Podcasts about artist diploma

Today's Coffee Connection is another musical episode. I chatted with Ngoc Vu, DAAD Music Scholarship Alumnus. He has won several national and international piano competitions over the years. Ngoc debuted in Semperoper Hall in Dresden when he turned 15, and he played at Carnegie Hall during the annual DAAD Sound Understanding Concert. Ngoc is originally from Dresden, Germany. What started as a mere coincidence turned into a successful career as a pianist. After graduating with an artist diploma from the University of Southern California 2018, he moved to Miami, FL. Recently, he finished his Artist Diploma in Piano Performance at the University of Miami Frost School of Music. Throughout the episode, you'll hear several pieces he enjoys playing.

Nommée parmi les meilleurs musiciens en-dessous de 30 ans selon la CBC, la pianiste Chloé Dumoulin est appréciée pour son jeu sensible, sa sonorité colorée et sa grande fougue. Elle jouit d'une carrière internationale, qui l'a amenée à jouer au Canada, aux États-Unis, en Europe, et en Chine, où elle a récemment fait sa première tournée solo en Asie. Elle a fait ses débuts à la Maison symphonique de Montréal sous la direction de Jacques Lacombe en 2021 et s'est produite comme soliste avec l'Orchestre Métropolitain en 2016. Lauréate du 3e grand prix du Concours Prix d'Europe 2024, Chloé est également récipiendaire d'un prix de la Fondation Sylva-Gelber, de la Fondation du Conservatoire, la Fondation Desjardins, les Fonds AIDA des Jeunesses musicales du Canada et la Worshipful Glass Sellers Company. Chloé Dumoulin a assuré la première partie de nombreux orchestres tels que l'Orchestre symphonique de Montréal et l'Orchestre Métropolitain. Elle a entre autres été invitée en récital à la Chapelle historique du Bon-Pasteur, au Festival de Lanaudière, aux Concerts Lachine, à la St James's Piccadilly (Londres) ainsi qu'au Festival de musique de chambre de Montréal à la Salle Bourgie. Pianiste aux qualités de chambriste remarquables, elle collabore régulièrement avec instrumentistes et chanteurs. Depuis septembre 2023, Chloé se perfectionne à la Guildhall School of Music and Drama à Londres (UK), où elle est lauréate de la Leverhulme Arts Scholar, bourse complète, pour y compléter un Artist Diploma sous la tutelle du pédagogue réputé Ronan O'Hora. Diplômée du Conservatoire de musique de Montréal, Chloé y a complété une double maîtrise en piano auprès d'André Laplante et de Claire Ouellet. Elle a notamment travaillé auprès de Louis Lortie, Richard Goode, Gabriela Montero, Robert Levin, Dame Imogen Cooper, Éric Le Sage, Ilya Poletaev, Anton Nel, Angela Cheng et Daniel Shapiro.Instagram :https://www.instagram.com/laprescriptiondrfred/?hl=frFacebook :https://www.facebook.com/people/La-prescription-avec-Dr-Fred-Lambert/100078674880976/ Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Most of us have experienced the gnawing doubt of our purpose. Few have leaned into that doubt and set out on a journey of exploration, knowing they are seafarers navigating the risks and opportunities of the voyage. This Great Conversation is with a woman who pursued formal education in business and economics at Harvard. It became her future core competency. She is now acknowledged as a thought leader in macroeconomic analysis and multi-asset capital allocation. But before that she said the great “Yes” to a passion centered in music earning her Doctorate in Musical Arts from the Cleveland Institute of Music, as well as an Artist Diploma and a Master's degree in vocal performance. She has won honors and accolades from international competitions and been featured as a soloist at the Kennedy Center. Now Anna Rathbun, CFA, CAIA is the Chief Investment Officer of CBIZ, Inc. (NYSE:CBZ), a leading professional services advisor to middle market businesses and organizations nationwide. Anna and I spend our time getting to the Yes of her journey which leads us to a discussion of the journey of the business owner. We agree it is a journey that transcends the P&L. It is a journey of the wants and needs of another through relationship and trust. (See the podcast “The Key Performance Indicator We Don't Measure…But Should”.) And trust, according to Anna, is fragile. It has a face, the other. It has a heart. And it has a mind. And this unique chemistry cannot be parsed or siloed. If we only focus on profit optimization, we will not build a sustainable and lasting relationship with our customers, suppliers, and employees. The bad news: we are in a time of shifting business models and shifting value systems for world markets. And that will impact the business owner here at home. The good news: if we harness what we know about ourselves and others, we can navigate these times to advantage both. Anna will be speaking on Thursday, January 30, 2025 at The Economic Update Breakfast at the Madison Centre Building Conference Center in Seattle, Washington. I will be there to meet her, physically, for the first time. Anna oversees a team conducting global economic research. She also produces the CBIZ Small Business Employment Index and the CBIZ Main Street Index, which are proprietary indices that keep a pulse on the small business employment conditions and other Main Street trends in the United States. Anna's opinions on global economic and market trends as well as monetary and fiscal policies are sought after by media outlets, and she is a regular guest contributor on Fox Business, CNN Money, Bloomberg, Reuters, Wall Street Journal and others. Anna is also an experienced professional in alternative investments, focusing on private equity, private credit and private real asset investing for institutional clients.  With a unique background that embraces both finance and the arts, Anna is dedicated to the issue of financial sustainability for organizations serving a mission. Enjoy this conversation with this master of the “Yes” in Life.

In what I hope is the last update before I launch the first season of the new podcast, in this episode I will: 1) Tell you about audience survey results (including reading out some responses about performing artists' frustrations and responding to a repeating theme which surprised me) 2) Describe the podcast to come (including some titles of episodes I'm writing) 3) Tie up some loose ends from the last podcast! Currently the best way to stay up-to-date is the newsletter, which you can sing up for HERE. New Website (under construction): classicallyuntrainedpodcast.com Here is a full written presentation of the new podcast: Classically (Un)Trained - Performing Artists (Re)Inventing Themselves in Times of Hardship and Technological Change  Classically (Un)Trained is a companion for classically-trained performers who are on a journey to (re)invent themselves for the 21st century and (re)discover meaning in what they've trained so hard to master.   … Performing arts degrees are likened to pyramid schemes, auditions are called cattle calls, and artists who make a living from performing are the 1%.  If you're a classically-trained actor, singer, instrumentalist or dancer, you've heard these quips before and you're well aware - thank you very much - that you've trained hard to fit into a very elite but, as it turns out, very overcrowded market - and one that is shrinking under your feet.  Most advice for young performers focuses on how to break into the industry, make enough money from gigging, or find the right parallel career. Those things are important, but something's missing. What about the need to find meaning in what you do, beyond just chasing after your next stage "fix"? What about the fundamental need to be part of a community of people you respect and admire, not just ones you need to outcompete? What about the importance of doing something you know is relevant, meaningful and even, dare we say, essential?  In every episode of the first season of Classically (Un)Trained, we'll explore artistic solutions to the economic, social, and technological problems facing the 21st century classically-trained performing artist and explore how performers can find meaning in their work not just despite of, but also thanks to, the unique challenges they face today.  About the host: Ema Katrovas is a classically-trained singer. She spent her formative years singing in regional Czech theatres. After the pandemic, she pivoted to contemporary classical music and cultural journalism, attending the Aix-en-Provence festival's cultural journalism workshop and completing a two year Artist Diploma residency at the High Conservatory in Lyon, where she created and performed in the one-woman vocal-theatre show Diva Lazarus*. She is currently working on a doctorate at the University of Strasbourg/HEAR with a thesis called* A Poor Opera: In Search of Vocal Theatre. www.emakatrovas.com

Today we welcome Mitch Marcello to the podcast.  Mitch holds a Bachelor of Fine Arts and Artist Diploma from Carnegie Mellon University, and a Master's Degree in Creativity and Innovation from Drexel University. Mitch is founder and director of Imago Innovation and is driven by the belief that a complex world needs innovative solutions. Mitch has assisted communities, colleges, architecture firms, law firms, and more to build workplaces where innovation occurs consistently. As an international speaker, Mitch challenges audiences to merge both science and art while contemplating the area of innovation. Mitch currently serves as Director of Innovation at First Church Williamsport, PA where he fosters transformation in Christ through fresh, relevant, and creative thinking.  Check out Imago Innovation HERE

Paul Williamson is featured in this podcast, performing excerpts from Beethoven's Piano Sonatas 22-28. Named one of CBC Music's “30 under 30” Canadian classical musicians, Paul Williamson is a first prize winner of the piano category of the Canadian national music festival (2014), the Canadian Federation of Music Teachers' Association national piano competition (2017), and a prizewinner of the WMC McLellan Competition (2020) and the Shean Piano Competition (2022). As a soloist, he has appeared with the Winnipeg Symphony Orchestra. the University of Manitoba Symphony Orchestra, and the Fraser Valley Symphony Orchestra. He has performed alongside Julian Pellicano, Alexander Mickelthwate, Aiyun Huang, Orli Shaham, and Jim Walker. He has appeared at Morningside Music Bridge, Orford, Kneisel Hall, Aspen, Hornby, Scotia, Agassiz, and has held residency at the Avaloch Farm Music Institute. Paul holds a Bachelor of Music degree from the University of Manitoba and a Master of Music degree from the Colburn Conservatory of Music, where he continues to study with Fabio Bidini in the Artist Diploma program. Most recently, Paul returned to the University of Manitoba to serve on the faculty as a piano instructor for the 2022 Winter term. His other musical influences include David Moroz and Jean-Yves Thibaudet. Paul is grateful for the support of the BC Arts Council. Over more than two decades, Mark Travis has served as a writer, producer, broadcaster, lecturer, podcaster, voiceover artist, multi-cam director, video editor, and audio engineer. Currently Director of Media Production for the New York Philharmonic, he has directed the Orchestra's broadcasts, hosted by Alec Baldwin, since 2003. The concert was recorded on October 26, 2022, at St Leo Auditorium in Bonita Springs, FL.

On today's episode we welcome the brilliant, Swiss pianist, Sebastian Issler.  Sebastian was in London during the beginning of the pandemic. He was in need of lessons online and remembered watching 'The Choreography of the Hands' a few years before. He then sought out Robert Durso. Since then, he has been having lessons with Robert Durso online and has travelled to Philadelphia several times for in person lessons. His story demonstrates  the possibility of excelling in the Taubman Approach through a combination of online and in person lessons. Sebastian is an inspiring pianist! Please visit Sebastian's website at: www.sebastianissler.com Swiss Pianist Sebastian Issler received the Jean Meikle Prize for best Duo at the 2022 Wigmore Hall/Bollinger International Song Competition, together with British-Hungarian soprano Anna Cavaliero. He is the winner of the 2022 Paul Hamburger Prize for Lieder, finalist of several international competitions, including the International Schubert Competition Dortmund, and multiple prize winner of the Swiss Youth Music Competition.​Sebastian is the first pianist-in-residence at the City Music Foundation in London, which also acts as his management.​With his duo partners, Sebastian has performed at Milton Court Concert Hall, International Lied Festival Zeist, LIEDBasel Festival, Origen Festival Cultural, Liedrezital Zurich, Abbey Library of Saint Gall, Tonhalle Zurich, Barts Heritage Great Hall, St. Martin-in-the-Fields, and Wigmore Hall, among others. He also appears regularly as an accompanist in masterclasses with luminaries such as Brigitte Fassbaender and Thomas Hampson, and recently as a soloist with the Collegium Vocale Lenzburg in Switzerland.​In 2021, he recorded his unique programme ‘The World of Song' for the Montreux Jazz Festival China at the Schubertiade Hall. ‘The World of Song' was first broadcast in an immersive cinema in 360 Reality Audio at the festival in Hangzhou, China.​He is a graduate of the Guildhall School of Music & Drama in London, where he completed his Artist Diploma as a Guildhall Scholar working with Julius Drake and was a member of Graham Johnson's Song Guild. Prior to his studies in London, Sebastian completed two master's degrees, both with distinction, at the Zurich University of the Arts. He is a scholarship holder of Arosa Kultur and LIEDBasel.​Sebastian is influenced greatly by working with Robert Durso at the Golandsky Institute in New York which significantly changed his own playing and teaching style. He is based in Zurich and enjoys teaching, specializing in the Taubman Approach.​He is currently a fellow at the Guildhall School of Music & Drama, where he gives his lecture ‘Choreography of the Hands' to piano master students in the piano accompaniment programme. Sebastian is a teacher for piano accompaniment at the Zurich University of Teacher Education and is a guest lecturer at the Zurich University of the Arts.The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

Starting off Season 2 in 2024 with an episode featuring trombonist, educator, and composer James Burton III! We delved into James' trombone origin story, exploring his musical evolution across various music institutions and alongside legends like Illinois Jacquet to his professional stints on Broadway and in the broader music scene. Beyond his illustrious career, we explored his impactful role as an educator at Juilliard and beyond. Our Q&A session also featured insightful inquiries about setups, what James' has been listening to recently, and the prospect of relocating to NYC to pursue a career in music. This is THE episode to catch if you've ever been curious about what goes into a vibrant music career in NYC! Don't know much about James? Let's catch you up: “Trombonist, composer, arranger James Burton III has lent his sound to multiple Grammy Award-winning albums and Tony Award-winning Broadway productions. Born in Queens, now a resident of Harlem, Burton III is a Summa Cum Laude graduate of the Jackie McLean Institute at the Hartt School of Music. While earning his Master's Degree and Artist Diploma from the Juilliard School, Burton held both the Morse and Gluck Fellowships and received the Schuman Prize, an award named for Juilliard's founding president and given to one graduating Masters Degree candidate annually.Burton got his professional start playing with many of the great large ensembles; the Illinois Jacquet Big Band, the Dizzy Gillespie All Stars, the Lincoln Center and Vanguard Jazz Orchestras etc. Additionally, the opportunity to perform/record with legends Jimmy Heath, Slide Hampton, Ron Carter and Christian McBride inspired Burton to co-found a 10-piece ensemble called the Uptown Jazz Tentet, which celebrated the release of a second album in late 2020, to much critical acclaim. Currently, Burton's playing and original compositions can be heard alongside band mates Jeremy Pelt and Wayne Escoffery in a dynamic new ensemble; Black Art Jazz Collective. BAJC has released three albums since its inception, the latest two reaching the #1 position on the JazzWeek Charts for international radio play. In the model of jazz education pioneer Jackie McLean, Burton is an avid educator and has been a full time associate professor at both the Juilliard School and Manhattan School of Music as well as Director of Jazz Education at New Jersey Performing Arts Center. Burton continues to pass on the legacy of the music via master classes, ensemble coachings and workshops for arts education institutions across the globe.” Our next live episode will be during the NAMM Show in Anaheim, California, later this month and will feature special guest Trent Austin! Stay tuned for airing date and time details by following our social media channels and checking our newsletters. For more insights and updates, be sure to follow us on Instagram: James Burton III's Instagram Virtuosity Musical Instruments' Instagram⁠⁠⁠⁠ ⁠⁠⁠J. Landress Brass' Instagram⁠⁠⁠ You can also explore more about our businesses on our websites: ⁠⁠⁠Virtuosity Musical Instruments' Website⁠⁠⁠ ⁠⁠⁠J. Landress Brass' Website⁠⁠⁠ Happy listening, friends!

In this episode, Kelly speaks with Canadian pianist and singer Michelle Lynne. Michelle performs widely across Europe, is Lecturer of Entrepreneurship, and is co-founder of The Fearless Artist Mastermind. She graduated from the Université de Montréal with a Master's and Artist Diploma in piano performance and currently holds positions as Lecturer for Music Entrepreneurship at Conservatorium Maastricht and Codarts University for the Arts, Rotterdam.  For more on Michelle, check out: https://www.thefearlessartistmastermind.com/⁠ Watch more Outside The Bachs podcast episodes on YouTube⁠⁠⁠⁠Listen on Apple Podcasts⁠⁠Get More Students For Your Private Music Studio: ⁠⁠OutsideTheBachs.com⁠⁠⁠⁠Follow Kelly on Instagram⁠⁠⁠⁠Follow Kelly on TikTok⁠⁠Facebook Group: ⁠⁠Private Music Instructors, Piano Lesson Teachers, and Music Studio Owners

Trombonist, composer, arranger James Burton III has lent his sound to multiple Grammy Award-winning albums and Tony Award-winning Broadway productions. Born in Queens, now a resident of Harlem, Burton III is a Summa Cum Laude graduate of the Jackie McLean Institute at the Hartt School of Music. While earning his Master's Degree and Artist Diploma from the Juilliard School, Burton held both the Morse and Gluck Fellowships and received the Schuman Prize, an award named for Juilliard's founding president and given to one graduating Masters Degree candidate annually. Burton got his professional start playing with many of the great large ensembles; the Illinois Jacquet Big Band, the Dizzy Gillespie All Stars, the Lincoln Center and Vanguard Jazz Orchestras etc. Additionally, the opportunity to perform/record with legends Jimmy Heath, Slide Hampton, Ron Carter and Christian McBride inspired Burton to co-found a 10-piece ensemble called the Uptown Jazz Tentet, which celebrated the release of a second album in late 2020, to much critical acclaim. Currently, Burton's playing and original compositions can be heard alongside band mates Jeremy Pelt and Wayne Escoffery in a dynamic new ensemble; Black Art Jazz Collective. BAJC has released three albums since its inception, the latest two reaching the #1 position on the JazzWeek Charts for  international radio play. In the model of jazz education pioneer Jackie McLean, Burton is an avid educator and has been a full time associate professor at both the Juilliard School and Manhattan School of Music as well as Director of Jazz Education at New Jersey Performing Arts Center. Burton continues to pass on the legacy of the music via master classes, ensemble coachings and workshops for arts education institutions across the globe. View the show notes and a transcript for this episode at: https://bobreeves.com/blog/james-burton-trombone-interview/ The Trombone Corner Podcast is brought to you by The Brass Ark (brassark.com) and Bob Reeves Brass (bobreeves.com).  

Hablamos con los ponentes Francisco Javier González, chelista y Artist Diploma por el Royal College of Music, y Elena Villazón, pianista, investigadora y docente

New York City-based bassist Mark Lewandowski originally hails from Nottingham, England. His interest in the bass took him to London to study at the Guildhall School of Music and Drama. Whilst studying at the school Mark was rapidly producing a strong name for himself on the London scene; playing regularly at the world famous Ronnie Scott's Jazz Club by only his second year in the capital. He was also awarded the Yamaha Jazz award, and is now continuing his studies in New York City as part of the celebrated Artist Diploma programme at the prestigious Juilliard School. He has been lucky to perform with a diverse range of musicians including such names as John Surman, Wynton Marsalis, Buddy Greco, Sheila Jordan, Henry Grimes, Steve Wilson, Paul Dunmall, Vic Juris, Martin Carthy, Jean Toussaint, Tcha Limberger, Julian Joseph, Bobby Wellins, Peter King, Soweto Kinch, Zoe Rahman.Support the show (https://www.buymeacoffee.com/thejazzpodcast)

I had so much fun talking with Wesley about music and history and much more. We will be talking again for sure! Here is a blurb from his site after the links:https://www.wesleyharrisonhall.com/Facebook                        Instagram                 Tik TokRecognized in 2016 by the Diapason Magazine as a “20 Under 30” leader in Organ, Harpsichord, and Sacred Music in the United States, Wesley Hall is a dynamic organist and early musician with a passion for translating the music of the past into the context of today's audience. An innovator in the field of sacred music, Wesley blended his passion for music and liturgy at the Yale School of Music and Institute of Sacred Music, and went on to receive an Artist Diploma in Organ Performance from the Oberlin Conservatory. As both a solo artist and a collaborator, his performances have been heard across the United States, Canada, and Europe. He was recently awarded 2nd Prize at the 2017 Sursa American Organ Competition and maintains an active performance schedule. Wesley is passionate about helping young musicians achieve their greatest aspirations, and serves regularly as a competition juror, and teaches students through private lessons and public masterclasses. He is the Minister of Music and the Arts at the First Baptist Church of Worcester, Massachusetts.Social Linkshttps://www.tiktok.com/@pilgrimsdigresshttps://www.facebook.com/PilgrimsDigress/https://www.instagram.com/pilgrimsdigressne/https://twitter.com/PilgrimsDigresshttps://podcasts.apple.com/us/podcast/pilgrims-digress/id1457453182https://open.spotify.com/show/5XuUSDpcXJgq1zjzJ0YUkb https://www.podchaser.com/Support the show (https://www.buymeacoffee.com/pilgrimsdigress)

Instagram: @noemiechemali_music • French-Lebanese-American violist Noémie Chemali graduated from McGill University's Schulich School of Music, where she received her Bachelor's degree. She received her Artist Diploma from the Robert McDuffie Center for Strings at Mercer University where she studied with Becca Albers and Hsin-Yun Huang. She currently lives in New York City where she is a Master's Degree student at the Juilliard School studying under Carol Rodland. Some performance highlights from her time at McGill include playing a concert with clarinetist David Krakauer in a program of Klezmer music, being selected to perform a chamber work by John Rea in a concert presented by the Société de musique contemporaine du Québec (SMCQ) alongside Schulich faculty and students, and participating in the 2018 Musical Chairs Chamber Music Festival, where she collaborated with students from the Mozarteum (Austria) and the Yong Siew Toh Conservatory of Music (Singapore). During her time at the McDuffie Center for Strings, she performed alongside faculty members of the Cavani and Ehnes String Quartets. In 2019, she also performed in “A Night of Georgia Music,” a tour of the American South with violinist Robert McDuffie, guitarist Mike Mills of the band R.E.M., and pianist Chuck Leavell of the Allman Brothers Band/Rolling Stones. Noémie has spent her summers at music festivals such as The Music Academy of the West, Sarasota Music Festival, Orford Musique, The Lunenburg Academy of Music Performance (LAMP), Scotia Festival of Music, Manhattan in the Mountains, and Green Mountain music festivals. While Ms. Chemali was a fellow at the Music Academy of the West, she played under the baton of esteemed conductors Larry Rachleff, Stéphane Denève, Gustavo Dudamel, and James Conlon. While at Sarasota Music Festival, she served as principal violist of the festival orchestra under the baton of Jeffrey Kahane and performed in a faculty concert as a member of a quintet with bassoonist Frank Morelli. She has, throughout the years, participated in various masterclasses with artists such as Joseph Silverstein, Ida Kavafian, Cynthia Phelps, Karen Dreyfus, Richard O'Neill, James Dunham, Jutta Puchhammer, and the Pacifica String Quartet. Passionate about diversifying musical audiences, she co-founded the Hildegard Project, which aims to bring music written by women composers to women's shelters in the greater Montreal area, and was invited to speak about her work at the Classical Evolution/Revolution Conference in Santa Barbara, CA. Most recently, she founded Music@Daybreak, an interdisciplinary performance and research project which features performances at homeless shelters in collaboration with the Sociology department at Mercer University. Noémie is the recipient of a Juilliard Career Grant, George J. Jakob Global Enrichment Grant, and Gluck Community Engagement Fellowship. In August 2022, she will be releasing Opus 961, her debut album of music written by contemporary Lebanese composers.

Hello everyone, This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic, a monthly interviews podcast where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets. On this episode of the Jazz Transcription Clinic Podcast Mirko Guerrini interviews the guest jazz doctor: Roberto Occhipinti Listen to Roberto Occhipinti's answers to the questions below: Why do you transcribe? 04:34 What do you expect to bring home from a transcription?  11:36 How do you choose the solos you transcribe? 18:34 What is your transcribing methodology? 20:18 How do you practise the solos you transcribe? 26:06 How do you incorporate ideas from the transcriptions into your playing? 43:44 Which transcription of yours is your favourite? 49:10 Bassist Roberto Occhipinti was born in Toronto, Ontario, Canada, on March 25, 1955. He comes from a prominent musical family that includes two guitarists: younger brother Michael and cousin David. Michael Occhipinti is a well-known sideman and co-founder of NOJO -- the Neufeld-Occhipinti Jazz Orchestra. At the University of Toronto, beginning in 1972, Roberto Occhipinti studied under Thomas Monohan and was mentored by Joel Quarrington and especially the acclaimed jazz bassist Dave Young. He was a member of the Winnipeg Symphony Orchestra in the mid-'70s, the Hamilton Philharmonic Orchestra in the early to mid-'80s, and the Canadian Opera Company Orchestra in the mid- to late '80s; was principal bassist with the Esprit Orchestra from 1986 to 1994; and was a longstanding member of Arraymusic from 1979-2000. By 1997, Occhipinti began working with Cuban expatriate jazz pianist Hilario Durán, then saxophonist Jane Bunnett's Spirits of Havana, NOJO with guest Sam Rivers or Don Byron, the Toronto sextet Soul Stew, Marty Morell, Gorillaz, Englishman Damon Albarn's Mali Music, the Russian Globalis Symphony Orchestra, the True North Brass, Jovino Santos Neto, the Gryphon Trio, the St. Lawrence Quartet, and Via Salzburg. Also a well-respected producer, Occhipinti has worked for Hilario Durán, Dafnis Prieto, Quartetto Gelato, and the Shurum Burum Jazz Circus, and has been a music director and orchestra contractor for films and commercials. He received an Artist Diploma from the University of Toronto in 1999, and in 2001, as part of Bunnett's Spirits of Havana, he shared the Juno award for Best Global Album. In 2005 he received his own Juno as producer of Durán's New Danzon CD. Other awards include the National Jazz Award for Producer of the Year in 2005 and 2006, and Acoustic Group of the Year for his own band in 2005. In 2006 he received a SOCAN award for the cartoon series George Shrinks.  In this episode, Roberto explains his personal transcribing approach and shows how to profit from every transcription you make. Among all the great things that Roberto says, my favourites are:  'What I put on paper when I transcribe is not what was originally written on paper, I write what I hear';  'I am always looking for good stuff to steal'. 'As Clark Terry use to say: Imitate, Assimilate, Innovate' 'You don't do justice to Dexter Gordon when you write his solos on paper' 'Most of the times, when I transcribe, I do it for the specific purpose of getting paid' 'The whole point of transcribing is to figure out why the player did that thing, why it works and why it appeals to you' Artists mentioned in this episode: Clark Terry, Dexter Gordon, Dave Liebman, George Russell, Richard Davis, Gorillaz, Jamiroquai, Joe Henderson, Mike Smith, Miles Davis,  a.o. You can check Roberto Occhipinti here:  https://en.wikipedia.org/wiki/Roberto_Occhipinti You can check Mirko Guerrini's music here: https://mirkoguerrini.bandcamp.com Mirko Guerrini is a D'Addario artist, playing D'Addario mouthpieces and reeds. I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.

Hello everyone and welcome to Speaking of the Arts. My guest today is Michael Fox. Michael and I go way back and I've wanted to have him on the show for a long time. Fox is the Founder and Owner of the booking agency Fox Performances, LLC. Fox previously worked as the Midwest Agent at International Music Network. (Side note, you can check out Episode 12 of Speaking of the Arts in which we featured the founder of International Music Network, Scott Southerd). In his tenure there, Fox booked National tours for Buena Vista Social Club, Wayne Shorter, Terence Blanchard, Ladysmith Black Mambazo, and Dianne Reeves, among many, many others. In addition to booking artist tours, Fox also works as a consultant for San Antonio Parks Foundation to help curate Jazz S'Alive, an annual two-day jazz event in Travis Park. Fox has also served on panels at the Arts Midwest and APAP conferences as well as a handful of colleges, speaking about the cultivation of Global Music audiences, activism in art and artist representation. Fox holds a Master's degree & Artist Diploma in Double Bass from the College-Conservatory of Music at the University of Cincinnati. Our conversation covers a variety of topics including Michael's own unique approach toward running his booking agency and what he is looking for in terms of prospective clients. Thanks for listening everyone and I hope you enjoy our conversation!

A musician who "effortlessly weaves between genres and brings as much rock and roll to the violin as she does classical precision and refinement to rock and roll," Grace Youn has established herself as one of today's most versatile violinists. A native of Tacoma, Washington, Grace began violin studies at age 7. Grace's performances have taken her across the United States, with shows in Seattle, Denver, New York, San Francisco, Los Angeles, Santa Fe, Honolulu, Chicago, Formula 1, and the South by Southwest music festival in Austin. She has performed solo with Conspirare, the Balcones Community Orchestra, Montecito International Music Festival Orchestra, Austin Civic Orchestra, the University of Puget Sound Orchestra and Wind Ensemble, and the Tacoma Youth Symphony. She was a prize winner in the Texas Rising Stars Competition, the Beatrice Hermann Young Artist Competition, the International Rockin' Fiddle Challenge, and the Music Teachers National Association Young Artist Competition and has performed at music festivals all over the United States. In 2011, Grace launched her YouTube channel, grace plays violin, where she explores various musical genres, combining classical traditions and techniques with other musical styles. Her videos have accumulated thousands of subscribers and millions of views. Grace's work has also been featured in film, TV, music recordings, and live shows of touring music artists internationally. She is working on her debut EP to be released later in 2021. Grace earned her Artist Diploma and Master of Music degree from the University of Texas - Austin and her Bachelor of Music degree in Performance from the University of Puget Sound. Her primary teachers include Brian Lewis and Dr. Maria Sampen. A dedicated teacher, Grace is on faculty at Huston-Tillotson University and Austin Suzuki Music School, and teaches masterclasses around the United States. Grace Youn's Instagram: @graceplaysviolin Edited by Galle Studios Your Host: @gracesviolin --- 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/b4thestage/message

American baritone Jarrett Logan Porter joins us on the Classical Post Podcast for a candid look at his inspiration from the worlds of design, interiors, fashion, and global travel. Speaking with a level of poignant depth beyond his years, he shares how minimalism, sentimentality, form, light, and a major nod to Japanese and Danish aesthetics influence him. Listen and subscribe on Apple Podcasts, Spotify, Google Podcasts, or other platforms. HIGHLIGHTS OF DISCUSSION Style icon: Jeff Goldblum Interior design inspo: Minimalism — should be timeless and classic, mixed with earthiness. Not stark minimalism, but Danish, Japanese style/design; Charles and Ray Eames aesthetic. Favorite place: Kyoto — smell, wetness of the trees. Anything that brings back those memories. Dream aesthetic: A sharp focus on sentiment, form, and light. What does his style say about him: Focus…that he cares. Put together, but not fussed over. Recommended products: Lulu Lemon, Acne Studios, J.Crew, Comme de Garcons, Aesop. What energizes him: Being around people where you can be real, knowing different levels of who you are. Whose shoes would he spend a day in: Yo Yo Ma Learn more: jarrettporter.com / Instagram — Praised for his “imposing baritone” and “supple vibrant baritone that he deploys with unaffected lyricism and manifest honesty” by Opera News, American baritone Jarrett Porter is quickly making a name for himself with a fearless talent and commanding intellect. Porter is currently a member of the Artist Diploma in Opera Studies at The Juilliard School.

Ever wondered how to get into tech without going to a bootcamp? In this episode, Aleks shares his journey into the tech world after fifteen years as a freelancer in NYC - and how a cycling accident shifted his mindset toward being open to a double career. Aleks Ozolins is a freelance French horn player in New York City and software support specialist at Knack. As a freelance musician, he’s performed with a wide variety of ensembles - from Broadway shows including Les Miserables, Wicked, and Phantom of the Opera, to the Radio City Christmas Spectacular, Chamber Orchestra of New York, New Jersey Symphony Orchestra, and the Philadelphia Pops. Recording credits include releases on Sony Classical, NAXOS, and the original Broadway cast recording of Dr. Zhivago.Aleks’ passion for technology developed in parallel with his artistic pursuits. His lifelong relationship with computers led him into his own business providing tech support for colleagues in the music industry. After Covid cleared his calendar, he decided to move full-time into the tech space. Aleks now works as the Weekend Success Lead at Knack, a no-code database development platform. On a Thursday-Monday schedule, Aleks works through customer issues during his weekday hours, and monitors company infrastructure and provides emergency support to enterprise customers on weekends.A New Jersey native, Aleks holds a Bachelor’s in Music Education from The College of New Jersey along with a Master of Music in Orchestral Performance and an Artist Diploma from the Manhattan School of Music. Support the show (https://buymeacoff.ee/doublerspodcast)

Coffee Without Milk: The E&FA podcast #12 feat. Naomi Niskala   Join celebrated and highly accomplished EFA guest pianist Naomi Niskala as we listen to and discuss the extraordinary and varied works in her repertoire. The conversation focuses on the published and discovered music of 20th Century composer Robert Helps as well as Naomi's process for rehearsing and presenting new works. Teaching and performing are paramount abilities of the modern pianist, and Naomi describes her philosophy and discipline before and during the pandemic crisis.   "Born to Japanese/Finnish-American parents, Niskala began studying piano at the age of three. She was raised in Rochester, New York and later in Tokyo, Japan. Niskala holds degrees from the Yale School of Music, the State University of New York at Stony Brook, and the New England Conservatory of Music, and also attended Tufts University. She received her Master of Music and Doctor of Musical Arts degrees in Piano Performance with Gilbert Kalish at Stony Brook, and an Artist Diploma with Claude Frank at Yale." (http://facstaff.susqu.edu/n/niskala/default.htm)   Learn more about Naomi: http://facstaff.susqu.edu/n/niskala/default.htm   Purchase her incredible recordings: https://www.amazon.com/Robert-Helps-Complete-Works-Piano/dp/B000S52Z14   (c)(p) Ebb and Flow Arts, 2020

Voici l'épisode 0 de la baladodiffusion de Concerts Lachine. SOMMAIRE DE l'ÉMISSION: - Charles Richard- Hamelin Bach Largo du Concerto en Fa mineur, BWV 1056 (arrangement Alfred Cortot) - Entrevue Patrick Corrigan , directeur général, L'Opéra de Montréal. Les défis des diffuseurs en temps de pandémie https://vimeo.com/486948926 - Deux interprétations de la pianiste Élisabeth Pion (1996) étudie présentement au Artist Diploma avec Ronan O'Hora à la Guildhall School of Music & Drama de Londres, où elle est récipiendaire d'une bourse d'études complète. À Montréal, elle a précédemment travaillé avec Francine Lacroix, Suzanne Goyette et André Laplante. Vidéo1 - https://vimeo.com/486939969 Vidéo 2 - https://vimeo.com/486955885 - Pour notre volet pédagogique aujourd'hui, une conversation avec Olivier Godin, qui enseigne au Conservatoire de musique de Montréal et à la faculté de musique de l'Université McGill - Mot de la fin

Chris Ziemba is a jazz pianist, composer, and educator based on the East Coast. He holds Bachelors of Music in Jazz and Contemporary Media as well as Music Education from the Eastman School of Music, where he studied with pianists Harold Danko and Paul Hofmann. He also holds a Masters of Music in Jazz and Contemporary Media from Eastman. Before leaving Rochester to establish himself in New York City, Ziemba won first place in the 2011 Jacksonville Jazz Piano Competition. In New York, he earned an Artist Diploma in Jazz Studies from The Juilliard School, where he studied with pianist Frank Kimbrough, famed for his work as a leader as well as with the Maria Schneider Jazz Orchestra. In 2013 he recorded Chakra with the Ted Nash Big Band. He has also performed with the Grammy-winning Gil Evans Project, led by Ryan Truesdell. Other highlights of his time in New York include performances with such renowned artists as Kurt Elling, Carl Allen, Marcus Printup, Ron Blake, and Karrin Allyson, among others. In 2016, Ziemba released his debut album, Manhattan Lullaby. The album features his original compositions and arrangements as played by saxophonist Michael Thomas, bassist Hans Glawischnig and drummer Jimmy Macbride. In 2017, Ziemba became the pianist for the Airmen of Note, the premier jazz ensemble of the United States Air Force Band based in Washington, D.C. He continues to regularly perform and record. Website: https://www.chrisziemba.com Manhattan Lullaby (debut album): https://tinyurl.com/y252qpum Mailing list: https://eepurl.com/gDrH2f For more information, visit www.chrisziemba.com

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

Dr. Laszlo is generally recognized as the founder of systems philosophy and general evolution theory. His work in recent years has centered on the formulation and development of the “Akasha Paradigm,” the new conception of cosmos, life and consciousness emerging at the forefront of the contemporary sciences. He serves as President of the Club of Budapest, Chairman of the Ervin Laszlo Center for Advanced Study, Chancellor of the Giordano Bruno New-Paradigm University, and Editor of World Futures: The Journal of New Paradigm Research.He is recipient of the highest degree in philosophy and human sciences from the Sorbonne, the University of Paris, as well as of the coveted Artist Diploma of the Liszt Ferenc Academy of Budapest. Additional prizes and awards include four honorary doctorates.His appointments have included research grants at Yale and Princeton Universities, professorships for philosophy, systems sciences, and future sciences at the Universities of Houston, Portland State, and Indiana, as well as Northwestern University and the State University of New York. His career also included guest professorships at various universities in Europe and the Far East. In addition, he worked as program director for the United Nations Institute for Training and Research (UNITAR). In 1999 he was awarded an honorary doctorate by the Canadian International Institute of Advanced Studies in Systems Research and Cybernetics.For many years he has served as president of The Club of Budapest, which he founded. He is an advisor to the UNESCO Director General, ambassador of the International Delphic Council, member of both the International Academy of Science, World Academy of Arts and Science, and the International Academy of Philosophy.Twice nominated for the Nobel Peace Prize (2004, 2005), he got Goi Peace prize (2001). He has authored more than 70 books, which have been translated into twenty languages, and has published in excess of four hundred articles and research papers, including six volumes of piano recordings.ervinlaszlo.com/amazon.com/gp/product/B07S7L6344/ref=dbs_a_def_rwt_bibl_vppi_i0eastforest.org

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

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.

James Benoit, a native of Niskayuna, New York, is the newly appointed Principal Timpanist of the Seattle Symphony. Previously, Benoit was the Associate Principal Percussionist and Assistant Principal Timpanist with the Fort Worth Symphony Orchestra and spent three seasons as a section percussionist with the Sarasota Opera.As an educator, Benoit was on faculty at the University of Pittsburgh and at the Luzerne Music Center. An avid supporter of music in the classroom, he also has worked as a teaching and performing artist with Associate Solo Artists, a non-profit organization that provides artistic interdisciplinary programs to children, teachers, businesses and social establishments by giving concerts, masterclasses and workshops in schools throughout New York.Benoit received his Artist Diploma from Duquesne University, his Master of Music degree from The Juilliard School and his Bachelor of Music degree from the Berklee College of Music.Watch here. Listen below.If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and Hello. 1:25 Your first year with the Seattle Symphony? The tenure process. 6:40 Innovations at the Seattle Symphony. 20:03 Studying with Sal Rabbio? 22:00 Your jazz experience? 29:25 Carter timp solos? Important books and rep.? 43:10 Casey: Deagan Tower Chimes 49:16 Important skills outside of your musicianship?

I'm very excited to have the talented, brilliant, funny, and (as you'll see) engaging Tessa Lark to the show to talk to us about joy in practice and music-making!  In this episode, we discuss her views about tackling work with the right mindset, the ways she sparks joy in her practice, and how getting in that joyful headspace not only makes it more gratifying for her, but also helps increase her productivity! I've been thinking a lot about Joy, self-compassion, and using positive self-talk in practicing and performing for the past few years and I ended up researching that topic in the context of my doctoral studies: the idea that high quality work can flow more easily when we are in the right mindset, the right disposition.  High-level results stem out of high-level thinking and solutions to problems come more easily when we're in a positive and open state of mind.  It is absolutely possible to have rigor without rigidity in the practice room! I had a wonderful time talking with Tessa about this topic that's really close to my heart! I feel like it's a way to approach practicing that can be very impactful and I hope this episode affects your next practice session in a positive way! We elaborate on: Her childhood in the foothills of Kentucky, starting with the Suzuki Method and enjoying attending Marc O'Connor's fiddle camps How she was introduced to fiddle music and blue grass and how it stays with her to this day Her experience with the The Cincinnati Starling Project in Cincinnati, studying with Kurt Sassmannshaus How she met and went on to study with Miriam Fried in Boston, and how Ms Fried helped her develop artistic integrity How the Naumburg Competition helped launch her career Practicing in ways that spark joy – searching for “things in your practice that bring you joy, as opposed to looking for all the things you're doing “horribly” wrong” The “talent” misunderstanding The misconception that “hard work” should feel “hard” Why we need to aim for “focused” and “efficient” work and, YES, that can feel good! Getting into the “joyful headspace” How struggle can be part of the process but its' not “necessary” How emotional depth can also be reached from a positive headspace and mindset Increased productivity How while joy is not a neutral feeling, the process to get there can be neutral The importance of knowing yourself and knowing what can get you to this joyful headspace The importance of setting goals, a positive mindset, reduce distractions, and find a physical space that feels inspiring and is conducive to efficient work How the language we use with ourselves is so important How mental discipline is important and can help us negotiate the variables that can affect performance How she uses a timer in her practice to improve her productivity   More about Tessa: Website: https://www.tessalark.com/ Instagram: https://www.instagram.com/tessalark/ Facebook: https://www.facebook.com/tessa.lark/ YouTube channel: https://www.youtube.com/user/HBOfosho YouTube videos featuring Tessa: https://www.youtube.com/results?search_query=tessa+lark More articles about Tessa: click here   The Cincinnati Starling Project: http://www.starling.org/cincinnati-starling-project Kurt Sassmannshaus / Violin Masterclass: http://violinmasterclass.com/en Kenny Werner Effortless Mastery: Liberating the Master Musician: https://kennywerner.com/effortless-mastery   Biography   Violinist Tessa Lark, recipient of a 2018 Borletti-Buitoni Trust Fellowship and a 2016 Avery Fisher Career Grant, Silver Medalist in the International Violin Competition of Indianapolis, and winner of the 2012 Naumburg International Violin Competition, is one of the most captivating artistic voices of our time. A budding superstar in the classical realm, she is also a highly acclaimed fiddler in the tradition of her native Kentucky. Since making her concerto debut with the Cincinnati Symphony Orchestra at sixteen, Ms. Lark has appeared with dozens of orchestras, festivals, and recital venues including Carnegie Hall, Ravinia, San Francisco Performances, Amsterdam's Concertgebouw, the Buffalo Philharmonic, and Marlboro Music. Highlights of her 2017-18 and 2018-19 seasons included multiple performances of two works for violin and orchestra written for her: Love Letter by bassist-composer Michael Thurber, and Sky, a bluegrass-inspired concerto by Michael Torke premiered and recorded with the Albany (NY) Symphony Orchestra. Additional recording projects include a fantasia-themed album including Ms. Lark's own Appalachian Fantasy and works by Telemann, Ravel, Kreisler, and Schubert; Invention, a debut album of the violin-bass duo Tessa Lark & Michael Thurber that comprises music of J.S. Bach along with non-classical original compositions; and a genre-bending disc in collaboration with such artists as multi-instrumentalist/composer Jon Batiste and American fiddling legend Michael Cleveland. Recent and upcoming activities include Australia's Musica Viva festival—a four-concert engagement highlighted by a duo collaboration with bassist/composer Edgar Meyer—and debuts with the Seattle and Indianapolis symphonies. Scheduled for May 2020 is a Lincoln Center recital debut on its prestigious Great Performers Series. Ms. Lark is a graduate of New England Conservatory with an Artist Diploma from The Juilliard School. She plays a ca. 1600 G.P. Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago.     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/    

Watch the video of this episode. What does it mean to be live? Can a hologram be considered performance? Is going to the theatre a private or communal act? And should performing artists embrace and incorporate technological change—or should they resist, and build an oasis from social media and screen time? What on earth is going on with live performance in the digital age? Listen to the first-ever recording of the podcast with a live audience! The panel, moderated by Ben, features Colleen Renihan, Craig Walker and Michael Wheeler of the Dan School of Drama and Music. About the Panel Colleen Renihan Colleen Renihan was delighted to join the Dan School of Drama and Music faculty as a Queen's National Scholar in 2016. She earned a B. Mus. in Vocal Performance from the University of Manitoba, an Artist Diploma in Opera Performance from the Vancouver Academy of Music, and an MA and PhD in Musicology at the University of Toronto in 2011 with generous funding support from the Social Sciences and Humanities Research Council of Canada. Her dissertation Sounding the Past was a finalist for the Society for American Music’s Housewright Dissertation Award. Dr. Renihan’s research considers aspects of opera and operatic culture from a postmodern perspective. Inherently interdisciplinary in nature, it explores cultural politics, popular culture, performance theory, temporality, memory theory, opera’s interactions with media (specifically film), and opera’s potential for intervention in current debates in the philosophy of history. Her work has been published in a variety of edited collections and journals, including, most recently, twentieth century music, The Journal of the Society for American Music, and Music, Sound, and the Moving Image. Forthcoming publications include an invited chapter on Benjamin Britten’s coronation opera Gloriana to an edited collection for Boydell & Brewer, and a chapter on affective listening in Harry Somers’s Louis Riel for Wilfrid Laurier Press. Two current book projects explore the historiographical dimensions of American postwar opera, and innovation in Canadian opera and music theatre 1970-2010. Dr. Renihan has presented her research at academic conferences in Canada, the United States, and Europe, including chapter and national meetings of the American Musicological Society, and in 2010, she participated in the Society for Music Theory’s graduate student workshop on ‘Music and Narrative’ with Michael Klein. She was a founding member of Operatics (a working group for the interdisciplinary study of opera) at the University of Toronto, a founding member of IPMC (Interdisciplinary Perspectives on Music in Canada), and has been involved with several research and writing projects at the Canadian Music Centre. Learn more about Colleen. Craig Walker is Director of the Dan School of Drama and Music and Professor of Drama, and is also cross-appointed to the Departments of English and Cultural Studies. Dr. Walker earned his Ph.D. at the University of Toronto, where he had taken his earlier degrees in English. He has taught courses in most subjects in Queen's Drama at one time or another. As a director, for the Queen’s Drama, Dr. Walker has directed the world premiere of Orbit, a play about the daughters of Galileo by Jennifer Wise (2014), a double-bill of Michel Tremblay’s Counter Service and Nina Shengold’s Lives of the Great Waitresses (2012), Thornton Wilder’s Our Town (2010), his own adaptation of Bertolt Brecht’s Drums In the Night (2008), John Lazarus’ Meltdown (2005), Michel Tremblay’s Les Belles Soeurs (2003), Thornton Wilder’s The Skin of Our Teeth (2000), his own translation of Odon von Horvath’s Judgement Day (1999), Richard Rose and D.D. Kugler’s adaptation of Timothy Findley’s Not Wanted on the Voyage (1997), the medieval morality play Everyman (1996) and Elmer Rice’s The Adding Machine (1993). From 1997 to 2007, Dr. Walker was Artistic Director of Theatre Kingston, during which time the company produced 54 plays, 36 of which were Canadian, including 18 world premieres. On the academic side (see profile on academia.edu), Dr. Walker's most recent publication is "Canadian Drama and the Nationalist Impulse" in The Oxford Handbook to Canadian Literature. He is the author of The Buried Astrolabe: Canadian Dramatic Imagination and Western Tradition and co-editor (with Jennifer Wise of the University of Victoria) of The Broadview Anthology of Drama: Plays from the Western Theatre, Volumes I and II and The Broadview Anthology of Drama, Concise Edition. He was Book Review Editor for Modern Drama for two years, from 1998 to 2000. In 2009, he was appointed as a Corresponding Scholar at the Shaw Festival. He is a Fellow of the Royal Society of Canada. Learn more about Craig. Michael Wheeler is Artistic Director of SpiderWebShow Performance, an online performance company working at a national scale. His previous position was as Executive Director of Generator, a mentoring, teaching, and innovation incubator that empowers independent artists, producers and leaders in Toronto. He has co-curated The Freefall Festival with The Theatre Centre and HATCH emerging artist projects with Harbourfront Centre. In 2017, he will co-curate the first Festival of Live Digital Art (foldA) at The Isabel Bader Centre for the Performing Arts. As Founding Artistic Director of Praxis Theatre and a theatre director, he has produced and created numerous independent works including Rifles (2 Dora nominations), the World Premiere of Jesus Chrysler by Tara Beagan presented in association with Theatre Passe Muraille, a National Tour of the SummerWorks Award-winning G20 drama You Should Have Stayed Home, and Jesse Brown’s Canadaland World Tour of Canada. Much of Michael’s work has intertwined with online tools, as editor and publisher of websites like PraxisTheatre.com (Winner Best Blog Post & Best Arts and Culture Blog: Canadian Blog Awards), DepartmentOfCulture.ca, AfricaTrilogy.ca, WreckingBall.ca and most recently SpiderWebShow.ca. He holds a BA (distinction) from McGill University and a Masters of Fine Arts from The American Repertory/Moscow Art Theatre Institute for Advanced Theatre Training at Harvard University. Learn more about Michael.

How do I find singing auditions? What do I prepare? What happens when I walk in the room?Whitney Robinson, Artist Diploma candidate at the New England Conservatory of Music joins us to talk about how to prepare for classical voice auditions, particularly when it comes to opera and classical voice auditions. This is just the first episode of an ongoing audition series, so stay tuned for more audition know how for musical theater shows, choral gigs, and more!The Holistic Voice Podcast is a free resource created by vocalists, for vocalists. We believe a successful singer needs more than just a great voice. Artistic development, mental and physical health, business skills, and career opportunities all contribute to a singer's potential. If you are looking for resources and education on how to navigate life as a vocalist, this podcast is for you. Find and track thousands of opera auditions and vocal competitions: https://www.yaptracker.com/Follow Whitney's vocal journeyCredits: Interview: Whitney RobinsonMusic: David M. Rodgers Support the show (http://www.patreon.com/theholisticvoice)

Acclaimed young composer Viet Cuong joins the show to share his thoughts about band music, his work as a composer, and how growing up in the Lassiter band helped him fit in and find his place in the world. Topics: 
Viet’s background and how he got his start as a musician, percussionist, and composer. How band and music helped Viet “find his place” in the world and the importance of band as a place where kids who are struggling to feel accepted have a place where they can fit in and grow. Growing up in the legendary Lassiter Band Program under the baton of Alfred Watkins. Thought about what band directors can do to support young musicians who are writing music or want to become composers. Thoughts about academic music, new music for band, and some insights into building design at Princeton. The Blue Dot Collective Links: Viet Cuong, Composer The Blue Dot Collective Cuong: Diamond Tide Cuong: Moth Stravinsky: Rite of Spring Biography: Called “alluring” and “wildly inventive” by The New York Times, the “ingenious” and “knockout” (Times Union) music of Viet Cuong (b. 1990) has been performed on six continents by musicians and ensembles such as Sō Percussion, Eighth Blackbird, Alarm Will Sound, Sandbox Percussion, the PRISM Quartet, JACK Quartet, Gregory Oakes, Kaleidoscope Chamber Orchestra, Albany Symphony, Jacksonville Symphony, and Cabrillo Festival Orchestra, among many others. Viet’s music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, Library of Congress, Cabrillo Festival of Contemporary Music, Aspen Music Festival, New Music Gathering, Boston GuitarFest, International Double Reed Society Conference, US Navy Band International Saxophone Symposium, and on American Public Radio’s Performance Today. He also enjoys composing for the wind ensemble medium, and his works for winds have amassed over one hundred performances by conservatory and university ensembles worldwide, including at Midwest, WASBE, and CBDNA conferences. Viet holds the Curtis Institute of Music’s Daniel W. Dietrich II Composition Fellowship as an Artist Diploma student of David Ludwig and Jennifer Higdon. Viet received his MFA from Princeton University as a Naumburg and Roger Sessions Fellow, and he is currently finishing his PhD there. At Princeton he studied with Steve Mackey, Donnacha Dennehy, Dan Trueman, Dmitri Tymoczko, Paul Lansky, and Louis Andriessen. Viet holds Bachelor and Master of Music degrees from the Peabody Conservatory of the Johns Hopkins University, where he studied with Pulitzer Prize-winner Kevin Puts and Oscar Bettison. While at Peabody, he received the Peabody Alumni Award (the Valedictorian honor) and the Gustav Klemm Award for excellence in composition. Viet has been a fellow at the Mizzou International Composers Festival, Eighth Blackbird Creative Lab, Cabrillo Festival’s Young Composer Workshop, Copland House’s CULTIVATE emerging composers workshop, and was also a scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals. Additionally, he has received artist residencies from Yaddo, Copland House, Ucross Foundation, and Atlantic Center for the Arts (under Melinda Wagner, 2012 and Christopher Theofanidis, 2014). Viet is a recipient of the Barlow Endowment Commission, Copland House Residency Award, ASCAP Morton Gould Composers Award, Suzanne and Lee Ettelson Composers Award, Theodore Presser Foundation Music Award, Kaleidoscope Chamber Orchestra Call for Scores, Cortona Prize, New York Youth Symphony First Music Commission, Boston GuitarFest Composition Competition, and Walter Beeler Memorial Prize, among others. In addition, he received honorable mentions in the Harvey Gaul Composition Competition and two consecutive ASCAP/CBDNA Frederick Fennell Prizes. Scholarships include the Evergreen House Foundation scholarship at Peabody, a 2010 Susan and Ford Schumann Merit Scholarship from the Aspen Music Festival and School, and the 2011 Bachrach Memorial Gift from the Bowdoin International Music Festival.

Phoenix Symphony Principal Percussionist Shaun Tilburg stops by to talk about his symphonic playing career (03:00), his teaching and publishing activities (33:15), growing up in Houston and his hoops game (46:20), his unusual path to his undergrad degree at Rice University (58:50), his master’s degree at the University of Houston (01:10:00), his Artist Diploma from DePaul University (IL) and studying with Ted Atkatz (01:16:40), and devotes a bit of time to the Random Ass Questions (01:39:50).Finishing with a Rave on the A&E Series “Cultureshock” (01:51:10).Links:Shaun Tilburg’s Phoenix Symphony pagePocket PublicationsThe Dynamic SnareBrian Del SignoreTed AtkatzCynthia YehCasey CangelosiPius CheungAndy AkihoThe Regimen - Shaun TilburgTributes - Ted AtkatzRenee KellerAdam WestRichard BrownConcerto for Orchestra - Witold Lutoslawski“Mirage” - Sueyoshi“Mourning Dove Sonnet” - Christopher Deane“Rebonds B” - Iannis Xenakis“Madrigals” - George CrumbJacob DruckmanAlan AbelMatthew StraussShe-e WuFyodor DostoevskyHaruki MurakamiIsaac AsimovIain BanksInfinite Jest - David Foster WallacePercussion Concerto - Andrew NormanRaves:A&E’s Cultureshock

Trumpet soloist Buddy Deshler is an ambassador for the transformative powers of the arts, champion of living composers, and agent for change in the instrumental music field. His burgeoning career has taken him around the country, as well as internationally, and has allowed him to share the stage with ensembles such as the King’s Brass, The Rodney Marsalis Philadelphia Big Brass, Foden's Band of Sandbach, Cheshire, his own Vice City Brass, and Marquee Brass, and as of 2017, the illustrious Dallas Brass. In addition, Buddy has performed with the Harrisburg Symphony Orchestra, Richmond Symphony Orchestra, Williamsburg Symphony Orchestra, York Symphony, Delaware Symphony, Washington Chamber Orchestra, Concert Artists of Baltimore, American Festival Pops Orchestra, and more. He has also been in residency at the Sewanee Summer Music Festival, Rafael Mendez Brass Institute, Le Domaine Forget in Quebec and the Banff Centre in Alberta, Canada. Buddy presently resides in Midlothian, VA as an active freelance musician and educator. He holds a B.M. in Instrumental Performance and an Artist Diploma from the Frost School of Music, University of Miami and an M.M. Peabody Institute, Johns Hopkins University. His primary teachers have included Dennis Edelbrock, Phil Snedecor, Craig Morris, and Josef Burgstaller. In this fun and lively discussion, we cover: How his life has forever been changed for the better due to his time with Andrew & Lance as an intern Fred Brass Tidewater Brass Entrepreneurial Student lectures Taking initiative The influence of Buddy's Mom TES Event Planner Lance's theory of technological competence as it relates to age Joining Dallas Brass "Frustratingly Refined" The importance of being organized Balancing the various parts of his career How he's planning for the future LINKS: Buddy's personal site TES Event Planner Fred Brass Tidewater Brass Buddy's Instagram account Dallas Brass Buddy on TEM episode 142 Buddy on TBJ episode 5 Want to help the show? Here are some ways: Help others find the show by leaving a rating and review on iTunes. Show us some love on Instagram, Facebook, and Twitter. Help us pay the bills (and get regular bonus episodes!) by becoming a Patreon patron. 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.) Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Mezzo-soprano Wallis Giunta is a multi-faceted artist with a variety of interests, a great take on mindful practice, and a truly wonderful personality.  In our conversation, we discuss, among other things, the importance of making choices that will allow you to thrive, how she prepares for a role, and how she uses mental practice to learn and memorize music at a deeper level. We elaborate on: Her journey from Ottawa, Ontario (Canada) to Toronto, New York, and, more recently Leipzig as a member of Oper Leipzig Her experience as a young girl in the Ottawa Youth Choir, and the importance it had in her becoming a professional singer Her experience at the Glenn Gould School and the Canadian Opera Company and the various opportunities she found there How making choices that fit her well were very important in her development and allowed her to thrive Her life as a member of Oper Leipzig Her fun, mindful way of curating a recital program that is meaningful to her How she prepares for a role How she went from a more repetitive form of working on songs to a more mindful and mental approach to practicing as she evolved as an artist o   Translate the text and understand the meaning o   Listen to various recordings and interpretations o   Break it down o   Memorize it How practicing mentally first thing in the morning and last thing before bed is tremendously effective for her and helps her cement the repertoire to memory How she has developed the skill to learn repertoire mentally, now that that is in a place where she feels confident about her technique How singers practice difficult passages How she brings operatic characters to life     ALL ABOUT WALLIS: Wallis Giunta's website Wallis' YouTube channel Wallis' Facebook page Wallis on Instagram The Complete Sherlock Holmes (Knickerbocker Classics) The Complete Sherlock Holmes (2 Volumes)   Irish-Canadian mezzo, Wallis Giunta, has been named “Young Singer of the Year” in the 2018 International Opera Awards, and was named both “Young Artist of the Year” by The Arts Desk and “Breakthrough Artist in UK Opera” in the What's On Stage Opera Awards for her work in 2017. She has been praised by OPERA NEWS for her “delectably rich, silver-toned mezzo-soprano, with a beautiful sense of line and effortless, rapid runs”, with her performance as Mozart's Sesto for the Canadian Opera Company celebrated as “a triumph…remarkable in its combination of intelligence and beauty”. Her 2018/19 season includes debuts with the BBC Proms Festival in a program celebrating Leonard Bernstein, with the Grange Festival as Cherubino at The Barbican, London, with the MDR Sinfonieorchester as Haydn's Berenice, and with the Royal Opera House Muscat in La Traviata. She also debuts the title roles in Carmen and Der Rosenkavalier, along with Rossini's Rosina for Oper Leipzig, and Idamante for Toronto's Opera Atelier. She began the 2017/18 season with two role debuts for Opera North, the title role in Ravel's L'enfant et les sortiléges, and Dinah in Bernstein's Trouble in Tahiti, both to great critical acclaim. She returned to Oper Leipzig, where she has been an ensemble member since 2015/16, for her house roles of Angelina, Cherubino, Rossweise & Wellgunde, and debuted Prince Orlofsky in Die Fledermaus and Der Gymnasiast in a new production of Berg's Lulu. She also returned to the Munich Radio Orchestra, Toronto's Koerner Hall and the Music & Beyond Festival in concert, and debuted at the Oregon Music Festival as Anna I in Weill's The Seven Deadly Sins. The 2016/17 season saw her debuts with Opera North, performing the title role in Rossini's La Cenerentola, with Teatro Communale di Bolzano as Cherubino, and with the Munich Radio Orchestra, Tokyo Metropolitan Symphony Orchestra, and Symphony Nova Scotia in concert. Wallis returned to Opera Atelier to debut the title role in Purcell's Dido & Aeneas, and to both the Toronto Symphony and the Real Orquesta Sinfónica de Sevilla for new productions of Weill's The Seven Deadly Sins. The 2015/16 season saw her make several major European debuts, including for Teatro dell'Opera di Roma (Adams' I Was Looking at the Ceiling and Then I Saw the Sky), Oper Frankfurt (Carmen), Oper Leipzig (La Cenerentola, Le Nozze di Figaro, Faust, Der Ring des Nibelungen), the Hamburg Symphony (Candide), and the Deutsche Oper am Rhein in concert. She also returned to the Edmonton Symphony for Messiah and had her first experience teaching, with a series of masterclasses for Toronto's Tapestry New Opera. Early in 2015, she returned to The Metropolitan Opera as Olga in their new production of The Merry Widow, directed by Susan Stroman. Other recent highlights include returns to the Canadian Opera Company as Dorabella in Atom Egoyan's new production of Cosí fan tutte (2014), to Opera Lyra Ottawa as Cherubino in Le Nozze di Figaro (2015), and to Opera Atelier as Bradamante in a new period-production of Alcina (2014), along with debuts at Madison Opera (2014) and the Taipei Symphony Orchestra as Annio in La Clemenza di Tito (2013). In June 2014, she recorded her first album with the RTÉ National Symphony Orchestra in Dublin (NAXOS), of a new work by American composer, William Perry. Wallis also debuted in 2014 with Toronto's 21C Music Festival in Louis Andriessen's one-woman-opera, Anaïs Nin, and brought her acclaimed recital program of Kurt Weill's The Seven Deadly Sins to Miami, New York, Toronto and Ottawa. She had a whirlwind 2012/13 season, making her Metropolitan Opera debut in Rigoletto, debuting the roles of Sesto & Annio in La Clemenza di Tito with the Canadian Opera Company, making her Paris debut with Le Théâtre du Châtelet as Tiffany in John Adams's I Was Looking at the Ceiling…, and singing Dorabella in the Met + Juilliard production of Cosí fan tutte at Lincoln Center. She also made debuts with Fort Worth Opera, L'Opéra de Montréal, the Edmonton, Seville and Nuremberg Symphonies, the Stuttgart Festivalorchester, and the National Arts Centre Orchestra. Wallis is a passionate recitalist, and has recently performed for the Aspen, Caramoor, Banff, Luminato, Music & Beyond, and Ottawa Chamber Music festivals. She is the grateful recipient of the 2016 Bernard Diamant Prize from the Canada Council for the Arts, the 2013 Novick Career Advancement Grant, the 2013 Sylva Gelber Music Foundation Career Development Award, and multiple prizes from the George London Foundation. Wallis is a 2013 graduate of both the Metropolitan Opera Lindemann Young Artist Development Program & the Juilliard School's Artist Diploma in Opera Studies, and a 2011 graduate of the Canadian Opera Company Ensemble Studio. She has also studied at The Glenn Gould School, the Ravinia Festival's Steans Music Institute, and the International Meistersinger Akademie in Germany, and continues her private studies with Edith Wiens. Wallis is also devoted to animal rights, particularly the rescue and rehabilitation of abandoned domestic rabbits. She is an active rabbit foster parent and finds opportunities to foster and volunteer at shelters as she is performing around the world. She is a volunteer and supporter at Rabbit's Rest Sanctuary & WildRescue in Denton, Texas, and works to draw attention to our societal responsibility towards domesticated animals. Please get in touch if you are interested and would also like to help!   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. For added fun, join the Mind Over Finger Tribe on Facebook where you will find a community of mindful musicians!   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/     (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

Pulitzer Prize Winner and 2-time GRAMMY winner Dr. Jennifer Higdon joins the show for the first time! Dr. Higdon received a Bachelor's Degree in Music from Bowling Green State University, an Artist Diploma from The Curtis Institute of Music, and an M.A. and Ph.D. from the University of Pennsylvania. She has been awarded honorary doctorates from the Hartt School and Bowling Green State University. Higdon enjoys more than 200 performances a year of her works. Her orchestral work, blue cathedral, is one of the most performed contemporary orchestral works in the repertoire, more than 600 performances since its premiere in 2000. Her works have been recorded on over 60 CDs. Higdon has twice won the Grammy for Best Contemporary Classical Composition: first for her Percussion Concerto in 2010 and in 2018 for her Viola Concerto. Higdon received the 2010 Pulitzer Prize in Music for her Violin Concerto, with the committee citing the work as "a deeply engaging piece that combines flowing lyricism with dazzling virtuosity." Her first opera, Cold Mountain, won the prestigious International Opera Award for Best World Premiere in 2016; the first American opera to do so in the award's history. Dr. Higdon currently holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Her music is published exclusively by Lawdon Press. We talk about her remarkable journey through music starting from childhood, we discuss her compositional style and method, many of her acclaimed compositions, we get her take on the great composers of the past and much more!

Volkan Orhon was one of my early podcast guests, appearing along with fellow Bad Boyz of Double Bass members Anthony Stoops, David Murray, and Paul Sharpe.  I chatted with the Bad Boyz ten years ago (!), and I realized that I’d never actually sat down with Volkan one-on-one for the podcast. We fix that today! Volkan had established himself in a professional orchestra in his native country of Turkey.  He had graduated from the Ankara State Conservatory with bass professor Tahir Sumer, and he was already a member of the Ankara Presidential Symphony Orchestra. Volkan could have stayed in that position long-term.  He took a leap, however, and moved to the United States to study with Gary Karr at The Hartt School of Music.  Working with Gary and also with Diana Gannett, Volkan earned his Master’s Degree and and Artist Diploma. After Hartt, found himself in a “road warrior” freelance position, teaching adjunct at a few schools and driving all over the place playing gigs.  I know that life well! Volkan eventually got a tenure-track job at the University of Iowa and is in his sixteenth year of teaching at that institution.  We talk about what it’s like teaching at Iowa, plus: What has been most surprising about being in a full-time academic position. How working with Gary Karr shaped his concept of tone. The challenges of relocating to the United States. What he practices on a daily basis. Advice for students (and their parents!) thinking about embarking on a music career. …and much more! Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Subscribe to the podcast to get these interviews delivered to you automatically!

Twice nominated Nobel Peace Prize philosopher and international spiritual wayshower Dr. Ervin Laszlo explores concepts from his renowned career and his new book The Intelligence of the Cosmos: Why Are We Here? New Answers from the Frontiers of Science.  Dr. Laszlo has published 75+ books and 400+ articles and research papers. Generally recognized as the founder of systems philosophy and general evolution theory, he is the subject of the one-hour PBS special Life of a Modern-Day Genius, Dr. Laszlo is the founder and president of the international think tank the Club of Budapest and of the prestigious Laszlo Institute of New Paradigm Research. He is an advisor to the UNESCO Director General, ambassador of the International Delphic Council, member of both the International Academy of Science, World Academy of Arts and Science, and the International Academy of Philosophy.  He is recipient of the highest degree in philosophy and human sciences from the Sorbonne, the University of Paris, as well as of the coveted Artist Diploma of the Liszt Ferenc Academy of Budapest. Additional prizes and awards include four honorary doctorates.His appointments have included research grants at Yale and Princeton Universities, and professorships for philosophy, systems sciences, and future sciences at multiple universities. He is a brilliant, talented concert pianist with 6 volumes of piano recordings. Dr. Ervin Laszlo's web site:  www.ervinlaszlo.com Program music copyrighted by Grammy award winner Larry Seyer (LarrySeyer.com), included in this podcast with his permission. Visit FrontierBeyondFear.com to learn about the inspirational outreach of this program, now in its 8th year.

Ken Cowan is one of North America’s finest concert organists. Ken received the Master’s degree and Artist Diploma from the Yale School of Music/Institute of Sacred Music, studying organ with Thomas Murray. Prior to attending Yale, he graduated with a Bachelor of Music degree from the Curtis Institute of Music in Philadelphia where he studied with John Weaver.

ON THE PROGRAM Bach/Hess: Jesu, Joy of Man's Desiring Mozart: Sonata in c-minor, K. 457 Molto Allegro Rachmaninoff: Prelude in g-sharp minor, Op. 32, No. 12 Prelude in b-minor, Op. 32, no.10 Prelude in G Major, Op. 32, No. 5 Prelude in A Major, Op. 32, No. 9 Chopin: Barcarolle, Op. 60 Beach: Soirée de Vienne (Concert Paraphrase on motives from Die Fledermaus) FROM THE PIANOFORTE WEBSITE Hailed for his prodigious technique, and praised by the Washington Post for an “unusually fresh and arresting approach to the piano,” pianist Michael Adcock has cultivated a versatile career as soloist, chamber musician and pre-concert lecturer. Michael Adcock earned the Master’s, Artist Diploma and Doctoral degrees from the Peabody Conservatory in Baltimore, where he studied with Leon Fleisher and Ellen Mack, in addition to being an adjunct member of the theory and chamber music faculties. Mr. Adcock took his Bachelor’s degree from the Oberlin College-Conservatory where he graduated Pi Kappa Lambda. At Oberlin, he was twice awarded the Kaufmann Prize in chamber music and received the Hurlbutt Award as most outstanding graduating senior in the conservatory. Mr. Adcock attended secondary school at the North Carolina School of the Arts, where he received the Irwin Freundlich Memorial Piano Award. Recipient of the 1998 Lili Boulanger Memorial Award, Mr. Adcock was also a prizewinner in the 1996 Washington International Competition, as well as the Kosciusko Foundation Chopin Competitions in Chicago and New York. Mr. Adcock gave his Carnegie Weill Recital Hall debut in 1998. In January 2016, Mr. Adcock was a featured artist on Washington, DC’s WETA-FM “Front Row Washington” and has also been featured on radio broadcasts in New York City (WQXR) and Tampa, FL (WUSF). Recently, Mr. Adcock is a featured soloist in “Samuel Barber: Absolute Beauty”, the first-ever documentary on the composer (2016; H. Paul Moon, director). Michael Adcock’s new solo CD, “Keyboard Transcriptions,” will be available on the Centaur label in early May 2017, and includes Prokofiev’s transcription of his Romeo and Juliet ballet, as well as the Gershwin-Wild Seven Virtuoso Etudes. Mr. Adcock has collaborated with many notable musicians, among them Denyce Graves, Ani Kavafian, Gervase dePeyer, James Buswell, Timothy Eddy, Carol Wincenc and the St. Petersburg String Quartet. A former Artist-in-Residence at the Aspen Institute (MD), Mr. Adcock has been affiliated with many chamber series and summer festivals and was for 17 years a faculty member of the Musicorda Festival. Mr. Adcock is currently associate piano faculty at the Sarasota Music Festival, a faculty member of the Washington Conservatory of Music in Bethesda, MD, and artistic director of the UU Chalice Concert Series in Columbia, MD. A native of Virginia, Mr. Adcock makes his home in Silver Spring, MD. Michael Adcock’s website is: www.michaeladcockpiano.com

Works for violin and piano by Vitali, Debussy, and Szymanowski performed by Angelo Xiang Yu, violin, and Dina Vainshtein, piano on April 20, 2014.Vitali: Chaconne in G Minor for violin and pianoDebussy: Sonata for Violin and Piano in G MinorSzymanowski: Nocturne and Tarentella, Op. 28Today, we’ll introduce a violinist who we think you’ll be hearing much more about: Angelo Xiang Yu. He swept a number of major competitions, winning the prestigious Yehudi Menuhin International Violin Competition in 2010. He attended New England Conservatory here in Boston for his undergraduate education and Artist Diploma and, this fall, will continue studying there for his Master’s degree.For his Gardner Museum recital in April 2014, he brought with him a program that, as we’ll hear today, showcased his breadth and virtuosity.The Vitali Chaconne has a notable history with virtuoso violinists. In fact, Jascha Heifetz chose this piece as the curtain-raiser for his own American debut, at Carnegie Hall in 1917. But according to modern scholars, it’s quite unlikely that this work was actually written by its supposed Baroque-era author, Tomaso Antonio Vitali, a violinist from Bologna. The piece has a distinctly Romantic flavor for a work that supposedly hails from the early 1700’s.We’ll hear the Chaconne first, followed by the Debussy Sonata – one of the composer’s final works – and finally the Szymanowki Nocturne and Tarantella, all performed by violinist Xiang Yu and pianist Dina Vainshtein.

Work for solo piano by Schubert performed by Charlie Albright, piano.Schubert: Impromptus, D. 935, Op. 142No. 1 in F MinorNo. 2 in A-flat MajorNo. 3 in B-flat MajorNo. 4 in F MinorWith a title like “Impromptus,” one expects this set of four piano pieces by Schubert to be a bit spontaneous. But anyone expecting a Keith Jarret-like improvisation will be surprised to discover how structured and planned these “Impromptus” feel.Indeed, there was some disagreement, after the fact, about the justification for the title “Impromptus.” Robert Schumann – a friend of Schubert’s – apparently maintained that the piece was really a four-movement sonata in disguise, broken up and named by Schubert’s publisher in an effort to encourage more sales.The four Impromptus are varied in character and structure, but each does seem to create a particular mood or emotional landscape, and then explores that landscape, whether through the straightforward theme-and-variations structure of the third impromptu or the more structured, sonata-like form of the first impromptu. And in this way, at least, it’s perhaps not so far off from the idea of improvisation.We’ll hear these works performed by Charlie Albright, a talented young pianist who recently graduated from New England Conservatory and Harvard’s joint degree program and is now earning his Artist Diploma at Juilliard.

Works for cello and piano by Narek Hakhnazaryan, cello and Noreen Polera, piano:Fauré: ElegieFranck: Violin Sonata in A Major, transcribed for celloOn today’s podcast, we’ll take a turn for the poetic, with two selections for cello and piano by French composers.We’ll begin with Fauré’s beloved Elegie, a bittersweet, rhapsodic work. The piece is just seven minutes long, but it makes a big impression with its dramatic arching form—building from a haunting beginning to a passionate climax that all but dissolves into a beguiling ending.After that little teaser, we’ll hear another incredibly evocative work: Cesar Franck’s Violin Sonata in A Major, performed in a transcription for cello by the same artists who played the first work: cellist Narek Hakhnazaryan and pianist Noreen Polera. The Gold Medalist in the 2011 Tchaikovsky Competition, Narek was mentored by the late, great Rostropovich, and recently received his Artist Diploma studying at Boston’s own New England Conservatory, just down the street from the Museum.This version of the Franck violin sonata, arranged for cello, is just one of the many versions that have proliferated—including arrangements for flute, saxophone, tuba, and even choir—but it is the only one that the composer himself approved. Like the Elegie, this sonata is just full of poetic little moments of great delicacy and beauty.

Bach: Partita No. 3 in E Major for solo violin, BWV 1006Schumann: Sonata No. 1 in A minor for violin and piano, Op. 105Boston, where the Gardner Museum is located, is a big college town. And so every April, we tip our hats to Boston’s student population with a series of concerts by some of the top young musicians enrolled in New England Conservatory’s Artist Diploma program, one of the most prestigious music training programs in the country. This week on the podcast we will listen to two Artist Diploma violinists who have performed here in recent years. First, we’ll hear Bach’s third partita for solo violin. Though neither as virtuosic nor as familiar as the second partita, the third has all the sprightly energy of a dance, with its menuets, gigues and bourées. Next is Schumann’s Violin Sonata No. 1. The sonata was written relatively late in Schumann’s compositional career, after the bulk of his chamber music works, and it is evident upon listening that, though it is his first work for this particular instrumentation, the music is written by a more experienced hand.