Podcasts about American Symphony Orchestra

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

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

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

Karen Birch Blundell is a New York City based performer and teaching artist. She is English horn of the Northeastern Pennsylvania Philharmonic and the Associate Principal Oboe/English horn of the Eastern Music Festival. She performs with ensembles throughout the Northeast including; the American Symphony Orchestra, Albany Symphony, Hartford Symphony, New Jersey Festival Orchestra, Norwalk Symphony and Springfield Symphony Orchestra.​Prior to her time in NY, Karen was Second Oboe/English horn with the Sarasota Orchestra. While in Florida, she regularly performed with neighboring orchestras including the Florida Orchestra and the Naples Philharmonic. She has been a guest musician with The Houston Symphony, The Houston Ballet Orchestra and the Cincinnati Symphony Orchestra. Beyond the Classical realm, Karen has toured the US with the New Sousa Band and performed with mega stars including Bernadette Peters, Idina Menzel, Mannheim Steamroller and The Who.Karen holds a Bachelor of Music from Oberlin Conservatory where she studied with James Caldwell. She completed her Master of Music at the Hartt School of Music with Humbert Lucarelli. She also studied with Robert Atherholt, Alex Klein and John Mack. She also held a fellowship at the New World Symphony under the direction of Michael Tilson Thomas. To learn more about Karen, and follow her journey, visit the link https://www.karenbirchblundell.com/ Visit the Self-Care Institute at https://www.selfcareinstitute.com/ Support the showVisit www.creativepeacemeal.com to leave a review, fan voicemail, and more!Insta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire https://www.bonfire.com/store/creative-peacemeal/Redbubble CPPodcast.redbubble.comCreative Peacemeal READING list here Donate to AhHa!Broadway here! Donate Dachshund Rescue of Houston here Interested in the Self-Care Institute with Dr. Ami Kunimura? Click here Interested in Corrie Legge's content planner? Click here to order! Looking for custom orthotics? Foot and Shoe Solutions is your answer. Click here for more.

Lou Burno has worked as a professional bass player since the early 1960s, playing with both commercial and jazz groups. He performed with jazz legends John Mehegan, Dill Jones, Zoot Sims, Carmen Leggio, Toots Thielmans, and Bucky Pizzarelli, among others. He attended the Manhattan School of Music where he received both BMus and MMus degrees. After his training at Manhattan, he was a member of the Buffalo Philharmonic Orchestra for four seasons, and then moved to Vienna, Austria to study with Ludwig Streicher at the Vienna Hochschule für Musik. On returning to NYC in the late 1970s, he became a free-lance player, concentrating on both Broadway and concert work. Since his return he's been a member of the Brooklyn Philharmonic, American Symphony Orchestra, and the New York Pops. Among the many Broadway shows he's performed on are “A Funny Thing Happened on the Way to the Forum,” “End of the Rainbow,” and “Guys and Dolls.” Lou has also performed on the soundtracks to many major Hollywood films. He worked in Elaine Stritch's band for eleven years on her one-woman Broadway show, “Elaine Stritch at Liberty,” and her night club appearances at the Carlyle Hotel. He appears in the 2012 documentary film about her, entitled “Shoot Me.” Check out www.thebridgeportjazztrio.com

Berit Lindholm, American Symphony Orchestra, Leopold Stokowski Carnegie Hall, 7 December 1969, Broadcast

Swiss-American conductor, educator, scholar, and President of Bard College, Leon Botstein has dedicated his musical career to the performance of lesser known repertoire. Maestro Botstein candidly discusses the practical and emotional challenges a conductor faces while leading an orchestra and the importance of forgoing theatrical gestures. Leon reflects on how his choice to pursue music was a form of rebellion within his family of physicians and when he understood he wouldn't be a virtuoso. David and Leon talk about what makes a good leader of school, Leon's belief in a broad education (as opposed to that of a conservatory), the importance of an inquiring mind, and arts patronage.Check out Leon Botstein on Facebook, Spotify, Apple Music, or the web.Learn more about American Symphony Orchestra here, Bard College here, and The Orchestra Now here. Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Leon by Matt Dine.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

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We are delighted to kick off our new season of LLChat with our series, French Musicians, Composers, and Discoveries. Our guest, Renée Anne Louprette, is an internationally renowned organist associated with distinguished music programs in New York City, the Arts at Trinity Wall Street, the Church of St. Ignatius Loyola. She is Assistant Professor of Music at Bard College. She has directed the organ program at Rutgers University, served as a faculty member at the Manhattan School of Music, and is director of the National Competition in Organ Improvisation for the American Guild Organists. Louprette has performed with the Mostly Mozart Festival Orchestra, Voices of Ascension, Clarion Music Society, American Symphony Orchestra, Los Angeles Dance Project, Disney Hall in Los Angeles, and the Oratorio Society of New York. She was awarded a Premier Prix - mention très bien from the Conservatoire National de Région de Toulouse, France and a Diplôme Supérieur in organ performance from the Centre d'Etudes Supérieures de Musique et Danse de Toulouse. We are grateful to our magnificent team of hosts, Dr. Peter Schulman and Alexis Osipovs.

Gregory Landes is a versatile musician, excelling as a drummer, percussionist, composer, educator, and arranger. His impressive orchestral credits include serving as a timpanist and percussionist for esteemed ensembles such as The New Jersey Symphony, Garden State Philharmonic, The New Haven Symphony, The American Symphony Orchestra, New York Chorale Society, The Brooklyn Philharmonic, Princeton Symphony, Albany Symphony, Little Orchestra Society of New York, Greenwich, Stamford, and Westchester Symphonies, Masterwork Chorale Orchestra, Goldman Band, and The New Jersey Wind Symphony.For the past three decades, Gregory has demonstrated his musical prowess as both a drummer and percussionist in over 50 Broadway and Off-Broadway productions. Notable mentions include his involvement in the 2019 Lyrics and Lyricists show "Live and in Living Color" at the 92nd St. Y, with Andy Einhorn and Rob Berman as musical supervisors, as well as his contributions to the 2018 musical "The Beast in the Jungle" by John Kander, directed and choreographed by Susan Stroman. He has also been involved in Director John Doyle's productions of "Pacific Overtures" and John Kander's "Kid Victory." Gregory played a crucial role in creating the drum and percussion book for John Kander's musical "The Landing."Gregory has an extensive list of credits in the world of theater, having performed as the original drummer and percussionist in productions of "How The Grinch Stole Christmas" on Broadway, in Chicago, Boston, and Madison Square Garden. He has also showcased his drumming and percussion skills in various other productions, including "Avenue Q," "Newsies," "In The Heights," "Curtains," "Wicked," "42nd Street," "Play Without Words," "Ragtime," "Les Miserables," "Falsettos," "Putting It Together" (with Julie Andrews), and many more.Additionally, Gregory Landes is a founding member of The Pit Stop Players, a chamber ensemble composed of highly sought-after freelance musicians in New York City. The group is dedicated to performing new works by emerging composers. Gregory's arrangements and pieces written for percussion ensemble can be found in publications by Bachovich Music Publications. He held the position of director of percussion studies at The Calhoun School in New York City and was involved with The Calhoun Percussion Ensemble. Furthermore, he serves as a drum and percussion instructor in the Encore Program at Ridgewood High School in New Jersey and has taught General Music and Percussion at The Pingry School.Gregory's talent has gained recognition from renowned musical instrument manufacturers, as he is endorsed by Paiste cymbals and is an Innovative Percussion artist. Since 1997, he has been performing alongside his brother Garah Landes, a pianist, as the duo Synchronicity. To learn more about their extensive performance history, interested individuals can visit their Facebook page, watch their videos on YouTube, or explore their website at www.synchronicitymusic.com. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Saint-Saëns's opera "Henry VIII" will run as part of the 20th Bard SummerScape, July 21–30, in the Sosnoff Theater at the Fisher Center at Bard. This, the first fully staged production of Henry III in the United States will be sung in French with English supertitles. Leon Botstein conducts the American Symphony Orchestra.Internationally acclaimed stage director Jean-Romain Vesperini helms the production at Bard and he joins us.

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Javier Diaz is a percussionist, educator, and composer active in New York City. Javier regularly plays with the American Symphony Orchestra, chamber music groups, and Latin Jazz/Afro-Cuban folkloric groups in the New York area. He has performed with the Los Angeles Philharmonic, the Metropolitan Opera Orchestra, New York Chamber Symphony, New Jersey Symphony, New York Pops, New York Perspectives Ensemble, John Adams' Zankel Hall New Music Band, and the Hilliard Ensemble. He has been the principal percussionist in the Broadway productions of Guys and Dolls, Phil Collins' Tarzan, The Wiz, Women on the Verge of a Nervous Breakdown, Rocky, Ain't Too Proud: The Life and Times of The Temptations, Gloria Estefan's On Your Feet!, and Once on This Island.Javier's studio credits include Steven Spielberg's West Side Story, Lin Manuel Miranda's In The Heights, ECM's Tituli (with the Hilliard Ensemble) by Stephen Hartke, two albums with David Sanborn, including Time and the River (produced by Marcus Miller), award-winning films such as Tango Flush and Jesus Camp, and many TV and radio commercials. As an Afro-Cuban/Pop percussion specialist, Javier has appeared with: Sean Kingston, Diana Ross, Gladys Knight, Chaka Khan, Patty La Belle, Lázaro Galarraga's Afro-Cuban All Stars, percussionists Angel Luís Figueroa, Cándido Camero, Román Díaz, Pedro Martínez, The Pan-American Jazz Band, The Ethnix, Anette Aguilar's Latin Jazz Group, Marta Topferova, Edmar Castañeda, Tribal Sage World Music duo project with multi-percussionist Roger Squitero, World Percussion group Kalunga, and the New York World Music Institute. An active educator,Javier has taught concert percussion at El Sistema de Orquestas Juveniles e Infantiles de Venezuela, the University of Connecticut, Rutgers University, Queens College (CUNY), New York University, and at his private teaching studio in New York City and New Jersey. He has also taught Afro-Cuban percussion seminars, classes, and clinics at the Peabody Institute, University of Southern California, Percussion Artists Workshops Los Angeles/New York, Los Angeles School District, The Juilliard School, Rutgers University, Queens College, New York University, Boston Conservatory, University of Minnesota, and Mannes School of Music in New York City.Mr. Diaz currently teaches the Afro-Latin percussion survey at the Juilliard School and directs the Afro-Cuban Percussion Ensemble at Rutgers University. His most recent book on Afro-Cuban percussion, The Afro-Cuban Handbook, has become an instant classic of the percussion literature. As a composer, Javier has written chamber music, solo pieces, orchestral works, and electronic music.He has been commissioned by the Aspen Music Festival, New York University, and the University of Southern California. An alumnus of El Sistema de Orquestas Juveniles e Infantiles de Venezuela and the Aspen Music Festival, Javier holds a BM from the University of Southern California, a MM from The Juilliard School, and a DMA from The Graduate Center (City University of New York).Clayton Craddock hosts the Broadway Drumming 101 Podcast and Newsletter. He has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud.The Broadway Drumming 101 Instagram page: InstagramThe Broadway Drumming 101 YouTube page: YouTubeFor more about Clayton, click HERE Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

We are delighted to share our latest podcast episode “Into the Singing Studio” with Dr. Rebecca Loar. This episode showcases Dr. Loar's career as a vocalist, and her research into vocal health. We discussed her work with her students in the Department of Music and how we can all take proper care of our voices across our lives. After degrees in vocal and opera performance from Samford University and the Manhattan School of Music, Dr. Loar earned her Doctor of Musical Arts in Voice Performance with a cognate in Choral Conducting from the University of South Carolina. Her doctoral dissertation was “Singing Voice Specialization, an Essential Bridge Between Two Worlds,” discussing the need for medical arts specialists. An active performing artist, Dr. Loar has performed many opera roles and concert works, and is a former member of the New York Choral Artists where she performed with the New York Philharmonic, the American Symphony Orchestra, Orchestra Society of St. Lukes, and the Little Orchestra Society of New York. She has worked under the batons of Maestros Kurt Masur, Leonard Slatkin, Leon Botstien, Pierre Boulez, Seiji Osawa, and more. Dr. Loar has been teaching voice for over twenty years and is an active vocal adjudicator and clinician throughout the Southeast. Her students perform on Broadway and in national Broadway tours, in summer opera programs and for major cruise lines. Many of her students have entered advanced conservatory graduate programs such as Manhattan School of Music, Oberlin Conservatory and Boston University. Listen as we learn about the important work Dr. Loar is doing in her teaching studio here at UNCP, which ensures healthy singing for her students as they make music here on campus and across our community. Find the episode transcript here and join Dr. Loar in the concert she mentions with UNCP Music colleagues Drs. Jaeyoon and Seung Ah Kim on Monday, January 30th, 2023 at 7:30 PM in Moore Hall Auditorium, free admission and no tickets required.  Visit https://www.uncp.edu/departments/music/calendar-events for more UNCP Music events and information.   Follow UNCP's College of Arts and Sciences  on Facebook, Twitter@uncpcas and Instagram@uncpcas

The real and haunted history of Halloween. - - - Lyrics: Joshua Castro Vocals: Joshua Castro Music: Hans Engelmann (1908) Orchestra: The American Symphony Orchestra (1909) Sound Editors: The Sonic Writers (Shaun Day & Matty Margallo) What's Halloween? (audio) © 2022 - - - In honor of Halloween --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/joshuacastro/support

Hello once again everyone I'm your host Ray Shasho and welcome to another edition of Interviewing the Legends. Brought to you by The Publicity Works Agency specializing in authors & musicians Remember We shine only when We make you shine! Call us today at 941-567-6193 for a free PR evaluation!  Elliott Randall's illustrious career has encompassed a wide and varied cross-section of World Musical forms. These include record production, composition, electronic research and development, lectures and teaching, and of course, a legendary contribution to popular guitar performance and recording. His guitar solos on Steely Dan's “Reelin' in The Years” and “Fame” (the motion picture) have entered Rock history annals. Elliott has recorded and performed with artists as diverse as The Doobie Brothers, Carly Simon, Seatrain, The Blues Brothers, Carl Wilson, Peter Wolf, Peter Frampton, James Galway, Richie Havens, The Rochester Philharmonic and The American Symphony Orchestra, among many others. In addition, he is a favorite of esteemed songwriters Jimmy Webb, George David Weiss, Don Covay and Laura Nyro. Other credits include music consultant for NBC Saturday Night Live and Oliver Stone, and projects with producers Jerry Wexler, Joel Dorn, Steve Lillywhite, Eddie Kramer among many others. In addition to artistic projects, Elliott has also played, produced, and composed advertisements (jingles) for television, radio and cinema. Please welcome legendary session guitarist and musician ELLIOTT RANDALL to Interviewing the Legends FOR MORE INFORMATION ABOUT ELLIOTT RANDALL VISIT www.elliott-randall.com Official website https://twitter.com/elliottrandall Twitter www.facebook.com/elliottrandallmusic Facebook www.linkedin.com/in/elliottrandall?original_referer= Linkedin www.youtube.com/ejrandall YouTube https://elliottrandall1.bandcamp.com/ Elliott Randall Bandcamp     Discography Eric Mercury "Electric Black Man" 1969 Avco Randall's Island (1970) Polydor, catalogue number 2489 004 Rock 'n' Roll City (1973) Polydor Randall's New York (1977) Kirshner Still Reelin' (2007) Private Collection Records HeartStrings (2011) Private Collection Records Virtual Memory (2012) Private Collection Records   Soundtracks The Warriors (1979) The Blues Brothers: Music from the Soundtrack (1980) Fame (1980) Heart of Dixie (1989) Looking for an Echo (2000)   Also appears on (partial list) Can't Buy a Thrill (1972) – Steely Dan Frankie Dante & Orquesta Flamboyan Con Larry Harlow (1972) Satan – Sonny Stitt (Cadet, 1974) Ladies Love Outlaws (1974) - Tom Rush Katy Lied (1975) – Steely Dan Closeup (1975) - Frankie Valli Royal Scam (1976) – Steely Dan T Shirt (1976) - Loudon Wainwright III The Music Man (1977) - Paul Anka Gene Simmons (1978) – Gene Simmons Peter Criss (1978) – Peter Criss Live and Sleazy (1979) – Village People Connections (1980) – Richie Havens Rise Up (1980) - Peter Frampton It's Alright (I See Rainbows) (1982) – Yoko Ono Down On The Road by The Beach (1982) – Steve Hiett Hello Big Man (1983) – Carly Simon Youngblood (1983) - Carl Wilson Milk and Honey (1984) – John Lennon, Yoko Ono The Animals' Christmas (1986) – Art Garfunkel & Amy Grant Electric Landlady (1991) – Kirsty MacColl Walking on Thin Ice (1992) – Yoko Ono Walk the Dog and Light the Light (1993) – Laura Nyro Arena (1996) – Asia Spirit of Christmas (2009) – Northern Light Orchestra Left, (2016) - Monkey House       Support us!

This episode is also available as a blog post: https://thecitylife.org/2022/08/16/just-announced-free-september-shows-with-american-symphony-orchestra-jazz-at-lincoln-center-and-the-return-of-accordion-festival-at-bryant-park-picnic-performances/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Tracy Silverman is truly an inspiring musician in every respect and it was such an honour to meet him and be able to record this memorable episode! This interview is also available as a video, and the transcript will soon be published, everything linked here:  https://www.leahroseman.com/episodes/tracy-silverman-electric-violinist-and-author-of-the-strum-bowing-method  We talked about his classical roots, studying with legendary teachers Lewis Kaplan and Ivan Galamian, his rejection of the classical world and his fascinating career, through his years in rock bands,  we even talked about some of his early gigs, including learning the ropes as a strolling violinist, getting the job as first violinist of the innovative Turtle Island string quartet, and the development of his Strum Bowing method.  We talked about many musicians, including some of his collaborators and mentors including Terry Riley, Darol Anger, Roy “Futureman” Wooten, Mark Wood, and composers Roberto Sierra and John Adams.  In this conversation one of the many topics we covered was the new concerto writtten for Tracy  called “Ficciones” by Roberto Sierra.   Finally, we dived into his creative process, how music affects our emotions, and how to stay open by listening to others, and learning to show up as ourselves.  Tracy Silverman website: https://www.tracysilverman.com/ Please help me keep this podcast going! https://ko-fi.com/leahroseman (00:00:00) Intro (00:02:29) Concerto "Ficciones" by Roberto Sierra, premiered with the American Symphony Orchestra (00:06:13) Tracy's 6-string electric violin built by Joe Glazer with demonstrations, and more about "Ficciones" (00:13:14) Tracy's support system for the instrument and hisi progression from classical violinist through his rock days (00:21:37) Lewis Kaplan (00:24:25) Ivan Galamian (00:27:40) Tracy's approach to Bach (00:31:04) Tracy's childhood, starting to study composition (00:33:14) intersection of improvisation and composition (00:35:17) more about "Ficciones"  (00:37:20) "Between the Kiss and the Chaos" (00:39:51) Turtle Island String Quartet and career advice (00:43:35) Strolling violin gigs, wedding singer (00:46:41) John Adams, "Dharma at Big Sur", solo recital versions of concerti (00:49:00) Looping with demo (00:56:27) Album "Beats and Jams" with son "Toby Beats" (01:01:11) mentor and collaborator Terry Riley (01:03:23) process of improvisation (01:09:56) using Strum bowign principles in different styles (01:16:47) Egberto Gismonti, Darol Anger (01:19:24) Caito Marcondes (01:21:00) teaching, strum bowing in school music programs (01:23:43) Turtle Island String Quartet, Darol Anger and the origin of strum bowing (01:27:08) how music affects our emotions (01:31:10) Roy "Futureman" Wooten, positive mindset (01:36:30) challenges with the 2020 lockdowns (01:43:25) manager Brian Horner and putting together commission for "Ficciones" with different orchestras (01:45:21) Rudolph Hawkin, Mark Wood, Matt Bell, Chuck Bond Trager, Tracy's mission with string playing (01:50:23) How Tracy practices (02:03:28) Advice on being open and listening to other musicians --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Dr Erica Ball is a contemporary classical music composer, violinist, pianist + educator from Portland Maine, USA and a mother of 2 boys.Erica received her PhD in music composition from the University of Pennsylvania where she studied with Anna Weesner, Jim Primosch, and Jay Reise.Translating everyday life into music is at the heart of Erica whimsical and playful works. Inspired by the natural world, a childhood spent dreaming of becoming a ballerina, and studies of 20th-century American avant-garde music,Erica is equally at home writing lyrical melodies that sweep across an orchestra and collaborating with animators and circus dancers. With an affinity for layered complexity, Erica's music portrays clouds building up on the horizon as a summer thunderstorm approaches or the busy sounds of passengers in a subway station.Erica's music has been performed by numerous ensembles including the Da Capo Chamber Players, the Daedalus Quartet, pianist Blair McMillen, the International Contemporary Ensemble, Network for New Music, and the American Symphony Orchestra. Her works have been heard across the country in Chicago, Boston, New York and Philadelphia, and internationally in Germany and New Zealand. Recent commissions include Riding the EL and The Spotted Lanternfly for Relâche, and a thread run through which was commissioned by a consortium of advanced youth orchestras to be premiered in spring 2020, and now postponed to 2022. In addition to her work as a composer,Erica remains active as a violinist, pianist, and educator with a special interest in bringing contemporary music to new audiences.Today we chat about the lack of representation of women in the classical music canon, the way that arts are undervalued in our culture and how amazing it is to have an artist mother who gets what you do.Connect with Ericawar no more commissioned by Network for New Music9 lives - performed by Daedalus QuartetrévérenceLet's Be Spoken mentorshipRead about Irelands basic wage for artistsPodcast - instagram / websiteErica's music used throughout the episode with permission:

Synopsis When your instrument is nicknamed “the burping bedpost,” it's hard to get respect in refined circles. So it's understandable that the bassoon section of, say, a major London orchestra might indulge in a bit of day-dreaming in which a gang of hot-rodding motorcycling bassoonists blow into town and take over a concert hall. And guess what? That is EXACTLY the scenario of a piece written for Britain's Philharmonia Orchestra by the American composer Michael Daughtery. “Hell's Angels” is a concerto for bassoon quartet that received its premiere in London on today's date in 1999, with Daughtery commenting: “I find the bassoon to be an instrument with great expressive and timbral possibilities, ranging from low and raucous rumbling to plaintive high intensity.” Daugherty often takes inspiration from icons of American pop culture, so it's not surprising that he should choose “Hell's Angels” for inspiration. After all, he writes: “the bassoon is similar in size and shape to the drag pipes found on Harley Davidson motorcycles … When the noise-curbing mufflers are illegally removed from the drag pipes, they create a deafening roar. I have removed the traditional mufflers on the bassoon repertoire in order to compose [my] concerto for bassoon quartet and orchestra. Music Played in Today's Program Michael Daugherty (b. 1954) — Hell's Angels (Oregon Symphony; James DePreist, cond.) Delos 3291 On This Day Births 1834 - German composer, pianist and organist Julius Ruebke, in Hausneindorf, near Quedlinburg; 1878 - Austrian composer Franz Schrecker, in Monaco; 1895 - French-born American composer, painter and mystical philosopher Dane Rudhyar, in Paris; Premieres 1731 - Bach: "St. Mark Passion" (S. 247, now lost) performed in Leipzig at Vespers on Good Friday; 1748 - Handel: oratorio "Alexander Balus" in London at the Covent Garden Theater; The event possibly included the premiere of Handel's "Concerto a due cori" No. 1 as well (Gregorian date: April 3); 1783 - Mozart: Piano Concerto No. 13 and final version of Symphony No. 35 ("Haffner"), at the Vienna Burgtheater, with composer as piano soloist and conductor; An earlier version of the symphony was performed in Salzburg at private concerts arranged by the wealthy Haffner family in the summer of 1782; 1792 - Haydn: Symphony No. 94 ("Surprise"), conducted by the composer, at the Hanover-Square Concert Rooms in London; 1828 - Beethoven: String Quartet in F, Op. 135 (posthumously, and almost one year to the day after the composer's death on March 26, 1827), in Vienna, by the Schuppanzigh Quartet; 1886 - Tchaikovsky: "Manfred" Symphony (after Byron), in Moscow (Julian date: Mar. 11); 1912 - Gliere: Symphony No. 3 ("Ilya Murometz") in Moscow (Julian date: Mar. 10); 1917 - Bloch: "Trois poèmes juifs" (Three Jewish Poems), in Boston, with the composer conducting; 1923 - de Falla: opera "El retrablo de maese Pedro" (Master Peter's Puppet Show) (concert version), in Seville at the Teatro San Fernando; 1935 - Barber: "Music for a Scene from Shelley," by the New York Philharmonic; 1939 - Bartók: Violin Concerto No. 2, by the Amsterdam Concertgebouw Orchestra, Willem Mengelberg conducting and Zoltán Székely as the soloist; A live recording of this premiere performance has been issued on both LP and CD; 1944 - Cowell: "Hymn and Fuguing Tune" No. 2 for strings, in New York on a WEAF radio broadcast featuring Henri Nosco and his Concert Orchestra; The first concert hall performance took place at Town Hall in New York on October 8, 1944, with the Daniel Saidenburg Little Symphony; 1945 - Copland (and 9 other composers): "Variations on a Theme by Eugene Goosens," by the Cincinnati Symphony; 1946 - Marc Blitzstein: "Airbourne Symphony," in New York City; 1962 - Irving Fine: "Symphony 1962" by the Boston Symphony, Charles Munch conducting; 1969 - Gene Gutchë: "Genghis Khan," by American Symphony Orchestra, Leopold Stokowski conducting; 1999 - James MacMillan: "Cumnock Fair" for piano and strings, at Cumnock Academy by members of the Scottish Chamber Orchestra; Others 1703 - Antonio Vivaldi becomes a Roman Catholic priest at age 25; 1721 - Handel completes the composition of Act 3 of "Muzio Scevola," as part of a "competition" arranged by the directors of the Royal Academy of Music to settle the rivalry between their three house composers (Filippo Amadei composed Act 1, Giovanni Bononcinni Act 2, and Handel Act 3); Handel was deemed the victor in this "contest" (Gregorian date: April 3); 1729 - J.S. Bach visits Coethen to perform funeral music for his former employer, Prince Leopold; 1743 - London premiere of what is billed as "A New Sacred Oratorio" by Handel(Gregorian date: April 3); This was his "Messiah" which had its first performance in Dublin the previous year; Links and Resources On Michael Daugherty

Synopsis Like Rodney Dangerfield, the viola is often an instrument that “gets no respect“ – so no viola jokes, today, folks. Quite the opposite, in fact. For its 150th Anniversary celebration, the New York Philharmonic commissioned a number of new orchestral works. One of them premiered at New York's Avery Fisher Hall on today's date in 1993:  the Third Symphony of the American composer Ellen Taaffe Zwilich. It's no exaggeration to suggest that Zwilich knows the symphony orchestra from inside out: for seven years she was a violinist in the American Symphony Orchestra, a New York-based ensemble conducted by Leopold Stokowski when Zwilich was a player. For her Third Symphony, Zwilich confessed she had an often-neglected section of the orchestra in mind: “I had noticed over the years the rising quality of viola playing,” she said in an interview, “and I thought that the Philharmonic's section was absolutely amazing. So when I had this commission .... I really wanted to put the spotlight on the viola section and give THEM a great deal to do, not only in terms of virtuosity, but of importance and centrality to the piece. This symphony really grew out of my love for this section of the orchestra.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939) — Symphony No. 3 (Louisville Orchestra; James Sedares, cond.) Koch 7278

Synopsis On today's date in 1919, the eminent French conductor Pierre Monteux, led the Boston Symphony in the premiere performance of “The Pleasure Dome of Kubla Khan,” a new orchestral score written by the American composer Charles Tomlinson Griffes. This music was inspired by the famous Romantic poem of that name by Samuel Taylor Coleridge, but owes its exotic orchestral coloring to Griffes' interest in the music of Asia and the Pacific Rim. Although Griffes himself never traveled there, he knew someone who had: the influential Canadian soprano Eva Gauthier, famous for her avant-garde song recitals that included music by Stravinsky and Schoenberg, and her later association with Gershwin and Ravel. It was the well-traveled Gauthier who introduced Griffes to the musical traditions of Japan and Java. The 1919 Boston premiere of “Kubla Khan” was the highpoint of Griffes' career, and all the critics agreed a major new talent had arrived on the American music scene. Unfortunately, one month later, Griffes took ill and in a few months died from a severe lung infection. He was just 35 years old. How his music would have developed had Griffes lived remains one of the most intriguing “what might have beens” of American music. Music Played in Today's Program Charles Tomlinson Griffes (1884 - 1920) — The Pleasure Dome of Kubla Khan (Boston Symphony; Seiji Ozawa, cond.) New World 273 On This Day Births 1784 - Baptismal date of German composer and pianist Ferdinand Ries, in Bonn; 1829 - Russian composer and pianist Anton Rubinstein, in Vikhvatinets, Podolia (see Julian date: Nov. 16); Deaths 1972 - British composer Havergal Brian, age 96, in Shoreham-by-Sea; He composed 32 symphonies between 1919-1968 (most remained unperformed during his lifetime); Premieres 1723 - Bach: Sacred Cantata No. 61 ("Nun komm der Heiden Heiland" I) performed on the 1st Sunday in Advent as part of Bach's first annual Sacred Cantata cycle in Leipzig (1723/24); 1811 - Beethoven: Piano Concerto No. 5, by the Leipzig Gewandhaus Orchestra, Johann Philip Christian Schultz conducting, and Friedrich Schneider as the soloist; 1895 - Rimsky-Korsakov: opera “Christmas Eve,” in St. Petersburg (Gregorian date: Dec. 10); 1896 - Mussorgsky: opera “Boris Godunov” (Rimsky-Korsakov version), in St. Petersburg (Gregorian date: Dec. 10); 1909 - Rachmaninov: Piano Concerto No. 3, in Carnegie Hall, composer at piano, Walter Damrosch conducting New York Symphony Society Orchestra; 1919 - Charles Tomlinson Griffes: "The Pleasure Dome of Kublai Khan," Pierre Monteux conducting Boston Symphony Orchestra; 1930 - Hanson: Symphony No. 2 ("Romantic"), by the Boston Symphony, Serge Koussevitzky conducting; 1930 - Kodály: "Marosszék Dances," in Dresden; 1940 - Miaskovsky: Symphony No. 20, in Moscow; 1990 - Christopher Rouse: “Concerto per Corde” (Concerto for Strings), at Avery Fisher Hall in New York, by the American Symphony Orchestra, Catherine Comet conducting; Links and Resources On Charles Tomlinson Griffes

Es ist 1965 und in der New Yorker Carnegie Hall sitzt ein junger Mann namens Gilbert Kaplan. Er ist Anfang zwanzig und als Sohn eines Schneiders nicht reich auf die Welt gekommen. Doch Gilbert Kaplan weiß sich klug anzustellen und wird unfassbar reich – gewissermaßen vom Tellerwäscher zum Millionär. Fortan verfolgt er mit seinem Reichtum ein einziges Ziel: Er will Mahlers 2. Sinfonie aufführen, die ihn bei seinem Konzertbesuch 1965 vollkommen in den Bann gezogen hat. Ohne große musikalische Vorbildung nimmt er Dirigierunterricht. 1981 mietet er zu ersten Versuchszwecken das American Symphony Orchestra. Später wird er zu einem weltweit bekannten Dirigenten, der über 50 angesehene Orchester mit der 2. Sinfonie leitete. „O glaube, du warst nicht umsonst geboren …“ ist eine der bewegenden Zeilen in Mahlers Werk. Für Gilbert Kaplan hat sie sich bewahrheitet.

What /Who becomes a bass legend most?How to finish Season One on an ultimate “low” note? It was several of my guests who chimed in- “Ya gotta interview John. He's a New York legend, has great stories, and, well, you've worked with him tons, right?” So here he is- stories of recording with the hippest jazz artists of the late 50s-early 60s, auditioning for Leopold Stokowski for his (now 56th year!) principal bass chair gig with the American Symphony Orchestra, being a Sondheim “rock” on Broadway, and his endless TV and Film credits- including laying down tracks from Sinatra to John Lennon's “Imagine”. John's wry sense of humor has been relied upon to diffuse the tensest of rehearsals and recording sessions- merely a cool fringe benefit to his unbelievably solid and beautiful musicianship. I've had the honor of working with him for 15 years at City Center's “Encores!”, and always look forward to gaining some priceless wisdom during our ritual ramen noodle outings. AND, in lieu of creating the duets, we've opted instead to showcase some of those early swinging sessions that John walked all over- awesome sides with Gerry Mulligan, James Moody, Al Cohn, and more. It was an honor to wrap up my first season doing this special “off-the-menu” interview with one of the true greats of the bass violin.

The No.1 record on the greatest grunge album list, Nirvana Nevermind, turns 30. And as a very special bonus ep Bakko talks with music industry titan and Nirvana manager Danny Goldberg. Danny shares some stories of his background in the music industry, working with Led Zeppelin, how he ended up managing Nirvana. Thoughts on who Kurt was vs. the public perception. Courtney Love driving a divide with people working for the band. Expectations for Nevermind upon release. That record opening doors for all things Seattle. Becoming a confidant of Kurt's. Band tensions prior to his death and so much more.Official Nirvana Website: Complete Discography, Videos and moreCobras & Fire is part of the Pantheon Podcast Network, THE spot for the musically obsessed.pantheonpodcasts.comDanny Goldberg, President of Gold Village Entertainment, has worked in the music business as a personal manager, record company President, public relations man and journalist since the late 1960s. Gold Village Entertainment was formed in July 2007 and marks the return to artist management for Goldberg. A complete roster of artists can be found here. His latest book is “Serving The Servant: Remembering Kurt Cobain” (Ecco, April 2019). Goldberg's previous books include, “How The Left Lost Teen Spirit”, “Bumping Into Geniuses: My Life Inside The Rock and Roll Business” and “In Search of The Lost Chord: 1967 and the Hippie Idea”.From 1983-1992, Goldberg was the founder and President of Gold Mountain Entertainment, an artist management firm whose clients included Nirvana, Hole, Sonic Youth, Bonnie Raitt, The Allman Brothers, Rickie Lee Jones and more. Directly prior to the creation of Gold Village Entertainment, Goldberg had been the CEO of Air America Radio from 2005 until mid-2006. Goldberg formed the independent label Artemis Records in 1999 and ran the company until January of 2005.Prior to forming Artemis and prior to the acquisition of Polygram by Universal in 1998, Goldberg was Chairman and CEO of the Mercury Records Group, which was the number one U.S. label group in terms of market share in 1998. The Mercury Records Group included music from virtually all major genres; pop, R&B, hip-hop, country, jazz and rock and roll via its labels Def Jam, Mercury, Mercury Nashville, Motown, Verve, and Deutsche Gramophone, all of which reported to and were supervised by Goldberg. Before joining Mercury, Goldberg was Chairman and CEO of Warner Bros. Records in 1995, during which time Warner Bros. was the number one U.S. record label. In 1993-94, he was President of Atlantic Records, also a division of the Warner Music Group, which likewise attained the number one ranking among U.S. companies during Goldberg's tenure.Earlier in his career, Goldberg formed and co-owned Modern Records, which released Stevie Nicks' solo albums including her number one album “Bella Donna.” Prior to that, Goldberg was Vice-President of Led Zeppelin's Swan Song Records and worked with the band from 1973 through 1975. In 1980, Goldberg co-produced and co-directed the rock documentary feature, “No Nukes,” starring Bruce Springsteen, Bonnie Raitt, and Jackson Browne, among others. In 2004 he was the Executive Producer of the documentary about Steve Earle, “Just An American Boy.” He was Executive Producer of the multi-platinum soundtrack of music from the television series “Miami Vice” and was Music Supervisor on numerous feature films including “Dirty Dancing.”Goldberg began his career as a music journalist having written for, among others, Rolling Stone, The Village Voice, and Billboard Magazine (for whom he reviewed the Woodstock Festival in 1969).” Danny was also a consultant on the HBO series “Vinyl”. He was Chair of the American Symphony Orchestra from 2008-2013 and is on the Board of Directors of The Nation Institute, The ACLU Foundation of Southern California, Americans for Peace Now, Brave New Films, and Public Citizen.Danny Goldberg (goldve.com)

The No.1 record on the greatest grunge album list, Nirvana Nevermind, turns 30. And as a very special bonus ep Bakko talks with music industry titan and Nirvana manager Danny Goldberg. Danny shares some stories of his background in the music industry, working with Led Zeppelin, how he ended up managing Nirvana. Thoughts on who Kurt was vs. the public perception. Courtney Love driving a divide with people working for the band. Expectations for Nevermind upon release. That record opening doors for all things Seattle. Becoming a confidant of Kurt's. Band tensions prior to his death and so much more. Official Nirvana Website: Complete Discography, Videos and more Cobras & Fire is part of the Pantheon Podcast Network, THE spot for the musically obsessed. pantheonpodcasts.com Danny Goldberg, President of Gold Village Entertainment, has worked in the music business as a personal manager, record company President, public relations man and journalist since the late 1960s. Gold Village Entertainment was formed in July 2007 and marks the return to artist management for Goldberg. A complete roster of artists can be found here. His latest book is “Serving The Servant: Remembering Kurt Cobain” (Ecco, April 2019). Goldberg's previous books include, “How The Left Lost Teen Spirit”, “Bumping Into Geniuses: My Life Inside The Rock and Roll Business” and “In Search of The Lost Chord: 1967 and the Hippie Idea”. From 1983-1992, Goldberg was the founder and President of Gold Mountain Entertainment, an artist management firm whose clients included Nirvana, Hole, Sonic Youth, Bonnie Raitt, The Allman Brothers, Rickie Lee Jones and more. Directly prior to the creation of Gold Village Entertainment, Goldberg had been the CEO of Air America Radio from 2005 until mid-2006. Goldberg formed the independent label Artemis Records in 1999 and ran the company until January of 2005. Prior to forming Artemis and prior to the acquisition of Polygram by Universal in 1998, Goldberg was Chairman and CEO of the Mercury Records Group, which was the number one U.S. label group in terms of market share in 1998. The Mercury Records Group included music from virtually all major genres; pop, R&B, hip-hop, country, jazz and rock and roll via its labels Def Jam, Mercury, Mercury Nashville, Motown, Verve, and Deutsche Gramophone, all of which reported to and were supervised by Goldberg. Before joining Mercury, Goldberg was Chairman and CEO of Warner Bros. Records in 1995, during which time Warner Bros. was the number one U.S. record label. In 1993-94, he was President of Atlantic Records, also a division of the Warner Music Group, which likewise attained the number one ranking among U.S. companies during Goldberg's tenure. Earlier in his career, Goldberg formed and co-owned Modern Records, which released Stevie Nicks' solo albums including her number one album “Bella Donna.” Prior to that, Goldberg was Vice-President of Led Zeppelin's Swan Song Records and worked with the band from 1973 through 1975. In 1980, Goldberg co-produced and co-directed the rock documentary feature, “No Nukes,” starring Bruce Springsteen, Bonnie Raitt, and Jackson Browne, among others. In 2004 he was the Executive Producer of the documentary about Steve Earle, “Just An American Boy.” He was Executive Producer of the multi-platinum soundtrack of music from the television series “Miami Vice” and was Music Supervisor on numerous feature films including “Dirty Dancing.” Goldberg began his career as a music journalist having written for, among others, Rolling Stone, The Village Voice, and Billboard Magazine (for whom he reviewed the Woodstock Festival in 1969).” Danny was also a consultant on the HBO series “Vinyl”. He was Chair of the American Symphony Orchestra from 2008-2013 and is on the Board of Directors of The Nation Institute, The ACLU Foundation of Southern California, Americans for Peace Now, Brave New Films, and Public Citizen. Danny Goldberg (goldve.com) Learn more about your ad choices. Visit megaphone.fm/adchoices

The No.1 record on the greatest grunge album list, Nirvana Nevermind, turns 30. And as a very special bonus ep Bakko talks with music industry titan and Nirvana manager Danny Goldberg. Danny shares some stories of his background in the music industry, working with Led Zeppelin, how he ended up managing Nirvana. Thoughts on who Kurt was vs. the public perception. Courtney Love driving a divide with people working for the band. Expectations for Nevermind upon release. That record opening doors for all things Seattle. Becoming a confidant of Kurt's. Band tensions prior to his death and so much more.Official Nirvana Website: Complete Discography, Videos and moreCobras & Fire is part of the Pantheon Podcast Network, THE spot for the musically obsessed.pantheonpodcasts.comDanny Goldberg, President of Gold Village Entertainment, has worked in the music business as a personal manager, record company President, public relations man and journalist since the late 1960s. Gold Village Entertainment was formed in July 2007 and marks the return to artist management for Goldberg. A complete roster of artists can be found here. His latest book is “Serving The Servant: Remembering Kurt Cobain” (Ecco, April 2019). Goldberg's previous books include, “How The Left Lost Teen Spirit”, “Bumping Into Geniuses: My Life Inside The Rock and Roll Business” and “In Search of The Lost Chord: 1967 and the Hippie Idea”.From 1983-1992, Goldberg was the founder and President of Gold Mountain Entertainment, an artist management firm whose clients included Nirvana, Hole, Sonic Youth, Bonnie Raitt, The Allman Brothers, Rickie Lee Jones and more. Directly prior to the creation of Gold Village Entertainment, Goldberg had been the CEO of Air America Radio from 2005 until mid-2006. Goldberg formed the independent label Artemis Records in 1999 and ran the company until January of 2005.Prior to forming Artemis and prior to the acquisition of Polygram by Universal in 1998, Goldberg was Chairman and CEO of the Mercury Records Group, which was the number one U.S. label group in terms of market share in 1998. The Mercury Records Group included music from virtually all major genres; pop, R&B, hip-hop, country, jazz and rock and roll via its labels Def Jam, Mercury, Mercury Nashville, Motown, Verve, and Deutsche Gramophone, all of which reported to and were supervised by Goldberg. Before joining Mercury, Goldberg was Chairman and CEO of Warner Bros. Records in 1995, during which time Warner Bros. was the number one U.S. record label. In 1993-94, he was President of Atlantic Records, also a division of the Warner Music Group, which likewise attained the number one ranking among U.S. companies during Goldberg's tenure.Earlier in his career, Goldberg formed and co-owned Modern Records, which released Stevie Nicks' solo albums including her number one album “Bella Donna.” Prior to that, Goldberg was Vice-President of Led Zeppelin's Swan Song Records and worked with the band from 1973 through 1975. In 1980, Goldberg co-produced and co-directed the rock documentary feature, “No Nukes,” starring Bruce Springsteen, Bonnie Raitt, and Jackson Browne, among others. In 2004 he was the Executive Producer of the documentary about Steve Earle, “Just An American Boy.” He was Executive Producer of the multi-platinum soundtrack of music from the television series “Miami Vice” and was Music Supervisor on numerous feature films including “Dirty Dancing.”Goldberg began his career as a music journalist having written for, among others, Rolling Stone, The Village Voice, and Billboard Magazine (for whom he reviewed the Woodstock Festival in 1969).” Danny was also a consultant on the HBO series “Vinyl”. He was Chair of the American Symphony Orchestra from 2008-2013 and is on the Board of Directors of The Nation Institute, The ACLU Foundation of Southern California, Americans for Peace Now, Brave New Films, and Public Citizen.Danny Goldberg (goldve.com)

The Bard Music Festival has been committed, since its inception, to reviving important but neglected operas. This year's immersion in “Nadia Boulanger and Her World” presents the first fully staged American production of "King Arthur," the only opera by Boulanger's compatriot and close contemporary Ernest Chausson. The production is directed by Louisa Proske and will run for four performances (two of which will also stream online), anchored by the American Symphony Orchestra and Bard Festival Chorale under the leadership of festival founder and co-artistic director Leon Botstein. Baritone Norman Garrett sings the title role opposite Grammy-winning mezzo-soprano Sasha Cooke as Guinevere. Sasha Cooke has been called a “luminous standout” ( New York Times ) and “equal parts poise, radiance and elegant directness” ( Opera News ). She is sought after by the world's leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire.

Synopsis Few of us today really know–or care–very much about the War of Austrian Succession, a conflict that troubled Europe in the 18th century. For music lovers, it’s enough to know that to celebrate the end of that war, George Frideric Handel was commissioned to compose music for a fireworks concert in London’s Green Park, an event that took place on today’s date in the year 1749. Back then there were no such things as microphones and loudspeakers, so Handel’s score called for a huge military band of 24 oboes, 9 horns, 9 trumpets, 3 sets of timpani, 12 bassoons, 2 contrabassoons—and strings. When King George II was told about it, he balked a little at the expense: “Well, at least I hope there won’t be any fiddles,” he commented, and so Handel was informed the strings were definitely off. A public rehearsal was held at the Vauxhall Gardens and a London newspaper reported that 100 musicians performed for an audience of more than 12,000, causing a 3-hour traffic jam of carriages and pedestrians on London Bridge. The official event with fireworks went off with a bang–as well as a few fires breaking out. Music Played in Today's Program George Frederic Handel (1685 - 1759) — Music for the Royal Fireworks (Academy of St Martin in the Fields; Neville Marriner, cond.) Argo 414596 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass.

Synopsis On today’s date in 1965, the first complete performance of the Fourth Symphony of American composer Charles Ives took place in New York. 38 years earlier, in 1927, also in New York, the British conductor Eugene Goossens had performed the first two movements of Ives’ Fourth Symphony, after many a sleepless night trying to figure out how to perform certain sections of Ives’ score where the bar-lines didn’t jibe—parts where more than one rhythm pattern happened simultaneously. “I remember,” Goosens said, “that I wound up beating two with my stick, three with my left hand, something else with my head, and something else again with my coat tails.” For the 1965 premiere and first recording of Ives’ complete symphony, Leopold Stokowski solved this problem by enlisting the aid of two assistant conductors, David Katz and Jose Serebrier—all three men working simultaneously at times to cue the musicians in the trickiest passages of the score. One of conductors who assisted Stokowski in 1965, Jose Serebrier, went on to recorded Ives’ Fourth again—this time without the aid of assistant conductors, coat tails, or the surgical addition of another set of arms. Music Played in Today's Program Charles Ives (1874-1954) Symphony No. 4 Los Angeles Philharmonic; Gustavo Dudamel, cond. DG 4839505 Jose Serebrier (b. 1938) Partita (Symphony No. 2) London Philharmonic; José Serebrier, cond. Reference 90 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass. Links and Resources On Ives On Serebrier

Synopsis On today’s date in 1965, the first complete performance of the Fourth Symphony of American composer Charles Ives took place in New York. 38 years earlier, in 1927, also in New York, the British conductor Eugene Goossens had performed the first two movements of Ives’ Fourth Symphony, after many a sleepless night trying to figure out how to perform certain sections of Ives’ score where the bar-lines didn’t jibe—parts where more than one rhythm pattern happened simultaneously. “I remember,” Goosens said, “that I wound up beating two with my stick, three with my left hand, something else with my head, and something else again with my coat tails.” For the 1965 premiere and first recording of Ives’ complete symphony, Leopold Stokowski solved this problem by enlisting the aid of two assistant conductors, David Katz and Jose Serebrier—all three men working simultaneously at times to cue the musicians in the trickiest passages of the score. One of conductors who assisted Stokowski in 1965, Jose Serebrier, went on to recorded Ives’ Fourth again—this time without the aid of assistant conductors, coat tails, or the surgical addition of another set of arms. Music Played in Today's Program Charles Ives (1874-1954) Symphony No. 4 Los Angeles Philharmonic; Gustavo Dudamel, cond. DG 4839505 Jose Serebrier (b. 1938) Partita (Symphony No. 2) London Philharmonic; José Serebrier, cond. Reference 90 On This Day Deaths 1951 - American composer John Alden Carpenter, age 75, in Chicago; 1991 - French-born American composer and arranger Leo (Noël) Arnaud, age 86, in Los Angeles; His tune "Bugler's Dream" (written for a Felix Slatkin LP) became used as a familiar theme for the Olympic Games; Premieres 1738 - Handel: opera "Serse," (Julian date: April 15); 1899 - first version of Sibelius: Symphony No. 1, by the Helsinki Philharmonic, with the composer conducting; A revised, final version of this symphony was performed by the same orchestra on tour in Stockholm on July 4, 1900, conducted by Robert Kajanus; 1915 - Hindemith: String Quartet No. 1 in C, Op. 2, at Dr. Hoch's Conservatory in Frankfurt; 1959 - John Cage: "Fontana Mix," in New York City; 1965 - Ives: Symphony No. 4, at Carnegie Hall by the American Symphony Orchestra, with Leopold Stokowski (assisted by David Katz and José Serebrier); 1970 - Broadway premiere of Sondheim: musical 'Company"; A trial-run in Boston preceded the Broadway premiere; 1990 - John Harbison: Concerto for Double Brass Choir and Orchestra, in Los Angeles, with the Los Angeles Philharmonic, André Previn conducting; 2002 - Michael Hersch: Symphony No. 2, by the Pittsburgh Symphony, Mariss Jansons conducting; Others 1891 - Tchaikovsky arrives in New York to take part in the May 5, 1891, opening concert at New York's newly-constructed "Music Hall"(later known as "Carnegie Hall”). 1926 - American premiere of Monteverdi's 1642 opera "L'Incoronazione di Poppea" (The Coronation of Poppea), at Smith College in Northampton, Mass. Links and Resources On Ives On Serebrier

It's our first full Broadway episode, and the guest is trombonist Andrea Neumann.  For much of two decades, she has been a very active musician in the NYC area, playing for the Brooklyn Orchestra, Empire Band, Westchester Symphonic Orchestra, the American Symphony Orchestra, and so much more.  She has also played the trombone book in the Broadway productions of Aladdin, The King and I, Amelie, and Fiddler on the Roof (both the traditional version and a special production in Yiddish).  Andrea talks about success and failure on the road to becoming a regular in the pit! Follow the podcast on Instagram, Facebook, or Twitter @LifeInThePitPod.  Visit www.davidlanemusic.com/podcast for more info or to send feedback regarding the podcast.  You can also donate through the website.  This podcast is currently ad-free, so all donations are gratefully appreciated.  Please leave a rating and a review.  Thank you for listening.

Hailed by the New York Times as a "striking mezzo soprano" and by the San Francisco Chronicle for her "electrifying sense of fearlessness," Raehann Bryce-Davis opens the 2019/20 season singing Verdi’s Requiem with conductor Kent Nagano and the Orchestre symphonique de Montréal at the Olympic Stadium. She then returns to Opera Vlaanderen for her role debut as Eboli in Verdi’s Don Carlos and makes her LA Opera debut in the World Premiere of Aucoin and Ruhl’s Eurydice, a coproduction with The Metropolitan Opera, and sings Sara in Roberto Devereux opposite Angela Meade and Ramon Vargas. Further performances of the season include: Unknown, I Live With You at the Kurt Weill Festival Dessau, A Nation of Others at Carnegie Hall with the Oratorio Society New York, Nathaniel Dett’s The Ordering of Moses with the Harlem Chamber Players, Mendelssohn's Elijah with St. George’s Choral Society, and a recital series for the Art Song Preservation Society in New York with pianist Mark Markham. Last season she made her role debuts as Leonor in Donizetti’s La Favorite at the Teatro Massimo di Palermo, Marguerite in Berlioz’s La Damnation de Faust conducted by Maestro John Nelson with the Orquesta Sinfónica Nacional de Costa Rica, Ms. Alexander in Satyagraha at Opera Vlaanderen, Kristina in The Makropulos Affair at the Janáček Brno Festival, Verdi's Requiem with the Oratorio Society of New York at Carnegie Hall, Martinů’s Julietta with the American Symphony Orchestra at Carnegie Hall, and Mahler’s Symphony No. 8 with the South Dakota Symphony Orchestra. Find out more about Raehann Bryce-Davis at http://www.raehann.com/ Do you like these masterclass episodes? You'll probably like the 29 Days to Diva series on The Sybaritic Singer too. Check it out here: https://sybariticsinger.com/category/29-days-to-diva/ A big thank you to Juanitos for the music featured in this episode. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Raehann Bryce-Davis.

Luna enters Virgo and Mercury turns Retrograde - this is a good time for a cyber purge... transcripts, as always, are available at: http://kristo.com/ (kristo.com) and please take a listen to my other podcasts at:  https://kristo.art/ (kristo.art) and The Hansel and Gretel Code @ https://betweenthelines.xyz/hgcode-podcast (betweenthelines.xyz) Music and Sound credits: Wagner - https://archive.org/details/78_ride-of-the-valkyries_american-symphony-orchestra-wagner_gbia0078143b/Ride+of+the+Valkyries+-+American+Symphony+Orchestra.flac (die Walküre) - performed by the American Symphony Orchestra and courtesy of the https://archive.org/details/kahleaustinfoundation (Kahle/Austin Foundation) and http://archive.org (archive.org) https://freesound.org/people/Nighteller/sounds/196263/ ("ciao ciao") courtesy of https://freesound.org/people/Nighteller/ (Nighteller) and https://freesound.org/ (freesound.org) - http://creativecommons.org/publicdomain/zero/1.0/ (This work is licensed under the Creative Commons 0 License)

Welcome to Caroline Miller and Elizabeth van Os of the Pleiades Project that is based in New York. Their project focuses on telling the various different facets of women's stories which are often neglected in the general operatic canon. Caroline Miller is a “warm soprano [with] emotional bite,” praised as a compelling singer-actor with vocal flexibility and dramatic intensity, who is “especially adept at comedy.” In the 2019-2020 season, Caroline was a Resident Artist with Toledo Opera, appearing as Gretel in Hansel and Gretel vs the Witch, the Plaintiff in Gilbert and Sullivan's Trial by Jury (canceled due to COVID-19) and Lady-In-Waiting and First Witch in Monk Tarrots' new production of Verdi's Macbeth. In the 2022-2023 season, Caroline returns to Toledo Opera as Valencienne in Franz Lehár's The Merry Widow.Caroline is Co-Founder & Artistic Director of The Pleiades Project, a non-profit organization dedicated to championing women's stories through opera, film and original music-theater projects. With The Pleiades Project, Caroline has expanded her artistic talents outside of performance, embracing her interdisciplinary skills as a director, writer, programmer and producer.Caroline has a BA in English Literature and Music from Washington University in St. Louis and an MM in Vocal Performance & Literature from Eastman School of Music.  Caroline's website: www.carolinemillersoprano.comInsta: @millercarliFacebook: @carli.millerMost recent solo project/premiere: https://invision.inseries.org/full-feature/aberSoprano Elizabeth Van Os is one of New York City's most dynamic performers, making waves not only as soloist and ensemble member but also as a co-founder of the non-profit Pleiades Project. For her efforts, the opera-zine parterre took notice of her “striking impression,” with additional praise from Voce di Meche for her “lovely, affecting” voice and “justifiable passion.”A lover of concert work, Elizabeth has appeared as soloist with the American Symphony Orchestra, the Berkshire Bach Society, The Astoria Choir, the Collegiate Choir, Ars Musica, and more. In opera, notable roles have included that of Marguerite in Faust and Mimi in La Bohéme, both as Sing Through Central productions. She is a regular invited guest at the Bard SummerScape festival, where she has performed in productions like Anton Rubenstein's Démon, Dvorâk's Dimitrij, Pietro Mascagni's Iris, and Dame Ethel Smyth's Wreckers.With an eye towards growing the repertoire, Van Os's career has a particular focus on collaboration with select contemporary music composers, including recent premieres of work by Matthew Brown with The Astoria Choir, and Katherine Hoover, where she was a featured soloist with the New York Virtuoso Singers. Offstage, Van Os creates new performance opportunities for female artists as the co-founder of The Pleiades Project, a non-profit production company.Elizabeth Van Os was born as Elizabeth Smith in Wendell, Idaho. She holds a Master of Music degree from the Eastman School of Music, and a Bachelor of Music degree from Brigham Young University in Idaho. Elizabeth's website: elizabethvanos.comPhotography Website: https://eavphotography.cominsta: @misselizabetkatwitter: @misselizabetkahttps://www.facebook.com/elizabethvanossopranoThe Pleiades ProjectWebsite: www.thepleiadesproject.comMost recent premiere/short film: https://invision.inseries.org/series/the-pleiades-project-german-romantics

How far are you willing to go to get you want? Dame Ethel Smyth was determined to get her opera The Wreckers produced the way that she wanted. Although the opera was written in French, she had no luck with being able to premiere the opera on French stages, relying on her contacts in Leipzig to get the opera produce in a German translation, but future productions of the opera would only get more and more difficult to produce. Become a member of The Composer Chronicles on Patreon to get ad-free versions of all the episodes, early access to those ad-free versions, access to the member-only podcast Unscripted, and other things podcast related! https://www.patreon.com/thecomposerchronicles Join me and an incredible, growing community living healthier lifestyles in a body positive space with Roy Belzer Fitness: https://roybelzerfitness.com/signup and use offer code chronpodcast at checkout! Alexandrian Media Teespring: https://teespring.com/stores/alexandrianmedia Theme music is by Daryl Banner: https://darylbanner.bandcamp.com/ Music used in this episode: Occurrence by Martin Gauffin Absent Clouds by Stefan Belrose Clouds Brush the Prairie by Trevor Kowalski Divinity by Christoffer Moe Ditlevsen Peut-être by Franz Gordon Liberate by Peter Sandberg Sources use for this episode: Streaks of Life by Ethel Smyth "Dame Ethel Smyth" by Sophie Fuller, American Symphony Orchestra - https://americansymphony.org/concert-notes/the-wreckers-1904/ The New Penguin Opera Guide by Amanda Holden --- Send in a voice message: https://anchor.fm/thecomposerchronicles/message

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

An “Out Of The Past” jazz Homecoming, 50 years in the making... Lou discusses his “film noir reunion” with his 1963 Bridgeport, Connecticut high school jazz trio, and also his journey from the Buffalo Philharmonic, to Vienna, Manhattan School of Music, the American Symphony Orchestra, Broadway, and his tenure with the legendary Elaine Stritch. 

Democracy and Education Democracy and education are inextricably linked. A democracy can only work when voters have an open mind, the ability to think critically, and are tolerant of others and their beliefs. A good education should be designed to cultivate these instincts, and the result should be we well-rounded citizens who respect each other, engage in healthy public discourse, and are able to think critically to uncover lies and bad ideas. Education should prepare all citizens to properly participate in civic life. The 4 Pillars of Good Education First, students should gain a firm grasp on language, and be able to read and write critically, uncover lies and discuss opinions respectfully. Second, students need strong mathematic, scientific, and computational literacy. Third, we need to understand and be able to think critically about the past, because the way we understand history has an impact on what we do in the future. Finally, we need to encourage creative thinking, and learn to understand the beauty and importance of things like poetry, art, and design. The Bankruptcy of US Education Our education system does not prepare us for the nation and the economy we live in. First, a high school degree does not prepare students for a life of work. With the current level of specialization and technology, we must make higher education free in order to give graduates a way to succeed. Our education system is also failing us civically. Most adults can’t name the three branches of government, a huge percentage of the electorate can be easily manipulated by obvious falsehoods, and many lack critical thinking skills as evidenced by COVID denial. Find out more: Leon Botstein’s entire life and his work in all its aspects is devoted to one mission: the improvement of peoples’ lives through education and exposure to the arts. A child of a generation that experienced extreme prejudice and barbarity, his firm belief that a better and more equitable world can be created by cultivating the life of the mind remains the principle that informs and connects all of his performances, writing, public service, and teaching. He was born in Zurich and immigrated to the US as a child. He studied history and philosophy at the University of Chicago and earned a PhD in history from Harvard University. In 1975 Botstein became the president of Bard College, a position he still holds. Under his leadership, Bard has developed into a distinctive liberal arts institution offering a vast range of undergraduate and graduate programs. In 1990 Botstein established the internationally admired Bard Music Festival, the success of which helped in the development of the beautiful Richard B. Fisher Center for the Performing Arts, a multi-functional facility designed by Frank Gehry on the Bard College campus. Opening in 2003, the Fisher Center inspired a programmatic expansion, Bard SummerScape, that includes opera, dance, theater, and cabaret over six weeks every summer. In 1992 he was named music director of the American Symphony Orchestra, a position he still holds. During his directorship, he transformed ASO into a pioneer, presenting great works that have long been ignored by history, alongside the acknowledged masterpieces, in concerts curated thematically, using history and ideas to catch the imagination of a wider and non-traditional audience. On January 23, 2020, Botstein was named chancellor of the Open Society University Network, of which Bard College and Central European University are founding members. We've started a referral program! Refer us to your friends to get a free button or Moleskine notebook. Please use this link to get your personal referral code: https://refer.glow.fm/future-hindsight, which you can then forward to your friends.

As the COVID-19 Pandemic swept across New York City and the Hudson Valley region in March of 2020, teachers and school administrators scrambled to reengineer education for deliver in a virtual format. The pandemic exposed how critical it is to educate young adults with new skills. This is an opportunity to rethink what our education systems look like and how they function. Let's take a look at Higher Education and K-12. We'll learn more about the Bard public High Schools - a unique and innovative approach to high school education.This week's episode features Leon Botstein, President of Bard College in Dutchess County New York since 1975. A true innovator, a renaissance man, and conductor of the American Symphony Orchestra. 

Our guest this week, Lucy Morganstern, is a Pet Doula. End-of Life Doulas specializing in animal companion care complement the work provided by palliative and hospice care for pets provided by veterinarians. Doulas support animals and their owners with compassionate care in several ways, including emotional and informational support.Listen to our interview with Lucy to learn about what a pet doula does and how she works with the pet's human to plan the memorial service. She also typically plays her violin at the service (she is a professional violinist for the American Ballet Theatre and the American Symphony Orchestra in New York City).For additional information on this interview for Pet Doula's:https://bit.ly/303X0bLI hope you doing well and safe Jeanne White, Station Manager, Passionate World Talk Radio

In this episode, we talk with MICHAEL DORF, the Founder & CEO of City Winery, currently an 8-location, fully-functional winery, restaurant, music venue and private event space, showcasing some of music's most iconic performers.THOUGHT #1Think in Excel, Sell the Concept in Word.THOUGHT #2Half the World is Composed of People Who Have Something to Say and Can't...and the Other Half Who Have Nothing to Say and Keep Saying It. - Robert FrostCONNECT:Website: CityWinery.comWebsite:  MichaelDorf.comBook: Indulge Your Senses: Scaling Intimacy in a Digital WorldEmail: Michael@CityWinery.comFacebook: Michael.DorfInstagram: MichaelCityWineryLinkedIn: Michael DorfTwitter:  @MichaelDorfBRAND & RESOURCE MENTIONS:"I'm a Sucker for You" (The Jonas Brothers) - YouTubeCOVID-19 - CDC.govBueller (Ferris Bueller's Day Off) - IMDB.comThe Knitting Factory - KnittingFactory.comApple - Apple.comMCI - MCI.comINTEL - Intel.comBell Atlantic - Verizon.comThe New Yorker - NewYorker.comMicrosoft Excel - WikipediaMicrosoft Word - WikipediaMicrosoft Powerpoint - WikipediaLotus Notes - WikipediaAlan Schaefer - BandingPeopleTogether.comClay Pigeon - WikipediaIsaac Tigrett -Isaac.Tigrett.comPier 57 at Hudson River Park - HudsonRiverPark.orgVenture Capitalist (VC) - InvestopediaPrivate Equity (PE) - InvestopediaProfit & Loss Statement (P&L) - InvestopediaReturn on Investment (ROI) - InvestopediaFake News- WikipediaRobert Frost - PoetryFoundation.orgVince Lombardi - VinceLombardi.comGary Vaynerchuck - GaryVaynerchuck.comHard Rock International – HardRock.comThoughts That Rock – ThoughtsThatRock.comCertified Rock Star - CertifiedRockStar.comCulture That Rocks: How to Revolutionize Your Company’s Culture (Jim Knight) – CultureThatRocks.comBlack Sheep: Unleash the Extraordinary, Awe-Inspiring, Undiscovered You (Brant Menswar) - FindYourBlackSheep.comRock ‘n Roll With It: Overcoming the Challenge of Change (Brant Menswar) – RocknRollWithIt.comCannonball Kids’ cancer – CannonballKidscancer.orgKeppler Speakers - KepplerSpeakers.comBig Kettle Drum - BigKettleDrum.comSpectacle Photography (Show/Website Photos) – SpectaclePhoto.comJeffrey Todd “JT” Keel (Show Music) - JT KeelMICHAEL DORF'S BIOMichael Dorf was born and raised in Milwaukee, WI. After studying Psychology and Business at Washington University, he founded New York City’s go-to venue for independent music, the Knitting Factory, in 1986.As Knitting Factory Chairman and CEO, Dorf helped bring the concert house to global prominence by expanding into Europe and Asia via tours, branded festivals, and record production and sales. Dorf was recognized as a pioneer in producing music on the Internet, through a variety of strategic relationships with Apple Computer, Intel, MCI, and Bell Atlantic. During his Knitting Factory tenure, he produced over 200 recordings, a television series, and built a new venue in Los Angeles. In 2002, he left his operating responsibilities and sold his equity position to pursue other endeavors, including a Carnegie Hall concert fundraiser series, founding a Hebrew school, and winemaking.By 2008, Dorf had conceptualized a venue that brought his love for both the making and enjoyment of wine under one roof and created City Winery–Manhattan’s first fully-functional winery, restaurant, music venue and private event space. City Winery offers a wide selection of wines, exquisite cuisine and intimate performances from iconic performers.Dorf expanded his company in 2012 with the opening of City Winery Chicago. Subsequent years have brought new venues  to Nashville, Atlanta, Boston, Washington DC, Philadelphia and Hudson Valley (2020). Dorf has become one of the most prolific independent promoters in New York, an important music impresario, and according the The New Yorker, he has “perfected the art of the tribute concert.”  Over 13 years, the fundraiser series has honored legends like Aretha Franklin, Leonard Cohen, and Prince while raising over $1.5 million for such music education programs as the American Symphony Orchestra's Music Notes, Church Street School for Music and Art, Young Audiences New York, Fixing Instruments for Kids in Schools, Little Kids Rock and the Center for Arts Education. Dorf also has very strong ties to the Jewish Community. He created Tribeca Hebrew, an after-school program in Lower Manhattan and developed the school to 150 children before it merged with JCP in 2009. He serves on the board of The Jewish Week, American Symphony Orchestra, Newport Folk and Jazz Festivals and is currently Chairman of LabShul/Storahtelling. 

As we mourn the loss of live theater and concerts worldwide, we meet Bob Zubrycki, a Broadway musician who grapples with life during a Covid pandemic. A veteran of dozens of Broadway shows, Bob performed in the orchestra for "Carousel," “She Loves Me” and previously performed in “A Gentleman's Guide To Love and Murder”, winner of the 2014 Tony Award for Best New Musical and he can be heard on the recent cast recordings of “She Loves Me”, “An American in Paris” and “Paint Your Wagon” (violin and mandolin). He has won an Emmy Award for his musical contribution to the documentary, “The Curse of the Bambino”.Bob is currently Concertmaster for the New York City Chamber Orchestra, a member of the American Symphony Orchestra, the Stamford Symphony, principal violin and frequent soloist with the Amici New York Orchestra, and has performed in the orchestra for the American Ballet Theater at Lincoln Center. He has recently performed as Concertmaster for the New York Choral Society at Carnegie Hall, Encores! at City Center, the Northeastern Pennsylvania Philharmonic and for Pope Francis at St. Patrick’s Cathedral.

Steven Colbert has called him a smartypants and an egghead. Bard College President Leon Botstein says he’s one of those people who’s easy to make fun of and he’s okay with that. In addition to being the head of an institution of higher learning for the past 45 years, Botstein is the Conductor of the American Symphony Orchestra. And while other educators are worried about what’s going to happen to colleges now, Botstein says the creativity of students will save the day.  “Now What?” is produced with the help of Gabe Zimmer, Steve Zimmer and Stephanie Marie Horton. Audio production is by Nick Ciavatta.

As the 1980's begin, we're in Year 11 of the 1970's.  Richie and Ralph leave Happy Days, John Lennon heads back to the recording studio, and the Iranians hold 52 Americans hostage.   Music: Apple by the Preacher by Shane Ivers https://www.silvermansound.com Music: Soviet March by Shane Ivers https://www.silvermansound.com Music: Ride of the Valkyries performed in 1921 by the American Symphony Orchestra via gutenberg.org Research credits to RogerEbert.com, the Reagan Library and the Jimmy Carter Presidential Library

TBJ122: Shelagh Abate on playing horn on Broadway, meeting Sting and the importance of networking. She gives us a great overview of life in a Broadway pit and what it takes to get (and stay) there. From her bio: SHELAGH ABATE is unquestionably one of New York’s most sought-after musicians. Shelagh’s love for the horn is almost as old as her love for music itself. Known for her simultaneously warm and assertive sound, her versatility and musical intuition has earned her a place in the lexicon of NYC’s busiest performers. Shelagh has opened more than one dozen Broadway productions. Among them are Mary Poppins, A Gentleman’s Guide to Love and Murder, South Pacific, Honeymoon in Vegas, Evita, Fiddler on the Roof, Anastasia, and most currently Disney’s Frozen. Since arriving in New York in 2006, she has performed regularly with The Metropolitan Opera Orchestra, The Mostly Mozart Festival, The American Ballet Theater, The American Symphony Orchestra, The Opera Orchestra of New York, is third horn with the Greenwich Symphony Orchestra and has been principal horn of the Vermont Symphony Orchestra under the artistic direction of Jaime Laredo since 1999. During the course of her career, she has been conducted by some of the great musicians of our time; Seiji Ozawa, Simon Rattle, Andre Previn, James Conlon, Gunther Schuller, James DePriest, Robert Spano, Carl St. Clair, John Williams, Marin Alsop, Jaime Laredo, Keith Lockhart, and Placido Domingo, to name a few. Shelagh has established fluency in the commercial realm as well as the classical, having performed as part of the Lincoln Center Jazz Orchestra with Wynton Marsalis, Michel Legrand, the ensembles of Earl McDonald, Gary Morgan, Jamie Baum, John Allmark, John Vanore and Greg Hopkins. Shelagh has recorded, performed live in concert, as well as on televised events with Sting, The Who, Tony Bennett, Rufus Wainwright, Lady Gaga, Barry Manilow, Joni Mitchell, Trey Anastasio, Club d’Elf, Josh Groban, Brian Wilson, Linda Ronstadt, and most recently with the 2019 Tony Awards at Radio City Music Hall. Chamber music has been at the very core of Shelagh’s success as a musician. A winner of the Coleman Competition (2000), and a founding member of the award-winning Triton Brass (Fischoff, Lyon & Concert Artist’s Guild, 2005), Shelagh has collaborated with her world-class and longtime colleagues in order to achieve what is only artistically possible through such an intimate medium. Together they have shared their gifts with many thousands of others through live performances, recordings, and through education. Shelagh will be returning as faculty with Triton Brass to the Boston University Tanglewood Institute for their 2019 season. She also served as faculty for more than a decade with the renown Atlantic Brass Quintet International Summer Seminar.  Through these summer programs, Shelagh is proud to have influenced, shaped and enriched the lives of many dozens of tomorrow’s musicians. Shelagh is an Artist in Residence at Boston College, and The Boston Conservatory of Music where she has performed and conducted clinics and masterclasses on a regular basis since 2003. Shelagh’s early musical influences include extensive study with the Boston Symphony Orchestra’s Richard Sebring, Toronto Symphony’s principal horn Neil Deland, and renowned pedagogue and performer Laura Klock. She has been a fellow at the Tanglewood Music Center and with The National Repertory Orchestra. Shelagh holds a B.A. from Boston College, an M.M. from The University of Massachusetts at Amherst where she was a recipient of the Howard W. Lebow Scholarship, and an Artist Diploma from The New England Conservatory of Music, where she was a Walkenier Scholar. Shelagh is proud to be a Stephens Horns artist, playing one of the very first horns handcrafted by Stephen Shires https://www.stephenshorns.com.   In this fun and lively discussion, we cover: In the Lexicon! Fun with pronunciations Amhad Rashad Baseball cards Erasers and jewelry Going to school with Andy Bove Trent Austin's bio writer Playing on Broadway eight times a week Playing Disney's Frozen Name-dropping  How playing on Broadway works Dealing with repetition How the sub pool works and how to get started as a player Dormant subs Networking The impact of social media on networking Jeff Nelsen Be nice Pit orchestra size and the state of the industry Horn job pool on Broadway Horn writing rant Horn: The Cornstarch of the Orchestra Triton Brass Working with Sam Pilafian Playing with famous people from Trey Anastasio to Barry Manilow and Sting Being married to Tony Kadleck Facebrace LINKS: Shelagh's site Triton Brass Vermont Symphony Orchestra Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies! Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

More than a century ago, Antonín Dvořák prophesied that American music would be rooted in the black vernacular. It’s come true, to a certain extent: when we think of American music—jazz, blues, rock, hip hop, rap—we are thinking of music invented by black musicians. The field of classical music, however, has remained stubbornly white. At one point in the last century, classical music was on the cusp of a revolution: the Englishman Samuel Coleridge-Taylor was writing works like his Twenty-Four Negro Melodies, Dvořák’s own assistant Harry Burleigh was reimagining black spirituals for the concert stage that would be performed by the likes of Marian Anderson. And the lineage continued with William Grant Still, Nathaniel Dett, Florence Price, and Margaret Bond. The arrival in 1934 of William L. Dawson’s Negro Folk Symphony seemed to usher in the imminent fulfillment of Dvořák’s prophecy—and yet Dawson never wrote another symphony. Why not? Joseph Horowitz, a cultural historian and the executive director of the PostClassical Ensemble, joins the podcast to explore why. Scholar managing editor Sudip Bose guest-hosts.Go beyond the episode:Read Joseph Horowitz’s essay, “New World Prophecy,” from our Autumn 2019 issueAnd read more about Antonín Dvořák’s time in Spillville, Iowa, in Tom Zoellner’s essay, “No Harmony in the Heartland,” about how the national struggle over immigration has hit an American town built by immigrant CzechsListen to Leopold Stokowski conduct the American Symphony Orchestra’s 1963 performance of William L. Dawson’s Negro Folk SymphonyListen to Samuel Coleridge-Taylor’s Twenty-Four Negro Melodies, played by David Shaffer-GottschalkListen to Marian Anderson perform Harry Burleigh’s composition of the spiritual “Deep River”Listen to Dietrich Fischer-Dieskau perform Charles Ives’s extraordinary setting of “Feldeinsamkeit”Read about the rediscovery of the composer Florence PriceAnd keep an eye out for Dawson’s Negro Folk Symphony at the following events:Georgetown University’s PostClassical Ensemble will perform the second movement on April 25, 2020The Brevard Music Festival may perform the complete symphony next summerTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play •

In this episode, I discuss with solo violinist Arnaud Sussmann.  He elaborates on the mindsets and strategies to adopt when working on sound quality, the importance of having a strong concept of phrasing and of bow distribution in musicality, the importance of creating fluency in his playing and how he achieves it, the importance of purpose in our practice, warming up during busy periods, the value of recording ourselves when we practice, and why he believes it's important to work hard. Nous avons aussi une discussion en francais!  Nous vous offrons un retour sur certains point abordés en anglais en ce qui a trait à la production du son et du phrasé, et une conversation sur l'importance de la curiosité dans la pratique et sur comment il aborde une œuvre nouvelle.   MORE ABOUT ARNAUD SUSSMAN: Website: http://arnaudsussmann.com/ YouTube channel: https://www.youtube.com/user/violinice Facebook: https://www.facebook.com/arnaudsussmannviolin/ Instagram: https://www.instagram.com/arnaudsussmann/ Boris Garlitsky: http://www.talentmusicmasters.it/boris-garlitsky   Winner of a 2009 Avery Fisher Career Grant, Arnaud Sussmann has distinguished himself with his unique sound, bravura and profound musicianship. Minnesota's Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you'll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener. His clear tone [is] a thing of awe-inspiring beauty, his phrasing spellbinding.” A thrilling young musician capturing the attention of classical critics and audiences around the world, Arnaud Sussmann has appeared with the American Symphony Orchestra, Buffalo Philharmonic, New World Symphony, Pacific Symphony, Paris Chamber Orchestra, Jerusalem Symphony and the Vancouver Symphony Orchestra. Further solo appearances have included a tour of Israel and concerts at Lincoln Center's Alice Tully Hall, Dresden Music Festival in Germany and at the Phillips Collection in Washington, D.C. Mr. Sussmann has been presented in recital in Omaha on the Tuesday Musical Club series, New Orleans by the Friends of Music, Tel Aviv at the Museum of Art and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Chamber Music Northwest and Moritzburg festivals and appears regularly at the Caramoor, Music@Menlo, La Jolla SummerFest, Seattle Chamber Music, Moab Music and Saratoga Springs Chamber Music festivals. Recent concerto appearances include performances with Maestro Valery Gergiev and the Mariinsky Orchestra at the White Nights Festival in St Petersburg, the Santa Rosa Symphony, the Albany Symphony, the Jacksonville Symphony and the Grand Rapids Symphony. This past season, chamber music performances included tours with the Chamber Music Society of Lincoln Center to Korea's LG Arts Center, Shanghai's Oriental Center and Hong Kong's Music Academy. Arnaud Sussmann has performed with many of today's leading artists including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenazi, Wu Han, David Finckel, Jan Vogler and members of the Emerson String Quartet. He has worked with conductors such as Cristian Macelaru, Marcelo Lehninger, Rune Bergmann and Leon Botstein. A dedicated chamber musician, he has been a member of the Chamber Music Society of Lincoln Center since 2006 and has regularly appeared with them in New York and on tour, including a recent concert at London's Wigmore Hall. A frequent recording artist, Arnaud Sussmann has released albums on Deutsche Grammophon's DG Concert Series, Naxos, Albany Records and CMS Studio Recordings labels. His solo debut disc, featuring three Brahms Violin Sonatas with pianist Orion Weiss, was released in December 2014 on the Telos Music Label. He has been featured on multiple PBS' Live from Lincoln Center broadcasts alongside Itzhak Perlman and the Perlman Music Program and with musicians of the Chamber Music Society of Lincoln Center. Born in Strasbourg, France and based now in New York City, Arnaud Sussmann trained at the Conservatoire de Paris and the Juilliard School with Boris Garlitsky and Itzhak Perlman. Winner of several international competitions, including the Andrea Postacchini of Italy and Vatelot/Rampal of France, he was named a Starling Fellow in 2006, an honor which allowed him to be Mr. Perlman's teaching assistant for two years. Mr. Sussmann now teaches at Stony Brook University on Long Island and was recently named Co-Artistic Director of Music@Menlo's International Music Program.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

More than a century ago, Antonín Dvořák prophesied that American music would be rooted in the black vernacular. It’s come true, to a certain extent: when we think of American music—jazz, blues, rock, hip hop, rap—we are thinking of music invented by black musicians. The field of classical music, however, has remained stubbornly white. At one point in the last century, classical music was on the cusp of a revolution: the Englishman Samuel Coleridge-Taylor was writing works like his Twenty-Four Negro Melodies, Dvořák’s own assistant Harry Burleigh was reimagining black spirituals for the concert stage that would be performed by the likes of Marian Anderson. And the lineage continued with William Grant Still, Nathaniel Dett, Florence Price, and Margaret Bond. The arrival in 1934 of William L. Dawson’s Negro Folk Symphony seemed to usher in the imminent fulfillment of Dvořák’s prophecy—and yet Dawson never wrote another symphony. Why not? Joseph Horowitz, a cultural historian and the executive director of the PostClassical Ensemble, joins the podcast to explore why. Scholar managing editor Sudip Bose guest-hosts.Go beyond the episode:Read Joseph Horowitz’s essay, “New World Prophecy,” from our Autumn 2019 issueAnd read more about Antonín Dvořák’s time in Spillville, Iowa, in Tom Zoellner’s essay, “No Harmony in the Heartland,” about how the national struggle over immigration has hit an American town built by immigrant CzechsListen to Leopold Stokowski conduct the American Symphony Orchestra’s 1963 performance of William L. Dawson’s Negro Folk SymphonyListen to Samuel Coleridge-Taylor’s Twenty-Four Negro Melodies, played by David Shaffer-GottschalkListen to Marian Anderson perform Harry Burleigh’s composition of the spiritual “Deep River”Listen to Dietrich Fischer-Dieskau perform Charles Ives’s extraordinary setting of “Feldeinsamkeit”Read about the rediscovery of the composer Florence PriceAnd keep an eye out for Dawson’s Negro Folk Symphony at the following events:Georgetown University’s PostClassical Ensemble will perform the second movement on April 25, 2020The Brevard Music Festival may perform the complete symphony next summerTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • 

American conductor Roger Nierenberg is the creator of The Music Paradigm which has brought him to the podium of The London Philharmonic, The Residentie Orkest, The New Zealand Symphony, The National Symphony, the symphony orchestras of Pittsburgh, Atlanta, and Baltimore. He has collaborated with musicians from more than one hundred orchestras around the world. Nierenberg enjoyed long tenures as Music Director of both The Jacksonville Symphony (Florida) and the Stamford Symphony (Connecticut). His career began with an auspicious debut at Lincoln Center with the Pro Arte Chorale and subsequent performances at the Mostly Mozart Festival. Numerous guest conducting engagements followed with many of the great American orchestras, including the symphony orchestras of Austin, Baltimore, Charleston, Columbus, Detroit, Indianapolis, Kansas City, New Jersey, San Diego, St. Louis, and Utah, as well as New York's American Symphony Orchestra, Washington D.C.'s National Symphony Orchestra, the Buffalo Philharmonic, and the Chamber Music Society of Lincoln Center. Abroad, he has recorded with the London Philharmonic and has conducted concerts at the Prague Spring Festival with the Czech Radio Orchestra and at the Beijing Festival with the Shanghai Broadcasting Symphony Orchestra. Other performances include engagements with the London Mozart Players, Mexico's National Symphony Orchestra, the Nova Scotia Symphony, and the Tallinn Chamber Orchestra.Nierenberg has conducted operatic performances with the Opera Theatre of St. Louis, the Chautauqua Opera, the American Opera Center at Lincoln Center and opera in concert with the Dallas Opera (with Frederica von Stade) and the Santa Barbara Symphony (with Ms. Von Stade and Thomas Hampson). He has appeared at numerous summer festivals including the Tanglewood Institute, the Grand Teton Music Festival, the Colorado Festival, the National Repertory Orchestra, and the Madeira Bach Festival. The Music Paradigm is a powerful learning experience that uses symphonic music to illuminate compelling insights about people at work. Participants are seated directly amongst the orchestra musicians where they gain fresh understandings about the opportunities and challenges faced by their own organization. Over the past twenty years, Nierenberg has presented to hundreds of different organizations, from civic groups to Fortune 500 companies, in two dozen different countries. Show Highlights I don't have a single mentor, but there are many many people who I've learned from. Both musicians and businesspeople —Roger NierenbergAs a conductor, you get a lot of feedback instantaneously, so you see the impact of your leadership in real time, and you have time to contemplate why did that not work or why did that work? —Roger NierenbergYou want people who believe in themselves and have strong ideas, so you have to view big egos as an asset. The challenge is to get them to buy in and understand the big picture. —Roger Nierenberg It's not about me, it's about them. I'm an agent in helping businesses collaborate. I help people expand their circle of awareness. —Roger NierenbergChallenges are an inevitable part of life. It happens to everyone. When it happens, don't feel like it's the end of the world, this is part of the process of making something good. —Roger NierenbergIt will likely take time to learn lessons from a setback. Allow yourself that time and the space to be curious. —Roger Nierenberg When something goes wrong, the first thing to ask is "what happened?" The second thing is, "What role did I play?" —Roger Nierenberg I look for opportunities to grow and they're abundant. I stay alert for that and that's a good attitude. —Roger NierenbergIf you want to keep mental acuity growing, study a musical instrument. And do it as an adult. —Roger NierenbergFill your life with the right people. Locate the people who are bringing you down and eliminate them if you can. —Roger Nierenberg

Juilliard-trained James Wetzel is one of the most respected Catholic church musicians in New York City. In this episode, we ask James about his work as the director of music and organist at the Dominican parish of Saint Vincent Ferrer and Saint Catherine of Siena. His professional Schola Cantorum is renowned for keeping very much alive the “Church’s treasure of sacred music” for the worship of God in the sacred liturgy. James also shares his perspective and advice on how priests and music directors can take steps to build up the sacred music programs at parishes.   James’ Biography James D. Wetzel is the Director of Music and Organist of the Parish of Saint Vincent Ferrer and Saint Catherine of Siena on Manhattan’s Upper East Side where he directs the professional Schola Cantorum in over 70 services annually. James served from 2010-2015 as the Organist and Choirmaster of midtown’s Church of Saint Agnes and from 2011-2016 was an adjunct lecturer in Hunter College’s music department. Since 2010, he has also been the Assistant Conductor for the Greenwich Choral Society in Connecticut. Additionally, he holds a post as Assisting Organist at the Cathedral Church of Saint John the Divine where he formerly served as Organ Scholar under Bruce Neswick. Mr. Wetzel is active as an organist and continuo player, having performed at the Berkshire Choral Festival and with the Collegiate Chorale, the Orchestra of Saint Luke’s, the American Symphony Orchestra, the American Classical Orchestra, the National Chorale, and the Paul Winter Consort. He is the sub-dean and chairman of the programming committee of the New York City Chapter of the American Guild of Organists, a board member of the Catholic Artists Society, and a member of the New York Purgatorial Society and the Society for Catholic Liturgy. Born in Pittsburgh, James earned a bachelor’s degree in organ performance from The Juilliard School where he studied with Paul Jacobs and was the first person ever to graduate with a master’s degree and a professional studies certificate in choral conducting from Manhattan School of Music under Kent Tritle. He also studied privately with Donald K. Fellows and Robert Page and spent a year reading Early Christianity and Apologetics at Columbia University. Parish of St. Vincent Ferrer and St. Catherine of Siena website: http://www.svsc.info

Listen now as Roger Nierenberg explains how The Music Paradigm helps you see your organization with fresh eyes!   We are delighted to have with us today Roger Nierenberg, an exceptional conductor and innovator who has taken his musical passion and skills and become a “go-to” inspiration for businesses. Through the metaphor of music, Maestro Nierenberg helps organizations “see, feel and think” about themselves with fresh eyes. Quite amazing. Very anthropological, which as you know, is right up our alley! Wait til you hear—and I mean hear—this pioneering musical genius.   A Unique Learning Experience for Any Type of Organization  What Roger Nierenberg and I discuss in this podcast is the way in which music, and the performance of music, can often be seen as a foreign culture but can also be a powerful metaphor for the organizations in which we work, or work with. As Roger describes his experiences conducting orchestras all over the world, he shares with us how during each performance, the musicians are listening, understanding, sharing, visualizing and changing their performances, not so much in response to him but to each other. Through Roger's descriptions, we too can see our own methods of interacting with others more clearly by watching performers collaborate in a musical experience. It isn’t because they are just talented performers. Rather, they have learned how to work together to bring out each one's skills and create an amazing performance. Might this apply to your organization? The Music Paradigm Through Roger's experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. Again, right up our alley—at SAMC we're all about change. He realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, a highly effective learning experience that uses symphonic music to illuminate compelling insights about people at work. Participants are seated directly among the orchestra musicians, observing them as they perform. Up close, they see fascinating and unexpected organizational dynamics taking place within the group. It soon becomes clear that this is not a demonstration but a powerful forum where observers gain fresh understanding about the opportunities and challenges faced by their own organization. Over the past 20 years, Roger has presented The Music Paradigm to hundreds of different organizations, from civic groups to Fortune 500 companies, in 23 different countries. He explains many of the lessons learned in his book, "Maestro: A Surprising Story About Leading by Listening," which was honored in 2009 as the Best Leadership Book from 800-CEO-READ.  Andy and I are both fans of philharmonic concerts and we find The Music Paradigm to be really quite amazing. It allows you to bring something that often is not well attended (symphony orchestra performances) into your workplace as a magical method for improving your team, your organization, your relationships with clients, and your culture.  Who is Roger Nierenberg?  Maestro Roger Nierenberg made his New York conducting debut at Avery Fisher Hall with the Pro Arte Chorale and Orchestra, and soon thereafter was invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center. Numerous guest conducting engagements followed with many of the great American symphony orchestras, including those of Austin, Baltimore, Charleston, Columbus, Detroit, Indianapolis, Kansas City, New Jersey, San Diego, St. Louis and Utah, as well as New York’s American Symphony Orchestra, Washington D.C.’s National Symphony Orchestra, the Buffalo Philharmonic and the Chamber Music Society of Lincoln Center. Abroad, Roger has recorded with the London Philharmonic and conducted at both the Prague Spring Festival with the Czech Radio Orchestra and the Beijing  Festival with the Shanghai Broadcasting Symphony Orchestra. Other performances include engagements with the London Mozart Players, Mexico’s National Symphony Orchestra, the Nova Scotia Symphony and the Tallinn Chamber Orchestra.  Roger has appeared at numerous summer festivals, including the Tanglewood Institute, the Grand Teton Music Festival, the Colorado Festival, the National Repertory Orchestra and the Madeira Bach Festival. He has also collaborated with many of the most renowned solo artists and composers of our time. Roger makes his home in New York City and has two children, a son who is a professional pilot and a daughter who is studying French horn. Watch video clips from The Music Paradigm workshops here:  Flutist speaks on micromanaging Tuning In 9 separate workshops including How Good Directions Liberate Leadership, The Consequences of Mixed Messages and Building Community Blogs, a podcast and a video you might enjoy:  Blog: Change Might Be Exactly What Your Organization Needs to Be Successful Blog: Five Ways to Make Your Team Awesome Agents of Change Podcast: Steve Harper: The Ripple Effect  Video: How Can Corporate Anthropology Help Your Business Grow?  Additional resources: Roger's book: "Maestro: A Surprising Story About Leading by Listening" My book: "On the Brink: A Fresh Lens to Take Your Business to New Heights" Our website: Simon Associates Management Consultants    Download the 1-page synopsis of my book, "On the Brink: A Fresh Lens to Take Your Business to New Heights" here Want to be featured on an upcoming Podcast episode?  Tell us more about you and you too can be on the brink of "soaring!"

Listen now as Roger Nierenberg explains how The Music Paradigm helps you see your organization with fresh eyes!   We are delighted to have with us today Roger Nierenberg, an exceptional conductor and innovator who has taken his musical passion and skills and become a “go-to” inspiration for businesses. Through the metaphor of music, Maestro Nierenberg helps organizations “see, feel and think” about themselves with fresh eyes. Quite amazing. Very anthropological, which as you know, is right up our alley! Wait til you hear—and I mean hear—this pioneering musical genius.  A Unique Learning Experience for Any Type of Organization  What Roger Nierenberg and I discuss in this podcast is the way in which music, and the performance of music, can often be seen as a foreign culture but can also be a powerful metaphor for the organizations in which we work, or work with. As Roger describes his experiences conducting orchestras all over the world, he shares with us how during each performance, the musicians are listening, understanding, sharing, visualizing and changing their performances, not so much in response to him but to each other. Through Roger's descriptions, we too can see our own methods of interacting with others more clearly by watching performers collaborate in a musical experience. It isn’t because they are just talented performers. Rather, they have learned how to work together to bring out each one's skills and create an amazing performance. Might this apply to your organization? The Music Paradigm Through Roger's experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. Again, right up our alley—at SAMC we're all about change. He realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, a highly effective learning experience that uses symphonic music to illuminate compelling insights about people at work. Participants are seated directly among the orchestra musicians, observing them as they perform. Up close, they see fascinating and unexpected organizational dynamics taking place within the group. It soon becomes clear that this is not a demonstration but a powerful forum where observers gain fresh understanding about the opportunities and challenges faced by their own organization. Over the past 20 years, Roger has presented The Music Paradigm to hundreds of different organizations, from civic groups to Fortune 500 companies, in 23 different countries. He explains many of the lessons learned in his book, "Maestro: A Surprising Story About Leading by Listening," which was honored in 2009 as the Best Leadership Book from 800-CEO-READ.  Andy and I are both fans of philharmonic concerts and we find The Music Paradigm to be really quite amazing. It allows you to bring something that often is not well attended (symphony orchestra performances) into your workplace as a magical method for improving your team, your organization, your relationships with clients, and your culture.  Who is Roger Nierenberg?  Maestro Roger Nierenberg made his New York conducting debut at Avery Fisher Hall with the Pro Arte Chorale and Orchestra, and soon thereafter was invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center. Numerous guest conducting engagements followed with many of the great American symphony orchestras, including those of Austin, Baltimore, Charleston, Columbus, Detroit, Indianapolis, Kansas City, New Jersey, San Diego, St. Louis and Utah, as well as New York’s American Symphony Orchestra, Washington D.C.’s National Symphony Orchestra, the Buffalo Philharmonic and the Chamber Music Society of Lincoln Center. Abroad, Roger has recorded with the London Philharmonic and conducted at both the Prague Spring Festival with the Czech Radio Orchestra and the Beijing  Festival with the Shanghai Broadcasting Symphony Orchestra. Other performances include engagements with the London Mozart Players, Mexico’s National Symphony Orchestra, the Nova Scotia Symphony and the Tallinn Chamber Orchestra.  Roger has appeared at numerous summer festivals, including the Tanglewood Institute, the Grand Teton Music Festival, the Colorado Festival, the National Repertory Orchestra and the Madeira Bach Festival. He has also collaborated with many of the most renowned solo artists and composers of our time. Roger makes his home in New York City and has two children, a son who is a professional pilot and a daughter who is studying French horn. You can watch video clips from The Music Paradigm workshops here:  Flutist speaks on micromanaging Tuning In 9 separate workshops including How Good Directions Liberate Leadership, The Consequences of Mixed Messages and Building Community Blogs, a podcast and a video you might enjoy:  Blog: Change Might Be Exactly What Your Organization Needs to Be Successful Blog: Five Ways to Make Your Team Awesome Agents of Change Podcast: Steve Harper: The Ripple Effect  Video: How Can Corporate Anthropology Help Your Business Grow?  Additional resources: The Music Paradigm Roger's book: "Maestro: A Surprising Story About Leading by Listening" My book: "On the Brink: A Fresh Lens to Take Your Business to New Heights" Our website: Simon Associates Management Consultants    Download the 1-page synopsis of my book, "On the Brink: A Fresh Lens to Take Your Business to New Heights" here

In this episode of the Monsoon Podcast, Guy Exton puts populism centre stage, exploring its characters in the Asia-Pacific region and beyond. For better or for worse, 2018 was a year of populism. Champion cricketer Imran Khan was elected Prime Minister of Pakistan, President Duterte of the Phillipines finished his second year of office, and the impacts of Brexit's Vote Leave and the policies of US President Donald Trump continued to ripple across the world. What is populism, how did we get here, and where to next? On this Monsoon Podcast, Guy Exton accompanies Dr Jessica Genauer on a journey around the world’s populist democracies. Dr Jessica Genauer is a lecturer at the School of Politics and International Relations at the Australian National University. Her recent PhD thesis examines the impact of election system design during periods of regime transition in the Middle East and North Africa. Feature image source: The Epoch Times Music: Ride of the Valkyries - from "Die Valkyrie" by Richard Wagner, performed by American Symphony Orchestra.

In 1977, the Chicago Symphony hired its first Asian musician, John Bruce Yeh, in the clarinet section.  Twenty-one years later, Robert Chen took over the concertmaster position, arguably the most notable position in a symphony orchestra.  Since that time, the CSO, along with orchestras across the U.S., has seen an explosion of numbers of Asian … Continue reading Episode 016 – The Inv-Asian of the American Symphony Orchestra →

RadioRotary interviews Kayo Iwama, Associate Director of the Graduate Vocal Arts Program at Bard College, about music education at the college and the performances open to the public. Bard has an unusual undergraduate degree program in music because each student must also obtain a degree in another subject, such as mathematics or political science. The Graduate Vocal Arts Program owes its existence to the renowned soprano Dawn Upshaw, who developed and directs it. Performances by students, faculty, and guest artists occur throughout the year at Bard, some of them free and many at the famed Fisher Center designed by Frank Gehry. Every two years, the Vocal Arts Program mounts an opera for the public, complete with a full orchestra accompaniment. Bard actually hosts three orchestras, including the American Symphony Orchestra conducted by Leon Botstein. --- Support this podcast: https://anchor.fm/radiorotary/support

The Los Angeles Philharmonic Orchestra faced real challenges, as all U.S. orchestras did: an aging subscriber base, disinterest from younger audiences, and development of a pipeline of donors for the future. Harvard Business School professor Rohit Deshpande discusses how protagonist Deborah Borda positioned the orchestra for continued success, building on healthy financials, a celebrity music director (Gustavo Dudamel), the beautiful Walt Disney Concert Hall, and the development of a youth orchestra.

The annual Halloween show!  Music includes: My Friend the Ghost, The Halloween Dance, Undertaker's Blues, Haunted Heart, The Nightmare, The Goblin Band, The Walls Keep Talking and Mysterious Mose.  The host also reads, The Sleeper, by Edgar Allen Poe. Musicians include: Tommy Dorsey, Helen Gross, Bessie Smith, Perry Como, Anita O'Day, Ozzy Nelson, Wingy Manone, Cab Calloway and The American Symphony Orchestra.

I am joined by my good friend and outstanding oboist Karen Birch Blundell. Karen provides a wealth of information about the oboe including some practical advice about reeds and oboe tips for composers. Topics: Karen's early choice to play oboe Starting kids on the oboe right away Finding and making reeds The importance of good equipment Learning how to practice Taking relaxed breaths Tips for composers Building rests into oboe music High school band! The New Sousa Band Links: The International Double Reed Society Oboe Motions by Stephen Caplan Making Reeds Start to Finish by Nancy Ambrose King Keith Brion and the New Sousa Band The Eastern Music Festival Karen's Website Biography: Karen Birch Blundell lives in New York City and is a member of both the Northeastern Pennsylvania Philharmonic (English horn) and the Eastern Festival Orchestra (English horn/Associate Principal Oboe). She also performs regularly with the Allentown Symphony and the Springfield Symphony Orchestra. She has performed with the Cincinnati Pops Orchestra, Hartford Symphony, C4- the Choral Composer/Conductor Collective, the Harrisburg Symphony, and the American Symphony Orchestra.​  

Danny Goldberg, President of GoldVE Entertainment (http://goldve.com), has worked in the music business as a personal manager, record company President, public relations man and journalist since the late nineteen sixties.  GoldVE Entertainment was formed in July 2007 and marks the return to artist management for Goldberg.  A complete roster of artists can be found here. Goldberg is also a consultant to the forthcoming HBO series “Vinyl”.  From 1983-1992, Goldberg was the founder and President of Gold Mountain Entertainment, an artist management firm whose clients included Nirvana, Hole, Sonic Youth, Beastie Boys, Bonnie Raitt, The Allman Brothers, Rickie Lee Jones and more.  Directly prior to the creation of GoldVE Entertainment, Goldberg had been the CEO of Air America Radio from 2005 until mid-2006. Goldberg formed the independent label Artemis Records in 1999 and ran the company until January of 2005.     Prior to forming Artemis and prior to the acquisition of Polygram by Universal in 1998, Goldberg was Chairman and CEO of the Mercury Records Group, which was the number one U.S. label group in terms of market share in 1998.  The Mercury Records Group included music from virtually all major genres; pop, R&B, hip-hop, country, jazz and rock and roll via its labels Def Jam, Mercury, Mercury Nashville, Motown, Verve, and Deutsche Gramophone, all of which reported to and were supervised by Goldberg.  Prior to coming to Mercury, Goldberg was Chairman and CEO of Warner Bros. Records in 1995, during which time Warner Bros. was the number one U.S. record label.  In 1993-94, he was President of Atlantic Records, also a division of the Warner Music Group, which likewise attained the number one ranking among U.S. companies during Goldberg's tenure.    Earlier in his career, Goldberg formed and co-owned Modern Records, which released Stevie Nicks' solo albums including her number one album “Bella Donna.”  Prior to that, Goldberg was Vice-President of Led Zeppelin's Swan Song Records and worked with the band from 1973 through 1975.  In 1980, Goldberg co-produced and co-directed the rock documentary feature, “No Nukes,” starring Bruce Springsteen, Bonnie Raitt, and Jackson Browne, among others.  In 2004 he was the Executive Producer of the documentary about Steve Earle, “Just An American Boy.”  He was Executive Producer of the multi-platinum soundtrack of music from the television series “Miami Vice” and was Music Supervisor on numerous feature films including “Dirty Dancing.”    Goldberg began his career as a music journalist having written for, among others, Rolling Stone, The Village Voice, and Billboard Magazine (for whom he reviewed the Woodstock Festival in 1969).  He is author of the books “How The Left Lost Teen Spirit” and “Bumping Into Geniuses: My Life Inside The Rock and Roll Business.”  Danny is also Executive Producer of the “The Gits Movie.”  He was Chair of the American Symphony Orchestra from 2008-2013 and is on the Board of Directors of The Nation Institute, The ACLU Foundation of Southern California, Americans for Peace Now, Brave New Films, The Greyston Foundation and Public Citizen. Goldberg is also a consultant to the forthcoming HBO series “Vinyl.”  -------- The Featured song is "Can You Feel The Bern" by Matt Oestreicher (inspired by Bernie Sanders) link to video is here: https://www.youtube.com/watch?v=Lrmup2t3bdo&feature=youtu.be