Podcasts about Amy Beach

This Day in Legal History: First Continental CongressOn September 5, 1774, the First Continental Congress convened in Philadelphia, marking a critical early step toward American independence. Delegates from twelve of the thirteen colonies—Georgia being the sole exception—gathered at Carpenters' Hall to coordinate a colonial response to the "Intolerable Acts," a series of punitive measures imposed by the British Parliament in the wake of the Boston Tea Party. These acts, which included the Boston Port Act and the Massachusetts Government Act, were seen by the colonists as severe violations of their rights as Englishmen.The Congress brought together influential figures such as George Washington, John Adams, Samuel Adams, Patrick Henry, and John Jay. Though the colonies had differing interests and levels of loyalty to the Crown, the delegates united in their desire to assert colonial rights through collective action. They adopted the Suffolk Resolves, endorsed a boycott of British goods through the Continental Association, and agreed to reconvene the following year if their grievances were not addressed.Rather than immediately pushing for independence, the First Continental Congress aimed to restore harmony with Britain while defending colonial autonomy. It drafted a Declaration of Rights and Grievances, emphasizing allegiance to the Crown but rejecting parliamentary authority over the colonies in matters of internal governance.This Congress laid the groundwork for future intercolonial cooperation and demonstrated that the colonies could act in concert. Its organizational structure, with committees and formal resolutions, prefigured the eventual legislative model adopted under the U.S. Constitution. While King George III and Parliament ultimately ignored the Congress's petitions, the gathering significantly escalated the political crisis that would lead to the American Revolutionary War.Supreme Court Justice Amy Coney Barrett said this week that, despite political polarization and President Trump's aggressive use of executive power, the U.S. is not experiencing a constitutional crisis. Whew! Speaking at New York's Lincoln Center while promoting her new book, Listening to the Law, Barrett emphasized that the Constitution is “alive and well,” and that American institutions—particularly the courts—are still functioning effectively. Her remarks come amid widespread concern over Trump's second-term policies, including sweeping immigration crackdowns, tariff impositions, and rollbacks of diversity programs, many of which have been challenged in court.Federal judges have repeatedly halted or delayed Trump's initiatives, leading to sharp criticism from the president. Earlier this year, Trump even called for the impeachment of a federal judge, raising alarms among legal scholars. Despite these tensions, Barrett asserted that a real constitutional crisis would require the collapse of the rule of law—something she doesn't see happening.Barrett also defended her controversial vote to overturn Roe v. Wade in 2022, arguing that Supreme Court decisions shouldn't be influenced by shifting public opinion. While support for abortion rights has grown in recent years, Barrett stood by the Court's direction, which has taken a decisively conservative turn since her appointment in 2020. Her comments signal confidence in the judiciary's resilience during politically charged times.Supreme Court's Barrett says US not in constitutional crisis | ReutersU.S. prosecutors are aggressively charging individuals in Washington, D.C. with assaulting or resisting federal officers under a new DOJ-led law enforcement push, but the initiative is drawing scrutiny due to its stark contrast with President Trump's earlier decision to dismiss or pardon many January 6-related assault charges. A Bloomberg Law review found at least 20 new federal cases that closely resemble charges from the Capitol riot—charges that Trump has largely wiped away. Critics argue that this inconsistency undermines prosecutorial credibility and raises concerns about politicization of the Justice Department.Some judges and grand juries have echoed that skepticism. In one case, a magistrate judge cited the Jan. 6 clemencies in deciding not to detain a man charged with threatening a National Guard member. Prosecutors have also struggled to secure felony indictments, including in a case where a former DOJ employee was accused of throwing a sandwich at a federal officer. These outcomes point to juror reluctance in cases they may view as politically selective.U.S. Attorney Jeanine Pirro is leading the local effort and has acknowledged the difficulty of securing convictions. Some cases involve more serious allegations—kicking, hitting, or spitting on officers—while others stem from lower-level confrontations, including a disputed video involving immigration agents.Meanwhile, defendants and defense attorneys are raising claims of selective prosecution, citing the dismissal of hundreds of Jan. 6 assault cases still pending when Trump returned to office. One high-profile example involves Rep. LaMonica McIver, whose lawyers argue her case—stemming from a confrontation with immigration officers—is being pursued for political reasons. Prosecutors have already been forced to downgrade multiple cases from felonies to misdemeanors due to lack of support from grand juries.DOJ Crime Crackdown Clashes With Jan. 6 Cases Trump ForgaveA federal appeals court has temporarily blocked a lower court's ruling that would have restricted President Trump's use of military troops for immigration enforcement and crowd control in Los Angeles. The move preserves Trump's authority to use active-duty military and National Guard personnel in support of federal agents while the case is under appeal. The original ruling, issued by U.S. District Judge Charles Breyer, found that the administration had violated the Posse Comitatus Act, a law dating back to the 1800s that limits military involvement in domestic law enforcement.Breyer's decision, which would have barred military personnel from performing police functions in California, was scheduled to take effect on September 12 but is now on hold as the 9th Circuit reviews the appeal. The legal fight stems from Trump's June deployment of over 4,000 National Guard members and 700 Marines to Los Angeles during protests over federal immigration policies. Though most of the protests have since calmed, around 300 National Guard troops remain on the ground, supporting immigration and drug enforcement operations.Critics argue that Trump's use of the military in civilian law enforcement roles marks a dangerous shift in executive power. The same day the 9th Circuit paused Breyer's ruling, Washington, D.C.'s attorney general filed a lawsuit challenging similar military deployments in the capital. Trump has also signaled interest in expanding military involvement to other cities like Chicago and New Orleans.US appeals court pauses restrictions on Trump's use of troops in Los Angeles | ReutersGoogle has been hit with a $425 million jury verdict in a major privacy class action, after a last-minute law firm switch brought Cooley LLP into the case. Originally led by Willkie Farr, the defense team—headed by partners Benedict Hur and Simona Agnolucci—jumped to Cooley in June, just weeks before trial. Cooley took over the multibillion-dollar case and brought in additional lawyers to assist. The abrupt law firm change followed internal dissent at Willkie over a controversial agreement with the Trump administration requiring pro bono work aligned with White House directives.The case centered on allegations that Google collected data from nearly 100 million users despite their account settings indicating they wanted to keep their information private. After a two-week trial in San Francisco, the jury sided with the plaintiffs, led by prominent attorneys from Morgan & Morgan, Boies Schiller Flexner, and Susman Godfrey. While the plaintiffs had sought $31 billion, the jury awarded just over 1% of that amount.Google said it will appeal, claiming the jury misunderstood how its privacy settings function. The plaintiffs' legal team, however, called the verdict a clear message about unauthorized data collection. The firms behind the case have brought similar lawsuits, including one over Google's Chrome “Incognito” mode, which resulted in a settlement earlier this year that forced the company to destroy billions of data records.Google trial ends with $425 million verdict after Cooley inherits privacy case | ReutersThis week's closing theme is by Amy Beach.This week's closing theme features the elegant and expressive piano miniatures of Beach, one of the most important American composers of the late 19th and early 20th centuries. A prodigy and largely self-taught composer, Beach broke barriers as the first American woman to write a symphony performed by a major orchestra and became a central figure in the Boston musical scene. Her works span symphonic, choral, chamber, and solo piano music, all marked by lyrical intensity and harmonic richness.Composed in 1892, her Four Sketches, Op. 15 for solo piano offers a vivid, compact display of her early voice as a composer. Each short piece evokes a distinct atmosphere: In Autumn captures seasonal change with swirling colors; Phantoms conjures mysterious shadows; Dreaming drifts into quiet introspection; and Fireflies sparkles with quick, darting motion. Though brief, these character pieces are finely crafted, offering emotional depth and technical elegance.As our closing music, Beach's Sketches remind us how much can be said in miniature—and how, even in the restrictive musical culture of her time, she composed with clarity, beauty, and unmistakable individuality.Without further ado, Amy Beach's Four Sketches, Op. 15 – enjoy!  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

durée : 01:15:03 - Été Classique Matin du mardi 22 juillet 2025 - par : Charlotte Landru-Chandès - "De nombreuses pépites dans notre été classique du jour… Venez découvrir l'œuvre de femmes musiciennes, connues ou non : Amy Beach, Pauline Viardot, Charlotte Sohy ou encore Marie Jaëll…" Charlotte Landru-Chandès Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Die Bandmitglieder von Spark haben für ihr neues Album einen gigantischen Trip durch die Musikgeschichte hingelegt: "Visions of Venus" - 1000 Jahre weibliche Musikgeschichte. Für das neue Album, das so heißt, haben sie Stücke von Hildegard von Bingen, Björk, Billie Holiday, Clara Schumann, Amy Beach, Tori Amos aufgenommen - alles von Mittelalter bis Modern. BR-KLASSIK-Moderatorin Uta Sailer hat den Blockflötisten Daniel Koschitzki, den Gründer von Spark, zum Gespräch getroffen.

Moin! Wir vom Team um "Philipps Playlist" wollen den Podcast immer weiter verbessern. Um das zu tun, möchten wir gerne Deine Meinung, Deine Ideen und Deine Kritik hören. Und ganz nebenbei möchten wir auch Dich und alle anderen besser kennenlernen. Vielen Dank, dass du an dieser Umfrage teilnimmst, das hilft uns wirklich sehr: https://umfrage-ndr.limequery.com/247836?lang=de-informal Musik, die direkt ins Herz geht. Schwermütige bis dankbare Klänge nehmen Dich mit auf eine Reise weit in den Westen. Jeder Klang berührt die Leere in Dir. Diese Musikstücke hast Du in der Folge gehört: Darius Rucker – "I hope they get to me in time" // Aaron Copland – "Appalachian Spring – Like a Prayer" // Diamond Rio – "She misses him on Sunday the most" // Amy Beach – "Dreaming" // Alan Jackson – "Freight train" // Emmylou Harris & Mark Knopfler – "This is us" // Den ARD Podcast "ESC Update" findest Du hier: https://www.ardaudiothek.de/sendung/esc-update/82411386/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

Avui sentirem: "Ectasy"; "Evening Hymn"; "By the still waters"; "Lord of all being"; "Tyrolean Vals-Fantasie"; Quartet de corda, op. 89; "Pastoral"; "Peace, I live with you". Amy Marcy Cheney (1867-1944), coneguda com a Amy Beach (pel cognom del seu marit), va ser una excel

Avui sentirem: "Nunc Dimitis"; Tres peces per a violoncel i piano, op. 40; Tres can

Avui sentirem: "Rainy day", can

Avui sentirem: Simfonia en mi menor, op. 32, "Ga

Avui sentirem: Concert per a piano i orquestra, op. 45; Roman

Moin! Wir vom Team um "Philipps Playlist" wollen den Podcast immer weiter verbessern. Um das zu tun, möchten wir gerne Deine Meinung, Deine Ideen und Deine Kritik hören. Und ganz nebenbei möchten wir auch Dich und alle anderen besser kennenlernen. Vielen Dank, dass du an dieser Umfrage teilnimmst, das hilft uns wirklich sehr: https://umfrage-ndr.limequery.com/247836?lang=de-informal Wenn die Welt zur Ruhe kommt, öffnet sich das Theater der Träume. Wer schläft, betritt die Bühne. Hier weben sanfte Melodien Geschichten aus Sehnsucht und Freiheit zusammen. Komm mit auf die nächtliche Reise. Vorhang auf! (Und nicht wundern: Philipp hat sogar ein paar typische Theater-Huster mit aufgenommen.) Diese Musikstücke hast Du in der Folge gehört: Lyle Lovett – "She's Already Made Up Her Mind" // Amy Beach – "Dreaming" // Mario Biondi – "This Is What You Are" // Edward Elgar – "Dream Children" // Franz Liszt – "Liebestraum" // Den Podcast "Sportschau F – Inspirierende Frauen aus dem Sport" findest Du hier: https://www.ardaudiothek.de/sendung/sportschau-f-inspirierende-frauen-aus-dem-sport/14079077/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib ihm eine Mail: playlist@ndr.de

1925. Pianiste en componiste Amy Beach schrijft het prachtige kleine pianowerkje By The Still Waters. Minder groots dan haar Eerste Symfonie waar ze bekend mee werd, maar Clara en Sander worden er helemaal stil van. Het leven van Beach was daarentegen minder rustig, van haar relatie met een rijke topdokter uit Boston, tot een lege erfenis… spannend genoeg om heel wat roddelboekskes mee te vullen. En doet Beach haar muziek jou ook zo denken aan die van Satie? Hoe zou dat komen?

Seit Herbst 2023 ist der gebürtige Franzose Joseph Bastian Chefdirigent der Münchner Symphoniker - und gleich zu Amtsantritt hat er sich für Komponistinnen starkgemacht. Ein erstes gemeinsames Album, erschienen beim Eigenlabel der Münchner Symphoniker, ist der amerikanischen Spätromantikerin Amy Beach gewidmet - eine echte Entdeckung, meint Fridemann Leipold.

Juliana Soltis is an innovative cellist who has done extensive research to connect listeners with some forgotten stories of classical music. In this episode we talked about her recent album American Woman which features cello and piano music of women composers; you'll hear Juliana's insights into the lives of Mary Howe, Amy Beach, Margaret Bonds, Helen Crane, Dorothy Rudd Moore and Florence Price and hear excerpts from this album which Juliana recorded with the wonderful pianist Ruoting Li. Many listeners will be familiar with Juliana's playing as a Baroque cellist, and it was fascinating to hear about how the French relinquished their beloved viol relunctuantly to the Italian cello. I really love Juliana's recording of the complete Suites for solo cello of J.S. Bach and you'll hear some music from her album Going off Script: the Ornamented Suites for cello. Juliana shared great advice about performing from an athlete's perspective and also the joy of connecting with audiences. This interview begins with one of her beautiful greyhounds, and for those of you watching this on YouTube, hopefully you'll enjoy this comforting canine presence throughout this inspirational conversation. Like all my episodes , you can watch the video or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website, everything linked here: https://www.leahroseman.com/episodes/juliana-soltisOther episodes: Samantha Ege, Julia MacLaine, Dorothy Lawson of ETHEL, Edwin Barker, Euclid QuartetJuliana Soltis Website Podcast Newsletter sign-up Buy me a coffee ? Merchandise storephoto: Teresa Tam(00:00) Intro(02:37)the greyhounds, American Woman album (05:16) archives New York Public Library, Helen Crane(10:42) clip of Ballade Fantasque by Howe(12:20) Mary Howe (16:51) racist divide between Black and white composers(20:47) clip of Troubled Water by Margaret Bonds (22:12) baroque cello (33:57) Courante J.S. Bach Solo Suite in G major(37:14) creating Going off Script: the Ornamented Suites for cello(37:43) other episodes (38:36) the art of ornamentation, recording the Bach album(43:45) lessons with Catharina Meints Caldwell(48:33) connecting with audiences, using social media(56:37) clip of Dirge and Deliverance by Dorothy Rudd Moore(58:00) Kermit Moore, Florence Price, Margaret Bonds, Amy Beach(01:04:23) Berceuse by Beach(01:10:25) 3rd Idyll op. 51 by Helen Crane(01:19:01) how athletic training helps with performance nerves

Die Münchner Symphoniker und ihr Chefdirigent & Künstlerischer Leiter Joseph Bastian legen gemeinsam mit Camille Schnoor, Sopran, und Angela Brower, Mezzosopran, eine neue Einspielung mit symphonischen Werken der amerikanischen Komponistin Amy Beach vor.

“Notas de Mujer” una celebración del talento y la creatividad de destacadas mujeres compositoras a lo largo de la historia. De lunes a viernes a las 9:00 hrs. en www.radioudec.cl y el 95.1 FM. Producción: Carolina Valdés - Locución: Sergio Morales.

Amy Beach is a name that might not be familiar to you. She was born in 1867 and died in 1944, and her life was one of the most fascinating and varied in musical history. She was a child prodigy, became a successful pianist, and then pivoted to composing at her husband's request. She was one of the first successful composers without any training from Europeans, and when her Gaelic Symphony was performed for the first time in 1896, it became the first symphony by an American woman to be published or performed. This symphony, and Beach's whole career, is inextricably linked with the history and mores of the time, from the influence of Dvorak on American music, to Beach's stop and start relationship to performing. The Gaelic symphony is a remarkable amalgamation of American symphonic brilliance, some European influence(especially from Dvorak), and the music of Beach's own heritage. It's a symphony that was very popular in its time and then was forgotten, but now is finding itself on the stage more and more often. This week on the show we'll go through this beautiful symphony, a pillar of early American classical music, and a piece that certainly deserves to be better known than it is. Join us!

Interpreten: Lisa MariaSchachtschneiderLabel: Ars ProduktionEAN: 4260052383773Es gab eine Zeit, da war der Begriff „Konzeptalbum“ein wenig in Verruf geraten. Mittlerweile jedoch erlebt die thematisch passendeZusammenstellung verschiedenster Komponisten, Zeiten und Stile wieder eineHochblüte. Besonders gelungen, in mehrfacher Hinsicht, ist dies beim jüngstenAlbum der Pianistin Lisa Maria Schachtschneider.Die aus Deutschland stammende, seitJahren jedoch in der Schweiz beheimatete, Pianistin Lisa Maria Schachtschneidersieht es als großes Privileg, „von atemberaubend schönen Berglandschaftenumgeben zu sein und eine der höchsten Luftqualitäten weltweit täglich einatmenzu dürfen“. So schreibt sie es am Beginn des Beihefttextes zu ihrer neuen CDPlanet Earth – as within so without. Mit dem Musikprogramm darauf, den vierElementen zugeordnet, möchte sie einen künstlerischen Anstoß zu einem „wertschätzenden,achtsamen und bewussten Wahrnehmen und Erhalten unserer Natur und Umwelt geben“.Eine Referenz an ihre SchweizerWahlheimat findet sich mit dem Schweizer Jahr aus den Années de Pèlerinage vonFranz Liszt sowohl beim Wasser als auch in der Luft. Bekanntes stammt weitersaus dem Repertoire von Claude Debussy, u.a. Feux d'artifice, Maurice Ravel,Jeux d'eau oder Igor Strawinsky, danse infernale aus dem Feuervogel. Zu denprominenten Herren der Tonsetzerzunft gesellen sich nicht minder großartigeWerke von Komponistinnen der letzten 200 Jahre. So gibt es Höhepunkte wie dasu.a. wunderbar impressionistische From Grandmother's Garden von Amy Beach oderdie, für ihre Entstehungszeit um 1947/48 sehr spätromantische, Klaviersonatevon Martha von Castelberg zu entdecken. Oder die ausgesprochen originellen Preziosenaus den Träumereien von Sophie Gräfin Wolf Baudissin. Es ist jedoch nicht nurdie Auswahl der einzelnen Stücke, und natürlich das ganz hervorragende Spielder Pianistin selbst, sondern auch die Anordnung und Dramaturgie derZusammenstellung, die diese CD zu etwas ganz Besonderem macht. (mg)

SynopsisOn today's date in 1908, the Hoffman String Quartet gave a recital at Boston's Potter Hall, opening their program with a Romantic classic, Robert Schumann's String Quartet from 1842, followed by much more modern fare — Debussy's String Quartet written in 1893.And to close their program, the Hoffman Quartet premiered a brand-new contemporary work: a piano quintet by American composer Amy Beach, with the composer at the piano.The Boston Globe's critic noted “the audience was of goodly proportions and very demonstrative in its appreciation of Mrs. Beach's composition,” but (critics being critics), did a little nit-picking, concluding, “The work is thoroughly good, though a little too choppy at times.” The critic from The Boston Evening Transcript had fewer nits to pick, writing: “The quintet begins in the luminous key of F-sharp minor, and throughout Mrs. Beach modulates freely … [she] has sought a modern sonority of utterance … Her rhythms spurred the ear, and her harmonies [have] tang and fancy … In imagination, feeling, and expression, it is distinctly rhapsodic. Mrs. Beach can think musically in truly songful melodies, and such are the themes of her new quintet.”Music Played in Today's ProgramAmy Beach (1867-1944): Piano Quintet; Garrick Ohlsson, piano; Takács Quartet; Hyperion CDA-68295

In den nächsten Tagen ist die amerikanische Pianistin Claire Huangci in Bayern und in Vorarlberg unterwegs, unter anderem mit Musik von Amy Beach. Musik aus Amerika hat Huangci auch zum Thema ihrer neuesten CD gemacht, die im vergangenen Herbst erschienen ist: "Made in USA".

Samantha Ege is both a leading scholar and interpreter of Florence Price. In this interview, she talks about her recent book “South Side Impresarios: How Race Women Transformed Chicago's Classical Music Scene”. I was fascinated to learn about this compelling history of Chicago's Black Renaissance with women such as Nora Holt,  Margaret Bonds, and Katherine Dunham.  Dr. Ege shared how the scholarship side of her work informs both her identity as a pianist and also how this research and storytelling cause her to reflect on some of her own challenges. We also talked about some of her other recent recording projects, including the upcoming Avril Coleridge-Taylor piano concerto and chamber music with Castle of our Skins, and she reflected candidly on her personal creative life as a writer, performer and composer. Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website Newsletter sign-up Buy me a coffee? Merchandise store You may be also interested in the following episodes:   Gerry Bryant Daniel Bartholomew-Poyser   Vahn Black Rebeca Omordia Omo Bello DeWitt Fleming Jr.  Destiny Muhammad among so many https://www.leahroseman.com/about Troubled Water by Margaret Bonds from concert in Chicago for Crossing Borders Music Fantasie Negre no. 1 in E minor by Florence Price: from concert in Chicago for Crossing Borders Music https://www.samanthaege.com/ Timestamps:  (00:00) Intro (02:11) book Southside Impresarios, Race women, Florence Price (05:07) racism, Florence Price, John Powell (10:50) Margaret Bonds “Troubled Water” from live performance (link to video in show notes) (15:46) Southside Impresarios, Black Chicago Renaissance, Florence Price (18:08) Wannamaker competition, Florence Price, Margaret Bonds (21:47) Nora Holt, Florence Price (30:43) Samantha's practice diaries, Avril Coleridge-Taylor piano concerto (38:03) other episodes you'll like and ways to support this series (38:56) composing, identity and confidence (41:17)the importance of storytelling, upcoming Chicago concerts, community of Black researchers (44:59) Katherine Dunham, ballet (47:05) Boston Six, Amy Beach, exclusion of Black composers (48:55) excerpt from Fantasie Nègre by Florence Price from live performance (link to video in show notes) (51:52) Chamber music album with Castle of Our Skins, Undine Smith Moore, Bongani Ndodana-Breen (55:08) Cambridge Companion to Florence Price, Rae Linda Brown, Alexandra Kori Hill (57:16) Southside Impresarios (59:56) Samantha's reflections on her career, Doreen Carwithen concerto

Sie kennt den Schwung vom Tennisspielen. Tennis hat die Französin mit Leidenschaft gespielt, bis sie den Schläger durch den Dirigentenstab eingetauscht hat. Seitdem fällt sie auf durch zahlreiche Debüts mit renommierten Orchestern und durch ihre konsequente musikalische Arbeit. Mit diesem Erfolg arbeitet Marie Jacquot seit der Saison 2023/24 als Erste Gastdirigentin der Wiener Symphoniker, seit 2024/25 hat sie zusätzlich die Aufgabe der Chefdirigentin des Royal Danish Theatre Copenhagen übernommen und zur kommenden Saison, 2026/27, wird sie Chefdirigentin des WDR Sinfonieorchesters. Am 15. und 16. Dezember wird Marie Jacquot in Hamburg gastieren. Mit dem Philharmonischen Staatsorchester wird Leonard Bernsteins Ouvertüre zu "Candide" zu hören sein. Außerdem das Trompetenkonzert des Jazzers Wynton Marsalis, in dem Selina Ott den Solopart übernimmt. Und schließlich Amy Beach mit der Sinfonie e-Moll, op. 32 "Gaelic". Über ihr Programm in Hamburg, ihre Karriere als Dirigentin und das Spiel im Konzertsaal wird Marie Jacquot mit Friederike Westerhaus in "NDR Kultur à la carte" sprechen.

Our guest for Episode 53 is Dr. Libby Ando! Episode Highlights Congratulations to Dr. Ando! Coda Brass Quintet: https://www.codabrassquintet.com/ Working with the Rowan University Marching Band, Drum Corps Studying with Lyndsie Wilson at Rowan University, Elizabeth Pfaffle at West Chester University, and Leelanee Sterrett at Rutgers University Attending college during COVID Transcribing Ethel Smyth's Cello Sonata John Burroughs quote, “Leap and the net will appear.” Research on orchestral excerpts by women composers: Alice Mary Smith, Augusta Holmès, Amy Beach, Ethel Smyth Advice for those who want to start a chamber group.

durée : 01:27:47 - En pistes ! du lundi 07 octobre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - La Rapsodie in Blue fête ses 100 ans, Gershwin sera donc à l'honneur de cette première émission de la semaine, sans oublier Samuel Barber, Morton Gould et Amy Beach. En pistes !

durée : 01:27:47 - En pistes ! du lundi 07 octobre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - La Rapsodie in Blue fête ses 100 ans, Gershwin sera donc à l'honneur de cette première émission de la semaine, sans oublier Samuel Barber, Morton Gould et Amy Beach. En pistes !

Nach dem Vorbild des New York Underground Film Festivals schaffte es das originelle Lausanne Underground Film and Music Festival (LUFF) mit experimenteller Musik und ebensolchem Film aus dem Untergrund auf die Preisträgerliste des Bundesamt für Kultur. [01:30] Aktuell: Der kanadische Filmkomponist Howard Shore, dreifacher Oscar-Preisträger, erhält am Zurich Filmfestival den Career Achievement Award für sein Lebenswerk. Es umfass unter anderem die Musik zu Blockbustern wie «Der Herr der Ringe», «Das Schweigen der Lämmer» oder «Mrs. Doubtfire». (Elisabeth Baureithel) [10:30] Talk: Im experimentellen Film- und Musikuntergrund beim LUFF in Lausanne. Das Gespräch von Gabrielle Weber mit Dimitri Meier und Thibault Walter, Co-Leiter des Musikprogramms, und der Geschäftsführerin Marie Klay. (Gabrielle Weber) [25:00] Neuerscheinungen: - «Made in USA»: Klaviermusik von George Gershwin, Amy Beach, Samuel Barber. Claire Huangci, Klavier (Alpha Classics, 2024). - Unbekannte Kammermusikperlen von Mathilde Kralik von Meyrswalden: Klaviertrio, Violinsonate, Nonett. Oliver Triendl, Klavier, Solisten des Symphonieorchester des Bayerischen Rundfunks and Friends (Hänssler, 2024). (Felix Michel) [47:40] Swiss Corner: «Tourist Trap», Touristenfalle, die neuste Kreation des Musikers und Regisseurs Thom Luz in der Kaserne Basel (9.-13.10.). (Joseba Zbinden)

Die Werke, die Claire Huangci hier spielt, könnten unterschiedlicher kaum sein - die Palette reicht von Gershwin über Amy Beach bis zu Samuel Barber. Und die Pianistin spielt das alles fantastisch: ein spannender Streifzug durch 50 Jahre amerikanische Musikgeschichte.

A dedicated teen violinist and poet performs Amy Beach's passionate Romance. A clarinetist describes a moment discovering complete silence out in nature and how he draws on that feeling in his performance of Debussy.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this episode of the Piano Ninja Tricks podcast, Lisa Spector shares her latest adventures in the world of piano. Lisa talks about her recent YouTube Live performances, including a special American music concert featuring works by Gershwin, Earl Wilde, Zach Gulaboff Davis and Amy Beach. She introduces her new YouTube Live series, "Piano Practice in PJs," and demonstrates how she applies multiple Piano Ninja Tricks while practicing Chopin's Third Scherzo. Lisa offers valuable advice on mastering these tricks and announces her upcoming Chopin concert and the Beyond the Keys Piano Retreat. Whether you're tuning in via your favorite podcast app or catching the replay on YouTube, Lisa's insights will inspire and elevate your piano practice.Music opening and closing played by Lisa SpectorOpening: End of Chopin Etude Op. 10 No. 12 "Revolutionary"Closing: Beginning of Chopin Etude Op. 25 No. 2 in F minorInstagram IG Broadcast Channel YouTubeBest Free Piano Ninja Fingering TricksPiano Ninja Tricksters ClubWebsitePodcast Art by Cindy Wyckoff at Design It Digital

  Piano Ninja Tricks Podcasthttps://LisaSpector.comAs we celebrate the July 4th holiday week, I invite you to join me for a special YouTube Live event, "Red, White, and Rhapsody in Blue," on Sunday night. I'll be playing Gershwin's Rhapsody in Blue, the enchanting Dreaming of Amy Beach, and virtuoso etudes by my Juilliard professor Earl Wild, including a left-hand-only arrangement of Gershwin's "The Man I Love."Sunday, July 7 at 5 Pacific / 8 Easternhttps://www.youtube.com/live/H63MJB3Pt2UIn this episode, I dive into Amy Beach's early work "Dreaming" from Opus 15 Sketches, sharing tricks on how to keep inner notes soft while bringing out the melody. We'll explore Beach's remarkable life and her groundbreaking contributions to American music. I'll demonstrate tricks for controlling inner voices and maintaining expressiveness in your playing. Join me as I prepare for our upcoming live performance and celebrate the rich legacy of American composers.Remember to tune in live for a chance to win great prizes and experience the full performance of "Dreaming", Gershwin's Rhapsody in Blue and other American favorites. See you on YouTube Live and enjoy the beauty of this timeless music.Music opening and closing played by Lisa SpectorOpening: End of Chopin Etude Op. 10 No. 12 "Revolutionary"Closing: Beginning of Chopin Etude Op. 25 No. 2 in F minorInstagram IG Broadcast Channel YouTubeBest Free Piano Ninja Fingering TricksPiano Ninja Tricksters ClubWebsitePodcast Art by Cindy Wyckoff at Design It Digital

Amy Beach - RomanceDawn Dongeun Wohn, violinEsther Park, pianoMore info about today's track: Delos DE3547Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Dorothy Byrne has worked in journalism for more than 40 years, including almost 20 years as Head of News and Current Affairs at Channel 4 from 2003 to 2020. She talks to Michael Berkeley about the sexism and harassment she experienced as a young producer, which she detailed in her MacTaggart Lecture at the Edinburgh Television Festival in 2019, in which she added that she would still recommend journalism to young women today - ‘in what other line of work, when... you hear of some absolute disgrace, can you say to yourself “I'm going to make a programme exposing that and I'll put a stop to it!” And sometimes you even do.' She has also argued that challenging journalism which calls politicians to account is a vital part of any healthy democracy. Since 2021 she has been President of Murray Edwards College, a women-only college at the University of Cambridge. Her music choices include pieces by Mozart, Handel, Amy Beach and Nina Simone, as well as a recording of her college choir performing music by Hildegard of Bingen.Producer: Graham Rogers

Una de las pianistas españolas más reconocidas actualmente nos visita para presentarnos su nuevo disco, Homeland (Eudora Records). Un trabajo grabado en el Auditorio Miguel Delibes de Valladolid en enero de 2023 junto a la Orquesta Sinfónica de Castilla y León y el director de orquesta suizo, Kaspar Zehnder. La prestigiosa pianista donostiarra también nos acerca el concierto que ofrecerá el próximo 6 de junio en el Centro Nacional de Difusión Musical. Un recital con obras de Schumann, Chopin, Debussy, Amy Beach, Mompou y Grieg.Escuchar audio

Kinetic celebrates women in music with works by Amy Beach, Gabriela Lena Frank, and a world premiere by Nicky Sohn.

Feeling tired? Need to unwind? Then how about some gentle, soothing piano music? Welcome to the Episode 10 of the Fourth Series in the Relaxing Piano Playlist! In this very special episode, I perform for you music by Jean Louis Nicodé, Dora Pejacevic, Edward MacDowell and Amy Beach. I also feature an exclusive addition of a brand new piece by a current  contemporary London based composer, Nickie Hart, as well as a very special piece from Ukrainian composer Mykola Lysenko. To finish I also perform Movement 2 from Piano Concerto in A minor Op.16 by Edvard Grieg.

SynopsisA remarkable shift of focus in music history occurred in the latter part of the 20th century when performers and musicologists began turning their attention to neglected works by women composers of the past and present. Composers such as Hildegard von Bingen, Clara Schumann, Amy Beach, Rebecca Clarke and Florence Price began to receive the attention they deserved.Much work remains to be done on this front, however.Take the case of Monserrate Ferrer Otero, also known as Monsita Ferrer, born in San Juan on this date in 1885. She began playing the piano at an early age and later pursued composition studies in New York. She was one of Puerto Rico's first professional woman composers and in 1956 served as an adviser in the planning of its Conservatory of Music. Although enjoying success during her lifetime, only a few of her works are still performed today. This slow waltz, Bajo el Oro del Crepúsculo (or Under the Gold of Twilight) was dedicated to fellow travelers aboard the luxury liner Victoria Luisa.A string quartet and most of her other vocal and piano works remain unpublished long after Ferrer‘s death in 1966.Music Played in Today's ProgramMonserrate Ferrer Otero (1885-1966) Bajo el Oro del Crepúsculo (Vals lento); Kimberly Davis, p. from album ‘La Ondina: Una Colección de Música Puertorriqueña para Piano'

Kodan Quintet members Hunter O'Brien, Corbin Krebs, Ian Daugherty, Lauren Anker and Keeheon Nam visited Studio A to perform music of Amy Beach and Valerie Coleman.

Amy Beach konnte im Alter von einem Jahr Melodien sauber singen, mit zwei Jahren Kontrapunkte dazu improvisieren, mit drei Jahren brachte sie sich selbst lesen bei. Überflüssig zu erwähnen, dass sie ein Klavierwunderkind war.

there is a pose A TWIST OF THE WRIST TURNED UPWARDS AND CROSSED LEGS used to signify the state between life and death we will try &show u (with thanks to Elizabeth Price for showing us) -- TRACKLIST: 1. Cantilena for Flute and Organ (Adagio espressivo) 2. Silueta - Carmen Villain 3. The Reckoning - Ekin Fil, Ella Zwietnig 4. Triste suis de vostre langeur - Anonymous, Michal Gondko, La Morra, Corina Marti 5. A love Song - Live Field Recording - Pauline Oliveros 6. By the Still Water, op. 114 - Amy Beach, Kirsten Johnson 7. Sonata for Viola and Piano, Op. 22: I. Allegretto (Rubato) - Marion Bauer, Sigrid Karlstrom, Eric Trudel 8. Magdalena - Sarah Davachi 9. Le Malentendu - Lafawndah, Lala &ce

Amy Beach - In the Twilight Katherine Kelton, mezzo-soprano Catherine Bringerud, piano More info about today's track: Naxos 8.559191 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

I was talking with one of my high school students a few weeks ago about music by women composers. We were studying "Canoeing" by Amy Beach in the Celebration Series Level 7 Piano Repertoire book, the third piece in her Op. 119 collection, From Six to Twelve for Piano written in 1927. "Amy Beach was the first American woman to achieve widespread recognition as a composer of large-scale works," I read from my iPad.My student, in addition to piano and double bass, her primary instrument, is also a composer. Her most recent work was a four-and-a-half-minute piece for string ensemble that she wrote over a weekend!She's also picked up numerous other instruments through the years—harpsichord, marimba, viola, bass drum, guitar, and even a Viola da Gamba.We listened to a recording of the piece and played through the score. We discussed how the rippling eighth notes between the hands create a sense of paddling, left then right. We talked about Amy Beach's life, marriage, and musical career."This piece reminds me of works by a few other women composers," I said after a few minutes. I pulled up a copy of Cecile Chaminade's Album des enfants, Op. 123 written in 1906 and played the first page. "Another female composer writing around this same time was Charlotte Sohy," I said. "She has a set of piano pieces that might be fun for you to play," I said, pulling up the score for 6 petites pièces on my iPad. Her eyes lit up. "Yes, I'd like that," she said, nodding.This is how the idea began for studying and learning music by women composers during the month of March, International Women's Month. In this episode, I'll talk about the composers and scores we'll study over the next four weeks and share a resource list of elementary and intermediate piano music written by women composers that you can reference in your teaching.For show notes, click here.Resources Mentioned*Disclosure: I get commissions for purchases made through links in this post.Celebration Series Level 7 Piano Repertoire bookFrom Six to Twelve for Piano, Op. 119 (Amy C. Beach)Album des Enfants, Op. 123 (Cecile Chaminade)6 petites pièces (Charlotte Sohy)Ep. 047 - An Inside Look at My Lesson-Planning ProcessAlbum des Enfants, Op. 126 by Cecile ChaminadeScenes Enfantines, Op. 92 by Mel. BonisCanoeing, Op. 119, No. 3 by Amy BeachPortraits in Jazz by Valerie Capers25 Progressive Etudes by Louise FarrencLittle Gems for Piano (Paula Dreyer)Entrepreneur Profile: Paula DreyerUp-Grade! (Pam Wedgwood)The Old Boatman (Florence Price)Gifts of Asia (arr. Emilie Lin)Splattered with Fun! (Glenda Austin)I'm Not Scared (Nancy Telfer)Pictures and Beyond, Book 1 and Book 2 (Dianne Goolkasian Rahbee)At the Piano (Katherine Hoover)Piano Dreams (Anne TerzibaschitschCool Piano, Book 1 (Heather Hammond)Jazz, Rags, and Blues, Book 1 + Christmas Jazz, Rags, and Blues (Martha Mier)Enchanted World (Winnie the Pooh) (June Armstrong)At the Lake (Elvina Truman Pearce)Very Easy Little Peppers (Elissa Milne)Higgledy Piggledy Jazz (Elena Cobb)Ep. 045 - The Blues Composition ProjectImpressions: Suite for Solo Piano (Jennifer Eklund)The Best of Melody Bober, Book 2 (Melody Bober)Victress Sessions (Andrea Dow)A Collection of Florence Price's Piano Teaching Music Vol 1. Beginning Pieces (Florence Price)

Frank Murphy is joined by his friend Kathryn Frady. He recently recorded some See More Smokies episodes with fashion model Victoria Henley.  Frank and Kathryn saw each other at Brandon Gibson's funeral. Kathryn and her husband James spent Thanksgiving with Frank and his wife Jere.  Kathryn produced Amahl and the Night Visitors at Opéra Louisiane. They will do a different Christmas opera next year. Frank saw a picture from 2013 of Kathryn in Marble City Opera's production of The Gift of the Magi.  Frank will emcee Marble City Opera's fundraiser on Saturday at the Knoxville Botanical Gardens and Arboretum. Kathryn will sing during the event as will ten other opera singers who have performed with Marble City Opera over the last ten years. Tickets are available at https://www.marblecityopera.com/tickets   Kathryn will sing in a production of Cabildo in Iowa. The opera was written by Amy Beach in 1932. Kathryn will play a ghost. The Cabildo is an actual building in New Orleans that was once a prison. Frank says he did an opera-based scene in Tuesday's Einstein Simplified improv show.  Kathryn gave her niece a backstage tour during Amahl and the Night Visitors at Opéra Louisiane. Frank likes the backstage area at the Knoxville Civic Auditorium. Frank bought a discounted ticket to the Knoxville Symphony Orchestra's Clayton Holiday Concert.  During the show, Frank got a text and a call from his home-alarm monitoring company. The motion detector had triggered the alarm. Frank's next door neighbor was also notified because he is listed as Frank's emergency contact. Frank contacted four more of his neighbors to ask them to look around while the police were on the way. Frank thinks the heating system might have caused the curtains to billow under the motion detector. Kathryn wonders if it could have been triggered by a mouse.  This episode is sponsored by BoneZones.com (don't forget the S). Buy books and other merchandise autographed by Body Farm founder Dr. Bill Bass at https://bonezones.com/  Come to the Rose Glen Literary Festival on February 25, 2023 at the Sevierville Convention Center for “Dr. Bill Bass - A Conversation with Frank Murphy.” Learn more at https://www.roseglenfestival.com  Kathryn wants to meet Dr. Bass. She is workshopping an opera about grave robbing called Doctor & the Devils.  Kathryn gave her husband a massage gun and a karaoke microphone for Christmas. Frank asks if James is a singer in addition to being an actor and director. Kathryn says James does not usually sing but he actually did sing karaoke for two hours, including David Bowie songs.  Frank plays a lot of David Bowie songs on LakeFM, which reminds him that the audio podcast feed of the Frank & Friends Show is now available in LakeFM's  mobile app. https://www.lakefm.com/how-to-listen/  Jere sings with the Knoxville Choral Society. Frank attended their Fall concert at the Cathedral of the Most Sacred Heart of Jesus. Frank sat next to a man in his ‘80s who was visiting Knoxville. The man's sister is also in the Knoxville Choral Society.  In a matter of minutes, the older man tells Frank that he works as a jazz pianist at bars and restaurants in the San Fernando Valley. The man says that he composed the song “Spooky” which Frank knew as a song by Classics IV.  The man's name is Harry Middlebrooks. He told Frank that he had appeared on The Lawrence Welk Show. Frank relates that he once met a singer named Ava Barber who used to be on the Welk show. Harry says, “I'd love to talk to Ava! Have her call me this weekend.”  Sign up for a 30-day trial of Audible Premium Plus and get a free premium selection that's yours to keep. Go to http://AudibleTrial.com/FrankAndFriendsShow  Find us online https://www.FrankAndFriendsShow.com/  Please subscribe to our YouTube channel at https://YouTube.com/FrankAndFriendsShow  and hit the bell for notifications.  Find the audio of the show on major podcast apps including Spotify, Apple, Google, iHeart, and Audible.  Support the Frank & Friends Show by purchasing some of our high-quality merchandise at https://frank-friends-show.creator-spring.com  Find us on social media:  https://www.facebook.com/FrankAndFriendsShow  https://www.instagram.com/FrankAndFriendsShow  https://www.twitter.com/FrankNFriendsSh  Thanks!

In this week's bonus self-coaching episode, consider the following as you listen:  1. What are your expectations for your work, your family, your creative life? Take a few moments and write down what you expect of others and yourself. Where and to whom do you need to communicate those expectations? 2. What boundaries need to be set? Write a few statements that begin with "I" to claim your space and directly name what you need. 3. Where in your schedule can you fit in some rest? Set a boundary and keep the appointment with yourself. Today's music features Andrys Basten performing Amy Beach, Roxana Pavel Goldstein playing Dvorak, and Merideth Hite Estevez and Sookkyung Cho playing Schubert.

Amy Beach - A Thanksgiving Fable Katherine Kelton, mezzo-soprano Catherine Bringerud, piano More info about today's track: Naxos 8.559191 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Concert Pianist Joanne Polk (who is on the piano faculty at Manhattan School of Music) is playing a recital at Carthage College on Tuesday evening, October 11th, 7:30 p.m. in Siebert Chapel. The program will consist entirely of music by great women composers such as Amy Beach, Cecile Chamiade and Louise Ferrenc. This interview is interspersed with examples of Ms. Polk's piano playing.

Synopsis Amy Marcy Cheney Beach was born in Henniker, New Hampshire, on today's date in 1867. Amy Beach – or, Mrs. H.H.A. Beach, as she was also called – was one of America's first major women composers and a gifted concert pianist to boot We probably have Mr. Beach to thank for Amy's decision to devote herself more to composition than performance. In the spring of 1885, at the age of 18, Amy debuted as a soloist with the Boston Symphony, and it seemed a major concert career was in the offing. But later that same year, she married Dr. Henry Harris Aubrey Beach, a prominent New England physician. In respect to his wishes and the custom of the day for women in high society, Mrs. H.H.A. Beach curtailed her concert career and concentrated instead on writing music. Her first published work was a setting of a poem by Henry Wadsworth Longfellow, a long-time family friend. Only after her husband's death in 1911, did Amy revive her career as a concert pianist with a concert tour throughout Germany, returning to America at the outbreak of World War I. In her later years, she acted as mentor to a whole new generation of American women pursuing careers in music. She died in New York in 1944. Music Played in Today's Program Amy Beach (1867-1944) –Piano Concerto in c#, Op. 45 (Joanne Polk, piano; English Chamber Orchestra; Paul Goodwin, cond.) Arabesque 6738

Though many societies either forbade or looked down on women who wanted to be composers, many persevered. This show highlights Francesca Caccini, Elizabeth Claude Jacquet de la Guerre, Louise Farrenc, Cecile Chaminade, Germaine Tailleferre, Hildegard von Bingen, Marianna Martines, Fanny Mendelssohn, Amy Beach, Florence Price, and Queen Lili'oukalani.