of American Orchestras. Mr. Rosen has been a leading voice for change, empowering the League’s more than 2,000 member organizations and individuals with knowledge and perspective to navigate their own paths through a rapidly changing environment. Under Mr. Rosen’s leadership, the League has advocated for orchestras’ reinvigorated and deeper engagement with community; greater discipline and understanding of fiscal health; increased use of data to inform decision-making; and widespread engagement with composers. He has increased the League’s impact by building partnerships with organizations such as New Music USA, Board Source, the Thornton School of Music at USC, and the Federal Mediation and Conciliation Service, and has given voice to America’s orchestras through his Huffington Post blog, Symphony magazine column, national media interviews, and international appearances. To hear all the episodes in the archives, visit http://creativeconfidential.net Keep Building the Future.

Law professor, author and Fretboard Journal Field Editor John Thomas joins us once again to discuss some recent updates to CITES and the impact they will have on musicians, instrument collectors and builders. Specifically, beginning January 2017, all remaining species of Rosewood (beyond Brazilian, which was already protected) will be added to CITES Appendix II. This may not affect you at all if you keep your guitars in United States but if you ever plan on taking an instrument with rosewood across the border (or selling one to someone outside the country), you may have some work to do.   We discuss the various steps that collectors, luthiers and dealers should take if they want to transport guitars with rosewood internationally; how builders can protect their wood stockpile; the expenses and timing needed to file all this paperwork; and a lot more. Subscribe to the Fretboard Journal podcast for free via iTunes:  https://itunes.apple.com/us/podcast/fretboard-journal-podcast/id394447340?mt=2 and please consider leaving us a review or sharing the podcast with friends.  If you're holiday shopping and want to give the Fretboard Journal as a gift this year, use the coupon code FJHOLIDAY when you check out. You'll get 15% off any order: https://shop.fretboardjournal.com Intro/Outro music by Jon Rauhouse.  Links Mentioned: Today's podcast is sponsored by TR Crandall: http://trcrandall.com  US Fish & Wildlife Link for Musical Instrument Passports: https://www.fws.gov/international/permits/by-activity/musical-instruments.html NAMM on CITES Updates: https://www.namm.org/issues-and-advocacy/regulatory-compliance/cites-update-action-rosewood-has-broad The Fretboard Journal's Guide to Musical Instrument Passports: https://www.fretboardjournal.com/columns/musical-instrument-passports-new-cites-provision/ The FJ's Guitar Lover's Guide to CITES: https://www.fretboardjournal.com/features/guitar-lovers-guide-cites-conservation-treaty/  League of American Orchestra's CITES Protected Species Travel Tips: http://americanorchestras.org/advocacy-government/travel-with-instruments/endangered-species-material/protected-species-travel-tips.html

Feb. 18, 2014. Musicians, policy experts, and music industry professionals discuss current issues facing musicians while traveling: ivory regulations, carry-on instrument policies and artist visas. Speaker Biography: Nurit Bar-Josef is concertmaster of the National Symphony Orchestra. Speaker Biography: Dave Berg is senior vice president & general counsel of Airlines for America. Speaker Biography: Craig Hoover is chief of the Wildlife Trade and Conservation Branch, Division of Management Authority, International Affairs Program. Speaker Biography: Najean Lee is director of Government Affairs & Education Advocacy of the League of American Orchestras. Speaker Biography: Molly Teas serves on the Board of Directors of Art Works for Change and is an education specialist at the World Bank. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6717

Each day during February, we posted a “Classical Music Moment in Black History” on our Facebook page to show the contributions of black artists to classical music throughout history. We’ve collected our twenty-eight February entries in this article. By the way, these entries were originally part of an episode of the Classical Classroom podcast (audio included below).  Composer Chevalier de Saint-Georges.  In the mid-to-late 1700’s, Chevalier de Saint-Georgeswas an Afro-French composer who was also France’s best fencer. After Napoleon re-instituted slavery in France, de Saint-Georges’ works were rarely played, though lots of his work has been recorded since the 1970’s. In 1803, virtuoso violinist George Bridgetower, who had studied under the leader of the Royal Opera, played with Beethoven. Beethoven then dedicated his Violin Sonata No. 9 in A Major to Bridgetower, and they premiered the piece together. Later, the two had a falling out – something to do with a lady – and Beethoven changed the piece’s name. It’s now called the Kreutzer Sonata. Poet Rita Dove wrote a book about Bridgetower and Beethoven’s relationship. Soprano Elizabeth Taylor Greenfield, “The Black Swan”.  In 1853, soprano Elizabeth Taylor Greenfield – people knew her as the “Black Swan” – made her New York debut at the Metropolitan Hall. While she could sing, her skin color would have denied her entrance to the concert. But that didn’t slow Greenfield down: In 1854, this classy lady sang a command performance before Queen Victoria. Composer Scott Joplin.  In 1868, innovative composer and pianist Scott Joplin was born in Texas. Joplin wrote 2 operas, one ragtime ballet, and 44 original ragtime pieces before he died. Composer Harry Thacker Burleigh.  From 1892-95, Antonin Dvorak – not black as you might know, but stick with me – was director of the National Conservatory of Music in New York City. The woman who founded the school, Jeanette Thurber, opened the school to men, women, blacks, and whites – pretty unusual for that time. Dvorak felt that a true American style of music should grow out of African- and Native-American music. Harry Burleigh, one of the earliest African-American composers and one of Dvorak’s pupils, introduced Dvorak to American spirituals. In 1898, Afro-British composer Samuel Coleridge-Taylor wrote the musical Hiawatha’s Wedding Feast. It was wildly successful during his lifetime. Coleridge-Taylor also visited the States and inspired American blacks to become composers. Tenor Roland Hayes.  In 1921 tenor Roland Hayes gave a performance before King George V of England. In 1923, Hayes debuted at Carnegie Hall. He was the first African American man to become famous worldwide as a concert performer, and he became one of the world’s greatest Lieder interpreters. In 1926, Undine Smith Moore graduated cum laude from the Juilliard School. She was the first graduate of Fisk University, a historically black school, to receive a scholarship to Juilliard. According to the Richmond Times-Dispatch, Moore became “…one of this country’s most prominent composers and arrangers of choral works, many based on or inspired by Negro spirituals and folk songs.” Composer William Grant Still.  1931 was the year William Grant Stillbecame the first Black American composer to have a symphonic work performed by a major American orchestra. The Rochester Philharmonic performed his Afro-American Symphony. Stills had another big “first” in 1949 when his opera Troubled Island – based on a libretto by Langston Hughes – was performed by the New York City Opera, becoming the first opera by a black person to be performed by a major company. William Grant Still was also the first black man to conduct a major orchestra (LA Phil) and he won 2 Guggenheim fellowships. In 1933, Caterina Jarboro became the first black woman to appear in a leading role with a major American opera when she again played the title role in Aida with the Chicago Opera.  Composer Florence Price. Also in 1933, the Chicago Symphony Orchestra performed Florence Price’s Symphony in E Minor. She was the first female African-American composer to have a symphonic composition performed by a major American symphony orchestra. Baritone Todd Duncan and Anne Brown. Culver Pictures/file 1935. In 1935, George Gershwin’s Porgy and Bess opened on Broadway, with baritone Todd Duncan as Porgy, and sopranos Anne Brown as Bess and Ruby Elzy as Serena. In 1945, Todd Duncan became the first African American to sing with a major American opera company, when he played the role of Tonio Leoncavallo’s I Pagliacci with the New York City Opera. Contralto Marian Anderson In 1939, both the Daughters of the American Revolution and the District of Columbia’s Board of Education refused to allow contralto Marian Anderson to use Constitution Hall and Central High School auditorium for a recital respectively. So, she gave her concert on the steps of the Lincoln Memorial instead, drawing a crowd of 75,000 – not to mention the millions who listened on the radio. (To read more about the performance, go here.) Lyric Soprano Camilla Williams (l) with Margery Mayer. Courtesy of Fred Fehl/New York City Opera. Also in 1945, lyric soprano Camilla Williams signed a contract with the New York City Opera in 1946, becoming the first African American to do so with a major American opera company. She debuted with the role of the heroine in Madama Butterfly. And in 1947, soprano Helen Phillips was the first African American to sing on the stage of the Metropolitan Opera. In 1951 William Warfield and Muriel Rahn were the first black concert artists on TV – they appeared on The Ed Sullivan Show. Soprano and educator Dorothy Maynor. In 1953, soprano and educator Dorothy Maynor was the first black person to sing at a US presidential inauguration when she performed the national anthem for Dwight Eisenhower. Composer Margaret Bonds. Wikimedia Commons. Margaret Bonds, who frequently collaborated with Langston Hughes, was one of the first black composers and performers in the US to gain recognition. In 1965, when the Freedom March on Montgomery, Alabama took place, she wrote Montgomery Variations for orchestra, dedicating it to Martin Luther King, Jr.. For more information about Ms. Bonds, check out this piece from WBUR 90.9 FM. Conductor Henry Lewis. In 1968 Henry Lewis became the first black conductor and music director of a major American orchestra when he was appointed to the New Jersey Symphony Orchestra. He was also the first African-American to conduct at the Metropolitan Opera. 1972 saw Scott Joplin’s opera Treemonisha finally premiere – 55 years after his death – at the Atlanta Memorial Arts Center. In 1976, Joplin posthumously received a special Pulitzer Prize for his contributions to American music. Trumpeter Wynton Marsalis. Photo by Luigi Beverelli. Courtesy Mr. Marsalis’ website. In 1983 and 1984, trumpeter Wynton Marsalis became the only artist ever to win Grammy Awards for both jazz and classical records. He won the Pulitzer Prize for Music in 1997 for Blood on the Fields, a three-hour oratorio for 3 singers and a 14-member ensemble. The oratorio follows the story of an African couple sold into slavery in the US. In 1987, conductor Paul Freeman became Founding Musical Director of the Chicago Sinfonietta. This orchestra’s mission is “Musical Excellence Through Diversity”. Dr. Freeman served for 24 years. Violinist Aaron Dworkin. Courtesy of the MacArthur Foundation website. Violinist Aaron Dworkin founded the non-profit Sphinx Organization in 1996 to cultivate the development of young black and Latino musicians in the classical music profession. The Sphinx Competition, spotlights young black and Latino string players on a national platform. Composer George Walker received the Pulitzer Prize in 1996 for Lilacs for Voice and Orchestra, a work commissioned by the Boston Symphony Orchestra as part of its tribute to tenor Roland Hayes. This was the first time a living African American won the prize for music. Mezzo-Soprano Denyce Graves. Courtesy of the artist’s website. In 2001 mezzo-soprano Denyce Graves sang “America the Beautiful” and “The Lord’s Prayer” at the National Day of Prayer and Remembrance Service at the Washington National Cathedral following the September 11 attacks. James DePriest conducting the Oregon Sympony. Courtesy of the Sympony’s website. In 2005, James DePriest, one of classical music’s most accomplished conductors who at the time of his death in 2013 was Laureate Music Director of the Oregon Symphony and Director Emeritus of Conducting and Orchestral Studies at the Juilliard School, received the National Medal of Arts. Tim Brooks won a 2007 Grammy award for Best Historical Release with his Lost Sounds: Blacks and the Birth of the Recording Industry, which includes performances by Harry Burleigh, Roland Hayes, and Edward Boatner. Tenor Noah Stewart. Photograph: Mitch Jenkins Mitch Jenkins/PR. In 2012, tenor Noah Stewart became the first black musician to top the UK Classical Album Chart. Of course, we had to leave a GAGILLION people out of our daily Black History Month Facebook posts because (duh) there are just not enough days in the month. Like Jeffrey Mumford, Awadagin Pratt, David Baker, Imani Winds, André Watts, Chelsea Tipton, Thomas Wilkins, Morris Robinson, Lawrence Brownlee, Valerie Coleman, Rachel Jordan, and Tona Brown. And Daniel Bernard Roumain. And Black Violin. And… you get the idea!  But, blacks are still one of classical music’s most under-served communities. As of 2011, according to the League of American Orchestras, only 1.83% of our nation’s orchestras’ makeup was black. Aaron Dworkin has pointed out that African-American composers are often missing in traditional classical music station programming. But people like Dworkin and many others are working to change that!  We hope you’ve enjoyed learning about all of these awesome artists.

Ethnic diversity remains a troublesome question for American orchestras. Just over four percent of their musicians are African-American and Latino, according to the League of American Orchestras, and when it comes to orchestra boards and CEOs, the numbers are even starker: only one percent. Ethnic diversity is also a rare sight among guest soloists and conductors. This issue was front and center during the third annual SphinxCon conference, hosted last weekend by the Detroit-based Sphinx Organization. Its founder and president, Aaron Dworkin, joins us for this week's Conducting Business, along with two active musicians: Weston Sprott, a trombonist in the Metropolitan Opera Orchestra; and Melissa White, a violinist who performs in the Harlem Quartet. In this segment our guests discuss: The advantages and shortcomings of blind auditions, in which orchestra job candidates perform behind a screen. The challenges of developing a diverse audition pool in the first place. Where Dworkin believes orchestras fall short compared with other sectors. How orchestras and ensembles can broaden repertoire and formats beyond the traditional concert hall. Where subtle (and not-so-subtle) forms of racism emerge in the hiring process for orchestra players. Where signs of change are occurring (including in Nashville and New York). The graph below illustrates the percentages of black and Hispanic musicians enrolled in major music conservatories. Listen to the full segment at the top of this page and share your thoughts below.

New York's Department of Cultural Affairs is embarking on the first comprehensive effort to measure diversity at the city's museums, venues and performance groups. The survey, announced on Monday, will collect information on the demographics of employees, boards, and visitors at arts organizations. The goal: to determine if these groups are keeping up with the increasingly multicultural makeup of New York. "The statistics that we've seen elsewhere show that a very large sector of the employees and boards at cultural institutions are white," said Tom Finkelpearl, commissioner of the Department of Cultural Affairs. "We're in a city now where 60 to 65 percent of people do not describe themselves as white. This is about the future and what the place of cultural institutions in New York City should be in the future." The city agency plans to survey about 1,200 arts organizations and use the data to draw profiles of various professions, be it orchestra administrators, museum curators or choreographers. "Then we'll know where the most work needs to be done," said Finkelpearl. Tom Finkelpearl, Commissioner of the New York City Department of Cultural Affairs, in the WQXR studio. (Kim Nowacki/WQXR) Previous studies have shown that the classical music field particularly falls short when it comes to participation among Blacks and Hispanics, and the League of American Orchestras has found that these groups represent less than four percent of orchestra players. Finkelpearl says this points to a larger "pipeline" problem, of getting young minority musicians on a career track (and providing resources to manage student debt). "It's all fine and good to get kids in high school playing instruments," he notes. "What gets them into conservatory? What gets the kids in conservatory to stay on and have a classical music career?" In the interview Finkelpearl also talks about: Plans for re-integrating the arts into the New York City Public Schools. Where music education figures into these plans. Why New York City is tough for artists (it's not just about high rents) but why he isn't as pessimistic as some are. Listen to the full interview above and share your reactions by clicking on the gray comments bar below.

Death of Klinghoffer debuts amid protests (but it seemed to go well in hindsight)...American Orchestras are shooting themsleves in the foot...Paris Opera Ejects Woman In Muslim Veil After Cast Refuses To Sing...Carmen Smoking Ban Lifted In Australia... In Oliver's Corner, Jean Madeira is mommy, dearest. Plus Guess Who Died? This week features Michael, The OC, our old pal David Gordon and Our Man in Venice.

New Federal rules aimed at protecting Africa's endangered elephants are sending shock waves through parts of the music world. Under new regulations that began to take effect in February, musical instruments that have even the smallest amount of ivory are banned from entering the U.S. unless it can be proved that they were purchased before 1976. That includes any violin bows with a small piece of ivory at the tip, and also some bassoon bells and piano keys. “In the string world, it’s the hottest story around,” Yung Chin, a bowmaker who lives in New York, tells Naomi Lewin in this podcast. “The suddenness of the ruling that came out on February 25 has really caused a problem.” The ruling came in response to a dramatic increase in elephant poaching in Africa. Some 30,000 elephants per year, over the last several years, have been slaughtered to supply the global demand for ivory, said Craig Hoover, who heads the U.S. Fish and Wildlife Service’s (USFWS) wildlife trade and conservation branch. He admits that the demand "is not to put small pieces of ivory at the tips of violin bows but for whole tusks and for large carvings and other products." But, Hoover added, "We are limited by the laws that Congress gives us. It becomes very difficult to say, 'We are going to cover this commodity but not this commodity when you’re trying to protect a species.'" Ivory is used to protect the head of violin bows and support the plug that holds the hair into the stick (right). After an international treaty was enacted in the 1970s, most of the string trade switched from elephant ivory to that made from the tusks of long-extinct mammoths. For musicians who can prove any ivory in their instrument was legally acquired before 1976, it’s possible to obtain a travel permit through the USFWS, Hoover said. That process takes 30 to 45 days and costs $75. Still, there is concern among musicians who are scheduled to perform abroad, and then re-enter the U.S. Zachary Lewis, the classical music and dance critic of the Cleveland Plain-Dealer, spoke with several members of the Cleveland Orchestra who fear that their instruments will be confiscated when the group travels to Europe in September. "I’ve talked to a couple violinists, a bassoonist, and they’re concerned about it,” he said. Hoover says that the USFWS is currently gathering feedback from musicians' trade groups, including the American Federation of Musicians and the League of American Orchestras. Potential amendments to the rules could start to take shape this summer. Meanwhile, Chin and his fellow bow-makers are developing synthetic tips that can be exchanged for ivory in order to facilitate travel. But the complications may not end there. “This material is an ivory imitation – totally a synthetic,” he said. “But this thing looks very close to ivory. I would be nervous. Hopefully we will work on this so people won’t have the fear and trepidation of traveling around with their materials.” Chin, Lewis and Hoover have a lot more to say about the complications around this law in the full podcast above. Take a listen and please share your thoughts in the comments box below: How do you feel about the new regulations concerning ivory?

Barber’s Violin Concerto, Gershwin’s Rhapsody in Blue and Copland’s Appalachian Spring are among a small handful of American works that have become staples of the orchestra repertoire. Since the United States has nurtured a good century-and-a-half of orchestral compositions, there are those who feel that this is not just an oversight, but a disgrace. Earlier this month, a group of composers and academics decided to confront the issue where it starts: with the major orchestra in their city. They wrote a letter to the Cleveland Plain-Dealer accusing the Cleveland Orchestra of “blatantly ignoring music of its own country” by programming only one work by an American composer next season. “We looked at this and said, this is approximately one percent of the programming and really, we have to say something about this,” said Keith Fitch, head of the composition department at the Cleveland Institute of Music, who was one of the letter’s co-signers. Fitch argues that the problem is not limited to Cleveland, nor is it even confined to living composers. There is a wide swath of “diverse and compelling” American repertoire, he says, that is seldom represented on orchestra programs, including pieces by William Schuman, Howard Hanson, Roy Harris, Walter Piston and even Charles Ives – “the music that has defined us as a culture.” The Cleveland Orchestra did not respond to invitations to participate in this segment, nor did it respond to the letter, which has been widely circulated on social media. Ed Harsh, the president and CEO of the advocacy organization New Music USA, notes that a number of orchestras are making an effort to program American works, including the Los Angeles Philharmonic, New York Philharmonic and Albany Symphony. The upcoming Spring for Music festival of American orchestras at Carnegie Hall is due to feature major works by Hanson and John Adams (WQXR will broadcast the six-concert festival live). "It’s by no means a blanket problem,” Harsh said. “But in some ways this is such an old, agonizing story.” In 2011, the League of American Orchestras, a national service organization, reported that just two out of the top 20 most-performed composers were American that year: Barber and Leonard Bernstein (at numbers 17 and 20, respectively). A ranking of the top 20 works performed did not bring up a single American piece. Harsh believes that living American composers should be essential to orchestras' community outreach and audience-building efforts; they can personalize and talk about the music in a way that long-dead composers can't. “It may seem expedient to become a museum of immutable masterpieces that everyone loves,” he said. “That’s long-term suicide.” To some extent, orchestras must persuade audiences to try unfamiliar music of whatever era or nationality, said Simon Woods, the executive director of the Seattle Symphony, in the second part of this podcast. Seattle has recently launched an in-house record label with an album of music by Ives, Gershwin and Elliott Carter. But Woods also believes there are no absolutes. "I start getting nervous when I hear discussions about whether there should be some kind of moral imperative to play American music," he added. "What's interesting about orchestras in this country is this huge diversity of repertoire that they play, and each one has a different personality." Listen to the full segment above and share your comments below: should orchestras program more American works? Why or why not?

All the people clamoring to get into Broadway shows like "Wicked" and "The Book of Mormon" – or museum shows like the Rain Room at MoMa – are apparently the exception, rather than the rule. That's the conclusion of a new survey of public participation released last week by the National Endowment for the Arts. It shows an overall decline in arts consumption by Americans, with a particular drop-off in museum and theater attendance. There were smaller dips in classical music and ballet audiences too. But it wasn't all gloom and doom: Audiences are growing more racially and ethnically diverse.  And there are hints that technology is playing a larger role in how we consume culture. On Oct. 3, Conducting Business brought a group of prominent arts leaders to The Greene Space to explore these recent findings and their implications. Joining us were Oskar Eustis, artistic director of New York’s Public Theater; Robert Battle, artistic director of the Alvin Ailey Dance Theater; Jesse Rosen, president and CEO of the League of American Orchestras; Anne Midgette, classical music critic of the Washington Post, and Graham Parker, general manager of WQXR. Naomi Lewin hosted the event, of which the archived video is below.   What do you think is behind the decline in audiences? What can arts organizations do to attract new patrons? Please leave your comments in the box at the bottom of this page, or Tweet us at @WQXR. Below are three salient findings from the NEA's Survey of Public Participation in the Arts: Please leave your questions in the comments box below, or Tweet us at @WQXR #NEASPPA.

The year 2012 supplied plenty of headline-making moments in classical music. There was the infamous marimba ring tone at the New York Philharmonic, the opera singer with the controversial tattoos, the composer accused of plagiarism, and cellos booted off airplanes. It was a tough year for American orchestras and a good year for entrepreneurship. In this podcast, three highly opinionated critics give us their reviews of 2012: Anne Midgette, classical music critic of the Washington Post; Steve Smith, a classical music critic for the New York Times and music editor at Time Out New York; and Heidi Waleson, a classical music critic for the Wall Street Journal. Below are excerpts of some of their comments. Surprises Heidi: David Lang's love fail, written for the female vocal quartet Anonymous 4 (right). “It was a beautifully haunting, Medieval-Modern, strange modern take on the Tristan Und Isolde story, which was semi-staged at BAM. It was actually a stunningly beautiful piece.” Anne: “One of my favorite moments was a very local moment...The University of Maryland [orchestra] came out dressed in street clothes with their instruments and began moving around the stage as they played Debussy’s Afternoon of a Faun. It was a wonderful example of what could be done with orchestras if they think a little outside the box.” Steve: “The reason I categorized David T. Little’s opera Dog Days as a big surprise is frankly I didn’t know that he had this in him...He was out at Montclair State University’s Peak Performances series with a full evening-length opera based on an apocalyptic story by Judy Budnitz…There were terrifying things about it and absolutely joyous things about it but in the end I thought, here’s a team that has actually moved opera forward.” Listen to the opera on Q2 Music. Trends Heidi: On interesting new operas showing up outside of major producing companies: “I thought, maybe if people from the regular producing opera companies actually see [Dog Days], maybe somebody will get an idea that this is actually the sort of thing that can happen in the opera house.” Anne: “There’s no question that some of the most exciting stuff in opera is going on in smaller spaces – and some of the most innovative thinking." Steve: On entrepreneurship in classical music: “People confronted with a certain stodginess or intractability in major companies are just putting on the shows themselves, or doing the kind of programming they feel ought to exist. I’m thinking about ICE, the International Contemporary Ensemble, whose founder Claire Chase won a MacArthur this year, which was richly deserved.” Disappointments & Low Points Heidi: “It was the Metropolitan Opera Ring – and I’m sure I’ll have a lot of company in that one. It took a lot of hits and for good reason. It was just a very big elaborate backdrop of a set for a not very stimulating concept.” [Right: A scene from Die Walküre (Photo: Ken Howard)] Anne: “The problem with some of the concepts that are applied to operas – and I’m a great defender of innovation in opera direction – but a lot of times you think up this great idea and a lot of times the opera isn’t actually about that there’s only so far you can go with the idea.” Steve: "What perturbed me is you basically still have to go out of town, even if it’s just crossing the river to New Jersey, to hear what’s really happening and what’s really interesting in the operatic sphere period." Anne: On American Orchestras: “While it’s both tragic and deplorable that there have been so many lockouts, strikes, seasons disrupted – the Minnesota Orchestra, really one of the exciting orchestras in the country is still not playing – all of this was foreseeable. The managements seem to be acting as if ‘oh my goodness, all of the sudden we’re having these financial crises.’ All of those difficult moments have come home to roost.” High Points Steve: What many of the year's most exciting productions this year had in common was the producer Beth Morrison, "who is enabling a lot of really exciting work that’s going on right now. Beth Morrison Productions is involved in a lot of these things – in staged concerts, in grassroots opera. She has been a real bolt of vitality and innovation that has been much needed and is having a great impact.” Anne: On the John Cage Centennial: “I’m not a big fan of artist centennials. In classical music they’re rammed down our throats, these anniversaries. But with all of the festivals and activities and concerts, it really allowed a new perspective on Cage...It was a centennial and an anniversary that for me really made a big difference.” Heidi: The Juilliard Historical Performance Program under its new director Robert Mealy (above): "You just don't get a big orchestra of American players playing who can play this in this really stylistically correct and distinct way" (after hearing a concert of excerpts from two Rameau ballets). BONUS TRACK: Predictions for 2013: Weigh in: Give us your reviews of the best and worst of 2012 below.

Recently, WQXR.org polled listeners on what's needed to help troubled orchestras in several major American cities. Focusing on major symphonies in Atlanta, Indianapolis, Minneapolis, St. Paul and San Antonio – all of which face contract disputes and bulging deficits – the responses varied considerably. Some listeners called for for management shakeups; others advocated more innovative programming and concert formats. A few said that orchestras need to take on a greater educational role in order to fill the void left by public school cutbacks. In this segment, we review the poll results and pose some of your comments to three experts: Jesse Rosen, president and chief executive of the League of American Orchestras Drew McManus, an orchestra consultant and blogger at Adaptistration.com Graydon Royce, music critic at the Minneapolis Star-Tribune Listen to the show above and tell us what you think of the solutions offered. And please share your reactions in the comments box below.

Continuing our musical journey into the through the 20th Century, this segment explores how America took its place as force in the world of classical music; not so much through its experimental work but through the music of Hollywood movies. Miles Hoffman, Morning Edition music commentator and dean of the Petrie School of Music at Converse College in Spartanburg, South Carolina, takes us through the early years of the last century and discusses where we can, sometimes unexpectedly, find new classical compositions today.

While Europe was alive with new, sophisticated works by Vivaldi, Bach, and Handel, America was a backwater. If you looked for classical music in the early days of America, you'd be hard-pressed to find it, even in the big cities and the centers of wealth, commerce, and social sophistication. But it *was* there; in far-flung locations including the backwoods of North Carolina and the Port of New Orleans. Miles Hoffman, NPR Morning Edition music commentator and dean of the Petrie School of Music at Converse College in Spartanburg, South Carolina takes us on a tour of classical music in early America.

This segment looks at some little-known stories about American Classical music like the role of Cuba in Classical Music and the American who made "Carmen" a hit. NPR's Miles Hoffman continues to lead us through the development of a uniquely American take on traditional European music.