Podcasts about aspen music festival

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Dr. Brittany Lasch, trombone soloist and professor at Indiana University.   About Brittany: A winner of the S&R Foundation Washington Award and Astral Artists National Auditions, trombonist Brittany Lasch brings authenticity and unshakeable commitment to all aspects of her music-making. Increasingly in demand as a soloist with orchestras and brass bands alike, Brittany balances an intensive performance career with her role as a sought-after educator and newly appointed Assistant Professor of Trombone at the renowned Jacobs School of Music at Indiana University. As a serial collaborator and commissioner of composers, Brittany is a musical explorer creating new repertoire for her instrument from some of today's most compelling voices, and true ambassador in expanding recognition for the trombone as a powerful solo voice for today. Brittany has appeared as a soloist with ensembles ranging from the U.S. Army Band “Pershing's Own”, Rodney Marsalis Philadelphia Big Brass, and for concerto performances with the Queens Symphony, National Repertory Orchestra, Bucks County Symphony, Bowling Green Philharmonia, Manhattan School of Music Philharmonia, and others across the country. With playing described as “masterful” (Syracuse Post-Standard), American Record Guide recently hailed Brittany as an "excellent soloist" across a diverse range of repertoire.  Brittany has been a featured guest artist at numerous festivals, including the International Trombone Festival, the International Women's Brass Conference, and the American Trombone Workshop. She was a winner of the National Collegiate Solo Competition hosted by the U.S. Army Band, the Eisenberg-Fried Brass Concerto Competition at the Manhattan School of Music, the Zulalian Foundation Award in Boston. Her trombone quartet Boston Based won the 2017 International Trombone Association's Quartet Competition. In 2018, Brittany was awarded 2nd place in The American Prize Solo Instrumentalist competition. A prizewinner in numerous other competitions, she received the coveted John Clark Award upon graduation from the Manhattan School of Music for outstanding accomplishment in brass performance. For six seasons, Brittany was the Principal Trombone of the Detroit Opera Orchestra at the Detroit Opera House. She has performed with orchestras nationwide, including the San Francisco Symphony, Los Angeles Philharmonic, Indianapolis Symphony, St. Louis Symphony, Detroit Symphony, Nashville Symphony, The Florida Orchestra, Toledo Symphony Orchestra, ProMusica Chamber Orchestra, Rhode Island Philharmonic, the Oregon Bach Festival Orchestra, the Vermont Symphony, Albany Symphony, Syracuse Symphony, and the New World Symphony in Miami Beach. She participated in the Verbier Festival Orchestra for two summers, and has also appeared at the Spoleto USA Festival, the Pacific Music Festival in Sapporo, Japan, the Castleton Festival, and the Aspen Music Festival. An active presence in the global trombone community, Brittany's performances for the current and past seasons include Argentina's Trombonanza, Portugal's Gravíssimo Festival, as well as appearances in Japan and Korea. As an advocate for new music, Brittany has commissioned and performed several new pieces for the trombone, including acclaimed composer Reena Esmail's major Sonata for Trombone and Piano, which she commissioned for her Astral Artists recital in Philadelphia. Brittany gave the premiere of the orchestrated version of Martin Kennedy's Theme and Variations for Trombone and Orchestra with the BGSU Philharmonia under the direction of Dr. Emily Brown. She also recorded the work with the BGSU Philharmonia, which was recently released on the Albany Records label. Other recent projects include collaborations with composers Inez McComas, Adam Har-zvi, and David Miller. Her debut solo album Dark Horse features works by Samuel Adler, Tony Plog, Reena Esmail, Shawn Davern, and the album's pianist, Thomas Weaver. A native of Park Ridge, Illinois, Brittany earned her Doctor of Musical Arts degree from Boston University, where she received the Brass Department Award. She also holds a Master of Music degree from Yale School of Music. With a deep commitment to education, she has previously served as faculty at the College of Musical Arts at Bowling Green State University and the Boston University Tanglewood Institute. She has also been a featured teacher and performer at summer festivals, including the Sewanee Music Festival and the DC Trombone Workshop. Recent residencies include those at the University of Central Arkansas, James Madison University (Tromblow'in), University of Iowa, Oklahoma State University, Stetson University, the University of Florida, and as the guest artist at the 2023 Frühling Posaunen hosted at Ithaca College. She has presented masterclasses at universities across the country and internationally. Brittany Lasch is an Edwards Trombone Performing Artist. She also proudly uses and endorses ChopSaver Lip Care. Outside of music, Brittany has recently completed her eleventh full marathon and loves spending time with her cats, Clove and Poppyseed.

Susan Zhang is a pianist, educator, and entrepreneur known for her dynamic performances and innovative outreach. A prizewinning soloist, she has performed internationally and co-founded The Concert Truck, a mobile music venue bringing classical concerts to outdoor spaces nationwide. Susan has collaborated with major institutions like the Kennedy Center and Aspen Music Festival, and created a children's series reaching over 55,000 students. She serves on the YoungArts Classical Music Panel, has taught at Peabody Conservatory, and mentors young artists across the country.

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

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

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

If you're enjoying the content, please like, subscribe, and comment! Please consider supporting the show! https://creators.spotify.com/pod/show/worldxppodcast/support​⁠ - https://youtube.com/@peterbarber?si=qvSNdjEkfsk7480NThe Bass Gang - https://youtube.com/@thebassgangofficial?si=NE22aN4Lc4gqQMDkPeter Barber is an American opera singer, music producer, YouTuber, and podcaster. He is currently a member of the Arizona Opera Studio, where he has performed Basilio in The Barber of Seville, Capulet in Roméo et Juliette, Masetto in Don Giovanni, and Colline in La Bohème. Peter has spent multiple summers performing with The Santa Fe Opera, the Aspen Music Festival, and Music Academy of the West. At this point, he has performed over 30 operatic roles. Outside of the opera world, Peter has grown a substantial audience on YouTube, surpassing 260,000 subscribers via musical analysis videos, music videos, and his podcast, Vocal Arts. He is also a founding member of award-winning musical group, The Bass Gang. They have released four EPs, as well as numerous singles, amassing over 25 million views/streams between YouTube and Spotify alone..______________________Follow us!@worldxppodcast Instagram - https://bit.ly/3eoBwyr@worldxppodcast Twitter - https://bit.ly/2Oa7BzmSpotify - http://spoti.fi/3sZAUTGYouTube - http://bit.ly/3rxDvUL#opera #operasinger #performance #acapella #bass #producer #solo #artist #interview #open #environment #singer #singing #vocals #explore #explorepage #podcastshow #longformpodcast #longformpodcast #podcasts #podcaster #newpodcast #podcastshow #podcasting #newshow #worldxppodcast

On this week's episode, we welcome Keith Elder, President & CEO of the Grand Rapids Symphony. Keith Elder joined the Grand Rapids Symphony as its President & CEO on July 1, 2023. Before that, he served as president of the Tulsa Symphony Orchestra in Tulsa, Oklahoma.  He's also had roles with the Aspen Music Festival and School, Eastman School of Music, Detroit Symphony Orchestra, Boston Symphony Orchestra, Boston Pops, and Tanglewood Music Center. On this episode, Keith Elder joined us to discuss his background and the significant cultural impact that the Grand Rapids Symphony has on the West Michigan region and he highlighted the numerous partnerships the symphony has developed to strengthen its ties to the community.  He also discussed some of the highlights of the remaining symphony season, including the annual Symphony Holiday Pops concerts, membership opportunities with the Grand Rapids Symphony, and a major event to be revealed in February 2025. Since its founding in 1930, the Grand Rapids Symphony has been nationally recognized for the quality of its concerts, the breadth of its educational programs, and the innovation of its initiatives to support diversity, equity, and inclusion as well as to serve the wider community in non-traditional settings.  Online: The Grand Rapids Symphony  

For many people, Fred Child is the voice of classical music. Since 2000, he has hosted APM's Performance Today, the most-listened-to classical music show in the country. Last month, Fred announced he will step down in October 2025 after 25 years with the program. MPR News guest host Chris Farrell talks with Child as he heads into his final season about the beauty and breadth of classical music, how it taps into our emotions and why it needs to shed its “stuffiness” to reach younger and more diverse audiences.Guest: Fred Child is the host of Performance Today. He was also the commentator and announcer for “Live from Lincoln Center” on PBS. He has hosted many other live national broadcasts, including significant events from New York, Los Angeles, London, Boston and the Aspen Music Festival.Subscribe to the MPR News with Angela Davis podcast on: Apple Podcasts, Spotify or RSS.    Use the audio player above to listen to the full conversation.    

Welcome to the latest episode of Harmonious World, in which I interview musicians about how their music helps make the world more harmonious.For this episode, I interviewed Grammy-winning guitarist Sharon Isbin for the second time. The first was way back in August 2020, and she's been busy since then, creating wonderful music and working tirelessly with the Aspen Music Festival, which this year celebrated its 75th anniversary.Sharon shared with me her album Live in Aspen, featuring her guitar alongside legendary sarod masters Amjad Ali Khan, Amman and Ayaan Ali Bangash, together with tabla virtuoso Amit Kavthekar. Alongside our conversation, you can hear extracts from the tracks from this fabulous album.Get in touch to let me know what you think!Thank you for listening to Harmonious World. Please rate, review and share: click on the link and subscribe to support the show.Don't forget the Quincy Jones quote that sums up why I do this: "Imagine what a harmonious world it would be if every single person, both young and old, shared a little of what he is good at doing."Support the showRead my reviews of albums, gigs and books as well as a little personal stuff on my blogFollow me on instagram.com/hilseabrookFollow me on facebook.com/HilarySeabrookFreelanceWriterFollow me on twitter.com/hilaryrwriter

Sean Kehoe was raised on a farm in Monticello, Iowa.  As he traversed through growing up in a small town, family tragedy and adversary formed some of his earliest memories.  An interest in science and ecology transitioned into a love for theatre leading to his travel across the county to obtain a master's degree from the University of Arizona.  A short stop working in Hollywood and a return to a job with the Aspen Music Festival would have an unexpected permanent impact on his life.  All of this lead to his current position as General Manager for the Defiant Requiem Foundation.  This is Those Who Do: From Farm Boy to Holocaust Education w/Sean Kehoe If you'd like to donate to the Defiant Requiem Foundation - https://donorbox.org/the-defiant-requiem-foundation    

AyseDeniz was considered a child prodigy in her native Türkiye and made her concerto debut when she was nine, with the Gordion Chamber Orchestra playing J.S. Bach's Keyboard Concerto No. 5. At thirteen, she had already performed as a soloist with various orchestras under conductors including Ibrahim Yazici, Fahrettin Kerimov, Antonio Pirolli, Cem Mansur, Engin Sakpinar, Ertug Korkmaz, Rengim Gokmen, Vladimir Sirenko, and Kirill Karabits.  ​ As a young pianist, AyseDeniz attended prestigious summer festivals including the Verbier Academy, Music Academy of the West, Aspen Music Festival and School, PianoTexas, Goslar Konzertarbeitswochen, Tel Hai, and Beijing International Music Festival, studying with renowned piano pedagogues such as Menahem Pressler, Jerome Lowenthal, Arie Vardi, Yoheved Kaplinsky, as well as Lang Lang. In middle school, AyseDeniz moved to Spain for half a year to study with the renowned Bach interpreter Rosalyn Tureck, becoming one of her last students. ​ In 2009, she completed her Bachelor's Degree at Eastman School of Music (Rochester NY) in the studio of Douglas Humpherys with all semesters on Dean's List, and received the Howard Hanson and Clements Scholarships as well as the John Celentano Excellence in Chamber Music Award. In 2011, She completed her Masters in Piano Performance at the Royal Academy of Music in London, under the tutelage of Christopher Elton, and received the Maud Hornsby Award, graduated with Merit, and also completed the Licentiate of the Royal Academy of Music Teaching Certificate. ​ Throughout her early career, AyseDeniz has given concerts around the world including Cathedral of Christ The Savior Moscow (Russia); L'Eglise Verbier (Switzerland); Duke's Hall, Steinway Hall, Kings Place London (UK); Bellapais Antique Monastery (Northern Cyprus); Kiev Central Park of Culture Open Air Hall, Lysenko Hall (Ukraine); PepsiCo Hall (TX), Kilbourn Hall (NY), Harris Hall (CO), Pacific Amphitheater (CA) in USA; Teatro Cine Chacabuco (Argentina); Teatro Cine Gouveia, Teatro das Figuras Faro, Centro Cultural de Ãlhavo, Centro Cultural da Gafanha da Nazare, Groove Cascais (Portugal); Galleria d'Arte Moderna, San Fedele Milan, Teatro Dario Fo Venice, and St. Giorgio Cathedral Palermo (Italy); Silent Green Kulturquartier Berlin and Konzertsaal Friedenskapelle Münster (Germany); Sofia Central Military Club (Bulgaria), Ambato City Hall (Ecuador); Afundación and Mar de Vigo (Spain) and in almost all of Türkiye's most important music halls including Süreyya Opera House, Albert Long Hall, CRR, CKM and Zorlu PSM (Istanbul), State Opera House (Eskisehir); City Hall (Adana); Atatürk Cultural Center & KSÜ Yunus Emre Cultural Center (Antalya); Opera Hall (Mersin); Hikmet Simsek Cultural Center, (Izmir); METU, CSO and MEB Sura (Ankara).  AyseDeniz Links   Mr. Bill's Links   Podcast Produced & Edited by: Robert Fumo

In this final installment of my talk with Lisa See–bestselling author of so! many! beloved books, including “Lady Tan's Circle of Women” and “The Island of Sea Women''--we find out what Lisa is currently working on bringing into existence and what she knows at this moment about where her personal through line is leading her next. Plus my final fast five questions. - How being at the Aspen Music Festival is helping her deal with the upset of writing her characters through a massively disastrous event - The superstars who inspire Lisa by their example of “effortless and imperfect perfection” - The daily habit she picked up from her mother (I totally want to steal this) - The change she and her husband are in the process of making - A really cool vantage on seeking to create generational memories as a grandparent - The book that made her get out of bed and go to another room so she could finish it - Paging all tea lovers! Lisa gave an awesome mini class on pu er, her favorite kind of tea - A peek at some of the albums (current and vintage) that she plays on her turntable - The meal she's currently craving Big thanks to our sponsor, AquaTru.com. Use promo code KATE to save 20% off a reverse osmosis water filter and support this podcast! For full show notes with links to everything we discuss, plus bonus photos!, visit katehanley.substack.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's newscast: The transition to green energy drives conversation at an Aspen conference, a commission has announced two candidates for judge in the Ninth Judicial District, the Bureau of Land Management cancels Stage 1 fire restrictions, the Aspen Music Festival and School celebrates its 75th anniversary, and more.

The organization celebrated the milestone with parties, reunions and special “reminiscence” concerts. The organization remains a hub for classical music, but its approach — and its facilities — have evolved.

"Once Was Gleaming" The California-born Tanner Porter is a composer, arranger, performer, vocalist and songwriter. Her voice is otherwordly and wonderful, and set against her complex orchestral arrangements, it evokes everyone from Kate Bush to Tori Amos. Her debut album The Summer Sinks was a stone cold stunner and her new album Once Was Gleaming picks up where Summer left off, offering a stirring and moving song-cycle that's filled with breathtaking musical finesse, and almost cinematic compositional scope. Tanner's orchestral music has been commissioned by the Louisville Orchestra, Albany Symphony Orchestra, the New York Youth Symphony, and Nu Deco Ensemble, among others. She's collaborated on ballets that were premiered by the Boston Ballet and the San Francisco Ballet, had short operas commisioned by Barnard College and Columbia University's New Opera Workshop and she's been busy on Broadway in ILLINOISE, with music by Sufjan Stevens as a vocal/guitar understudy for two roles. Tanner has been a composer-in-residence with the Louisville Orchestra's 2023-2024 Creators Corps, a fellow of the Aspen Music Festival,and her works have been presented at Carnegie Hall, the New World Symphony's New World Center, and the Prototype Festival. She was a 2019 recipient of the American Academy of Arts and Letters Charles Ives Scholarship. Tanner holds degrees in composition from the University of Michigan and the Yale School of Music. Once Was Gleaming is as sweeping as it is dramatic, punctuated by strings and electronica and a voice that soars through it all with inexplicable beauty. It's revelatory work. www.tannerporter.com (http://www.tannerporter.com) www.bombshellradio.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com Email: editor@stereoembersmagazine.com (mailto:editor@stereoembersmagazine.com) Twitter: @emberseditor IG: @emberspodcast

SynopsisSummer music camps offer young talent a chance to rub shoulders with seasoned professional musicians and to perform both old and new musical works. On today's date in 1977, American composer, conductor and educator Howard Hanson led the premiere of his Symphony No. 7 at the National Music Camp in Interlochen, Michigan. Hanson subtitled his Seventh A Sea Symphony, and it includes a choral setting of passages from Walt Whitman's Leaves of Grass. For 40 years, Hanson headed the Eastman School of Music in Rochester, New York. And years later, Eastman professor Augusta Read Thomas follows in Hanson's footsteps as composer-in-residence at various summer music camps. On today's date in 2001, at the annual Aspen Music Festival in Colorado, her piece Murmurs in the Mist of Memory received its world premiere.Speaking of music in general, Thomas says, “Music of all kinds constantly amazes, surprises, propels and seduces me into a wonderful and powerful journey. I am happiest when listening to music and in the process of composing music. I care deeply that music is not anonymous and generic or easily assimilated and just as easily dismissed.”Music Played in Today's ProgramHoward Hanson (1896-1981): Symphony No. 7 (A Sea Symphony); Seattle Symphony and Chorale; Gerard Schwarz, conductor; Delos 3130Augusta Read Thomas (b. 1964): Wind Dances; Louisville Orchestra; Lawrence Leighton Smith, conductor; Albany/Louisville First Edition 010

Jim was raised in Winnipeg, Manitoba and graduated from Silver Heights Collegiate in 1984. That same year his quintet won top high school combo in Canada and he was selected lead tenor in the Canadian High School All Star Jazz Ensemble. His school band directors were Wilfred Jones and Jim Mackay. In June 1986, he was profiled in DOWNBEAT magazine as a young musician deserving of wider recognition. Mair graduated from the University of Mary (Bismarck, North Dakota) with a Bachelor of Science degree in Music Education (1988) and the University of Missouri at Kansas City Conservatory of Music and Dancewith a Master of Arts degree in music (1990). He studied with Scott Prebys and Loran Eckroth at U-Mary from 1984 to 1988, Mike Parkinson Gary Foster and Tim Timmons at UMKC from 1988 to 1990 and did additional studies at the Banff Summer Jazz Workshop with Dave Holland. Kenny Wheeler and Pat Labarbera in 1988. He is a two-time full fellowship recipient at the Aspen Music Festival in 1989 and 1990. Jim was Professor of Music and Director of Instrumental and Jazz Studies at Kansas City Kansas Community College from 1999-2023. In December 2014, his college big band performed at the 30th annual Havana Jazz Festival in Cuba. He also serves as the Artistic Director/Founder of The Kansas City Jazz Alliance (501c3), The Kansas City High School and Middle School Jazz All Stars program and is the producer of The Kansas City Jazz Summit which includes the annual Basically Basie Competition. From 2003 to 2010 he served as the Artistic Director/Conductor for The Kansas City Jazz Orchestra (501c3), a performance organization that he co-founded. Jim is a co-founder of the Prairie Village Jazz Festival. Mair has also served on the faculty at the College of Southern Idaho, the International Music Camp, and the Charlie Parker Academy of the Arts. In addition, he has served as a staff writer for the Saxophone Journal and since 1992 has served as an artist/clinician for the Selmer Instrument Company. Mair has conducted the North Dakota, South Dakota (twice) and Idaho All-State Jazz Ensembles (twice) and the Kansas City All District Jazz Band (six times). While teaching in Idaho from 1995 to 1999 his radio show "Table Down Front" was broadcast across the northwest on NPR affiliates. His performance credits include appearances at the Havana, Cuba Jazz Festival, New York City JVC Jazz Festival, Montreux Jazz Festival, IAJE Convention, JEN Convention, Carnegie Recital Hall, Birdland and Showman's Cafe in New York City and the Duchin Room in Sun Valley, Idaho. In 1999, Mair was honored by the Governor of Idaho for his outstanding contributions to the Arts. He received the same recognition from the state of Kansas in 2010. In the spring of 2013 Mair received the Henry Louis Teaching Excellence Award from KCKCC as faculty member of the year. In early 2014, he was awarded the League for Innovation John & Suanne Roueche Teaching Excellence Award. In 2015, he was awarded an Honorary degree from the University of West London's, (England) London College of Music for his contributions to jazz education both in North America and in the United Kingdom. Additional accolades include Alumnus of the Year at both of the universities that he attended. University of Mary in 1995 and in 2017 the University of Missouri-Kansas City Conservatory of Music and Dance. Also in 2017 The Kansas City Jazz Alliance formed by Mair and his wife received Jazz Distinction recognition in a concert celebration at the Johnny Pacheco Latin Music and Jazz Festival at Lehman College (SUNY) in the Bronx, New York. In 2021, the annual 4 day Kansas City Jazz Summit was selected as "Best of Kansas City" for local businesses and in 2022 the readers of JAM magazine voted Jim, Kansas City's Favorite Saxophonist. Mair serves on the advisory board for the Metheny Family Music Foundation and the Burnett Family Foundation. Jim has on multiple occasions performed as a soloist, the Star Spangled Banner and O Canada at NCAA college and professional sporting events including for the Kansas City Chiefs, Kansas City Royals and Kansas City Monarchs home games. Retiring from 28 years of college teaching in July 2023, the academic year 2023-2024 found Mair serving as an Artist in Residence at Fort Richmond Collegiate in his hometown of Winnipeg, Canada directing the jazz bands and teaching three sections of beginning band. In the fall of 2024 Jim will join the full-time music staff at St. James Academy in Lenexa, KS where he will serve as Assistant Director of Bands and Jazz Specialist.  

Welcome to the show. Today we're tackling a topic that sends chills down the spines of many: mastering auditions. Whether you're aiming for a spot in an orchestra, prepping for a college jury, or even gearing up for that pivotal job interview, the anxiety and fear of auditions is a universal experience.Auditions can feel like stepping into the unknown, a daunting challenge that tests not only your skills but also your nerves. But here's the good news: just like any other challenge, the more you familiarize yourself with the process, the less intimidating it becomes. Remember the first time you rode a bike or spoke in public? The fear melted away with practice and preparation, and auditions are no different.Our guest on this episode is Micah Wilkinson, principal trumpet with the Pittsburgh Symphony Orchestra. Micah has been on both sides of the audition table and understands the nuances that can make or break a performance. Our hope is that by the end of this episode, you'll feel more confident and equipped to tackle your next big opportunity with ease. Let's turn those audition fears into triumphs!Episode Highlights:-Micah shares his musical background in the Atlanta area...02:25-"You have what it takes to be a principal player"; a mentor spurs on a promising career...06:06-Micah's personal experience with auditions (what worked, what didn't)...12:05-Success in certain roles requires a certain amount of "healthy arrogance"...17:25-Focus on the music vs. YOU and no one hardly notices the mistakes...23:19-How do you play "consistently"; and what does "consistency" even mean?...28:35-How a giant whiteboard and recording device can help you track progress on audition prep...32:00-"There's no doubt in my mind the person who won [the recent PSO audition] was more prepared than anyone else"...35:00-View articulation more as properly expressing the language of the music vs. tonguing or fingering with a certain technique...43:00-Plus whatever your discerning ears deem worthy of your time and interest...Episode Sponsor:MF Lip GripAbout the Guest:Micah Wilkinson has enjoyed a varied career as an orchestral musician, soloist, chamber artist, and teacher. He was appointed Principal Trumpet of the Pittsburgh Symphony Orchestra by Music Director Manfred Honeck in September 2017. Wilkinson came to the Pittsburgh Symphony from the San Diego Symphony, where he served as Principal Trumpet for three years. He previously held positions with the Houston Symphony, the San Francisco Symphony, the Oregon Symphony, and the Tucson Symphony. He recently performed in subscription programs as Guest Principal Trumpet with the New York Philharmonic, Chicago Symphony Orchestra, St. Louis Symphony, and the Seoul Philharmonic. In the summers, he performs as Principal Trumpet of the Chautauqua Symphony Orchestra.As an educator, he strives to help the next generation of brass players to find their own unique voices as musical artists. He is quickly becoming one of the most sought-after instructors for trumpet in the United States and enjoys working privately with students at his home studio in Pittsburgh and online through virtual platforms. He is currently on the faculty at Duquesne University in Pittsburgh and at the Chautauqua Institution School of Music. He has also taught at the Aspen Music Festival, Eastman Summer Music Institute, Round Top Festival Hill Institute, and the Brevard Music Center. He previously served on the faculties of the University of Houston and Portland State University, and has presented master classes and clinics for colleges and universities all over the United States, as well as Europe and Asia. Wilkinson grew up in Norcross, Georgia. A...

Our guest today, Michael Brofman, was seriously injured during undergraduate school. He tried various teachers and received much medical advice - some of which included chain smoking! That's not a typo. Stay tuned for that outrageous story.Michael came across Taubman Approach expert Robert Durso. Through lessons with Robert Durso, Michael experienced physical healing and a level of artistic freedom that was almost unimaginable during his academic study.  Today's episode is a story of healing and freedom through the Taubman Approach. www.golandskyinsitute.org Pianist Michael Brofman has earned a reputation as one of the finest vocal accompanists of his generation. He has performed over one thousand songs, from Schubert's earliest lieder to premieres of new songs by today's most-recognized composers. He was hailed by the New York Times as an “excellent pianist” and Feast of Music recently praised his “elegant and refined playing… exhibiting excellent touch and clean technique.”  Parterre Box Blog called Mr. Brofman a “master communicator at the piano,” and Voix des Arts praised his “finesse and flexibility.”  Seen and Heard International recently wrote “Brofman got to the core of each song…delving into their emotional depths.”  Opera News stated “Michael Brofman provided exquisite piano accompaniment.”Highlights from Mr. Brofman's 2023-2024 season include performances of Arnold Schoenberg's Das Buch der Hängenden Gärten with Kate Maroney, Poulenc's Tel Jour, Telle Nuit with Michael Kelly, and repeat or premiere performances of works written for him by Daniel Felsenfeld, Libby Larsen, Jessica Meyer, and Reinaldo Moya.  Mr. Brofman also performs works by Benjamin Britten, Johannes Brahms, Michael Djupstrom, Shawn E. Okempolo, Caroline Shaw, Clara Schumann, Anton Webern, Kurt  Weill, and Hugo Wolf.Mr. Brofman has championed new works and has fostered relationships with many living composers, including Katherine Balch, Lembit Beecher, Tom Cipullo, Michael Djupstrom, Daniel Felsenfeld, Herschel Garfein, Mikhail Johnson, Daron Hagen, Jake Heggie, James Kallembach, Libby Larsen, Lowell Liebermann, David Ludwig, James Matheson, Reinaldo Moya, Harold Meltzer, Russell Platt, Kurt Rohde, Glen Roven, Andrew Staniland, Carlos Simon, and Scott Wheeler. In all, he has premiered over 100 songs, many of them dedicated to him. Mr. Brofman is the founder and artistic director of the Brooklyn Art Song Society, an organization dedicated to the vast repertoire of poetry set to music now in its 14th  season. His first CD New Voices on Roven Records includes four world-premiere recordings and was number one on Amazon's new releases for Opera/Vocal and debuted in the top 10 of the Traditional Classical Billboard Chart.  Since then he has recorded world premiere recordings of Kurt Rohde on Albany Records and Herschel Garfein for Acis Records. An eloquent and passionate advocate for art song, Mr. Brofman has been interviewed by Russell Platt for Opera News, for Caught In the Act on Brooklyn Public Television, on the WQXR radio show Soundcheck, on Seattle KING FM 98.1, and for the Linked Music blog. He also hosts his own internet show Song and Wine.  Mr. Brofman has a reputation as a gifted educator and has presented masterclasses at the University of Chicago, Cornell, Ithaca College, the University of Notre Dame and University of South Carolina. Mr. Brofman holds a bachelor of Music from Northwestern University where he studied with James Giles. There he was awarded the Frida A. Pick Award for Piano and featured on Chicago's classical radio station. Mr. Brofman spent several summers at the Aspen Music Festival as a student of Rita Sloan and continues his studies with Robert Durso. He resides in Windsor Terrace, Brooklyn with his wife

It's time for us to begin the second half of season 4 and today for our guest, we have the amazing Myles Blakemore! Myles serves as trombonist in the US Navy Band and is also the Professor of Trombone at Howard University. Prior to those positions he has held a position with New World Symphony, was the inaugural Minnesota Orchestra fellow, and participated in National Repertory Orchestra, Aspen Music Festival and Brevard Music Center. Performing on international stages such as Baltimore Symphony, Dallas Symphony, Malaysian Philharmonic, International Trombone Festival, American Trombone Workshop and many more, he has an incredibly rich story for us today, and its nowhere near the end! We naturally talk about his beginnings as a trombonist, exploring his earliest starts to being a fellow at New World Symphony, and his current life in the US Navy Band. We even discuss his process of making his album that is out now and is entitled "Bach-Ish," we highly recommend checking out after this interview to show your love for this terrific musician! -- Transition Music #1: The Gift of Little G for Trombone and Piano, featuring Myles Blakemore Transition Music #2: Hommage a Bach pour Trombone et Piano, featuring Myles Blakemore Instagram: @8thposition @dbaldwin903 @_mehurst_

Composer Steven Mackey has come a long way since his teenage years studying physics at the University of California, Davis, and learning blues-rock riffs on his guitar. Today Mackey stands as a celebrated composer and electric guitarist whose work is regularly performed by orchestras around the world — including the Los Angeles Philharmonic, the National Symphony, and the Boston Symphony. He's taught composition at Princeton University for nearly 40 years and has served as a composer in residence at the Curtis Institute of Music, Tanglewood, and the Aspen Music Festival. On his latest album, Beautiful Passing, Mackey brings together two works inspired by personal experiences that deeply informed his views on memory, life, and death: Mnemosyne's Pool, which Musical America called "the first great American symphony of the 21st century"; and Beautiful Passing, a violin concerto Mackey composed after watching his mother pass away from cancer. Despite the presence of death woven throughout both works, Mackey made sure to find moments for levity and humor in his music. "Part of death is a farewell to this joyous life and the energetic people my parents were," Mackey says on the latest episode of the Classical Post podcast. "There's a depth of emotion that music is really uniquely suited for. Where words are a struggle to come by, music bypasses those language centers and gives you a direct emotional response." In this episode, we talk more about the new album, and Mackey shares the profoundly moving story of his mother's death and how it influenced Beautiful Passing's title. Plus, he discusses the parallels he sees between filmmaking, cooking, and composition, and his go-to spot for Italian food on Manhattan's Upper West Side. Listen to Beautiful Passing on Spotify, Apple Music, Idagio, or wherever you stream and download music. — ⁠Classical Post⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠Gold Sound Media⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

SynopsisThe Third Sonata for Violin and Piano written by American composer William Bolcom had its premiere on today's date in 1993 at the Aspen Music Festival in Colorado. The work was commissioned to honor the 75th birthday of Dorothy Delay, a legendary violin teacher who taught at Juilliard for many years.Now, the violin is a strange animal for composers to master, especially if they aren't violinists already, and Bolcom subtitled his Third Violin Sonata “Sonata Stramba” –“stramba” being the Italian word for “strange” or “odd.”Bolcom confessed to being fascinated by two musical sounds more than any other: the voice and the violin. “When I was about ten,” Bolcom recalls, “we trundled out my maternal grandfather's imitation Stradivarius, made in Czechoslovakia, and I took a few not-very-successful lessons. When the violin was stolen out of the back seat of my father's Buick that was the end of my studies of the instrument.” Bolcom did become a very talented pianist, however, and befriended a violinist named Gene Nastri, who initiated the young composer into the mysteries of the instrument by performing Mozart and Beethoven Violin Sonatas with him, as well as the fledgling violin works written by the young composer.Music Played in Today's ProgramWilliam Bolcom (b. 1938) Violin Sonata No. 3 (Irina Muresanu, vln; Michael Lewis, p.) Centaur 2910

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

Jonah Nigh joined The New School in September 2021 as Senior Vice President of Development and Alumni Engagement. In this role, Jonah leads The New School's strategic fundraising, institutional advancement, alumni engagement, corporate, and foundation relations. He came to The New School from the Jewish Museum, where he served as the Director of Major Gifts, Senior Director of Individual Giving, and Acting Deputy Director of Development before being appointed Chief Development Officer. Other development roles included positions at Lincoln Center for the Performing Arts, Columbia University, Opera America, and the Museum of Fine Arts, Boston.A classically trained singer, he earned his undergraduate degree at Lawrence University and a Master of Music degree from the New England Conservatory. Performance credits include roles at the Aspen Music Festival, Boston Lyric Opera, Dorian Opera Theatre, Opera Boston, and on TV and film. In 2021, he and his husband were semi-finalists on NBC/Peacock's Baking It, a new baking competition produced by Amy Poehler and hosted by SNL alums Maya Rudolph and Andy Samberg.A frequent public speaker, he has served in a variety of roles for NBC, Peacock TV, ABC, WNYC, New York City Department of Cultural Affairs, NYC Pride March, Asian Leadership Collective, Association of Fundraising Professionals, The Aspen Leadership Group, Association of Independent Colleges of Art and Design, Development Debrief and DonorScape podcasts, Con Edison Musicians' Residency Program, Columbia Business School, Florida State University, Lawrence University, Museum of the City of New York, The Jewish Museum, The New School, Phi Sigma Pi National Convention, among other organizations. In 2019, he was appointed to Bronx Community Board Four by former Borough President Ruben Diaz Jr. and served on its executive and economic development committees. He currently serves on the boards of The Association of Fundraising Professionals (NYC Chapter) and Grapevine.When he's not fundraising, he's usually baking or running. He and his husband currently reside in the Bronx.Instagram, TikTok, and Twitter: @nighjonahFacebook: @Jonah Nigh

How do you see Brahms Symphony No. 4? For Scottish orchestral bassist and abstract painter Kirsty Matheson, music—like days of the week— have color. Kirsty shares how she balances her professional music life with her painting career that took flight during a 100 Day project in 2021. This fascinating conversation allows us to dip into synesthesia, a neurological condition shared by Kirsty and many other creative minds that creates a crossover between senses, in Kirsty's case allowing her to paint classical music.  Find Kirsty: Kirsty's Website: www.kirstymatheson.com Kirsty's Instagram: @kirsty_matheson_art   Kirsty's Twitter: @KirstyM_Art    Mentioned:Justin Mortimer | artist  (learn)Esperanza Spalding | American bassist, singer and composer (listen) Ju-Fang Liu | Principal Bass, Indianapolis Symphony Orchestra (learn) Kristen Bruya | Principal Bass, Minnesota Orchestra (learn) Aspen Music Festival (explore) Dido and Aeneas Overture , Henry Purcell (listen) John Butt |University of Glasgow | Director, Dunedin Consort (listen) Kirsty's 100 Day Project (explore) BBC3 Tom Service Interview, Music in the Moment, May 31, 2021 (listen) Maggie Hambling | British painter and sculptor (learn) Synesthesia | neurological condition involving an overlap of senses (learn) Famous synaesthetes, BBC article  (learn) Wassily Kandinsky (1866-1944) | Russian painter (learn) Mozart, Symphony No. 40 in G Minor (listen) Fanny Mendelssohn (1805 –1847) | composer (listen) Seonaid Aitken | Scottish jazz violinist (listen) BBCThe Afternoon Show Podcast | Kirsty's review  movie Tár (listen)  BBC Scottish Symphony Orchestra (learn)Find Me, Kristy Darnell Battani:Website:    https://www.kristybattani.comInstagram:  kristybattaniartSupport the show

James Miller is the Associate Principal Trombone with the Los Angeles Philharmonic, a position he has held since 1999. His duties include performing on alto, tenor, and bass trombone; tenor tuba; and bass trumpet. His previous orchestral experience includes the North Carolina Symphony, the Long Island Philharmonic, the New York Philharmonic, and the Dallas Symphony. Miller earned his Bachelor of Music Education degree from the University of Northern Iowa and his Master of Music degree from The Juilliard School, where he was a scholarship student of Per Brevig. His playing experience includes performances with the Silk Road Ensemble, the Paragon Ragtime Orchestra, Ensemble ST-X, the Michael Bublé Big Band, and a variety of jazz, rock, ska, and Latin ensembles. He has been a participant in the Mainly Mozart Festival, the Aspen Music Festival, and the Ojai Music Festival as well as performing as a soloist with the Los Angeles Philharmonic and on the Los Angeles Philharmonic's Green Umbrella series. His solo career spans performing with orchestras and wind enssembles in the United States and Mexico. As a composer, he has had world premieres at New York's Lincoln Center and continues to perform his own works in solo performances throughout the country. He serves on the faculty of the University of California Los Angeles (UCLA) and the Aspen Music Festival. Miller is a Conn/Selmer and a Denis Wick clinician and has released three CDs on All Barks Dog records: From Coast to Coast, Trio for Voice, Trombone and Cello and Delays, delays.

David Krauss is the prodigious host of Speaking Soundly, Co-Founder of ANM, and Principal Trumpet of the Metropolitan Opera Orchestra. As a soloist, he has performed with the All-Star Orchestra on their Emmy Award-winning PBS broadcast and was praised by the American Record Guide for his "singing tone, which is luxurious and inviting." He has performed as guest Principal Trumpet with the Chicago Symphony Orchestra, Boston Symphony Orchestra, and New York Philharmonic, as well as recorded for film and television, and played on several Broadway shows. David is a highly sought-after instructor at the Juilliard School, Manhattan School of Music, Mannes School of Music, Aspen Music Festival and School, and other top conservatories and music festivals throughout the United States.

Tony Prisk is in his eleventh season playing second trumpet with the Philadelphia Orchestra. Prior to taking the job in Philly, Tony played second trumpet with the Houston Symphony.See a pattern developing? It's not an accident, and it's not because Tony doesn't have what it takes to be "the man".In this episode, we discuss the value of specializing in a niche, such as playing second trumpet in a major symphony, (and why some people feel like they're "settling" for their position in the Philadelphia Orchestra), an exhortation on Charlier's Etude #2, why our ego often gets in the way of finding our purpose as musicians and as human beings, and much more.Here's a bit of what you'll hear in this episode:-Tony describes life in a top 5 orchestra...01:15-Putting the ego aside, and embracing the role you've been given...06:20-Tony's personal trumpet journey...08:15-How you "tell a story" with written music notes on a page...16:30-Is self-expression or "blending" the ideal in an orchestra?...23:50-The value of specializing in a role such as second trumpet in an orchestra...33:45-The advice Tony Prisk would tell his younger self...41:15-Plus whatever your discerning ears deem worthy of your time and interest...About the Guest:Anthony Prisk joined The Philadelphia Orchestra as second trumpet in August 2013. He came from the Houston Symphony, where he was second trumpet for 11 seasons, and the New World Symphony, where he was a trumpet fellow for four seasons. In the past 20 years he has played internationally with several orchestras and music festivals, including the Los Angeles Philharmonic, the Grant Park Festival Orchestra, the Montreal Symphony, the Boston Symphony, the Moscow Philharmonic, and many others. He has participated in several music festivals, including Classical Tahoe, the Cabrillo Music Festival, the Spoleto Festival USA, the Tanglewood Music Center, the Pacific Music Festival, the Music Academy of the West, and the Aspen Music Festival. Mr. Prisk won two international trumpet competitions through the International Trumpet Guild and Second Prize in the National Trumpet Competition. He was a soloist with the New World Symphony, the Temple Wind Symphony, the Texas Medical Center Orchestra, and several youth orchestras. He can be heard on numerous recordings with The Philadelphia Orchestra, the Houston Symphony, the New World Symphony, the Spoleto Festival Orchestra, and the McGill Symphony. Teaching is a passion for Mr. Prisk. He is currently on the faculty at Temple University and the Peabody Institute in Baltimore. He can also be found teaching at summer music festivals including the Philadelphia International Music Festival, the Luzerne Music Center, and the Monteux School and Music Festival. He is also involved with the All City program sponsored by The Philadelphia Orchestra.Mr. Prisk received his bachelor's degree from the University of Illinois, where he studied with Ray Sasaki and Michael Ewald, and his master's degree from McGill University, where he studied with Paul Merkelo. His other main influences were John Hagstrom, Michael Sachs, and David Bilger. Mr. Prisk is originally from Lombard, IL, in the suburbs of Chicago and currently resides in South Philadelphia.

David Krauss is the prodigious host of Speaking Soundly, Co-Founder of ANM (Artful Narratives Media), and Principal Trumpet of the Metropolitan Opera Orchestra. As a soloist, he has performed with the All-Star Orchestra on their Emmy Award-winning PBS broadcast and was praised by the American Record Guide for his "singing tone, which is luxurious and inviting." He has performed as guest Principal Trumpet with the Chicago Symphony Orchestra, Boston Symphony Orchestra, and New York Philharmonic, as well as recorded for film and television, and played on several Broadway shows. David is a highly sought-after instructor at the Juilliard School, Manhattan School of Music, Mannes School of Music, Aspen Music Festival and School, and other top conservatories and music festivals throughout the United States. In this conversation, we started early in David's story and explored the realities of life for a freelance musician - the ways the work comes and goes, the risks and the magic. We talked about the complicated and fulfilling life of a parent playing in a major opera orchestra.  And we talked about how podcasting - for both of us! - has been a portal into conversations with other artists. How David''s fascination with the CRAFT of other high-level musicians and creatives is leading to inspiration for him and for his audience.  I loved hearing him light up around his curiosity, his guests, and his experiences having these conversations.  I know you'll love hearing his story. Follow Speaking Soundly on apple, spotify, instagram, and facebook.  Connect with David on Instagram, @DavidKrausstrumpet. Building a creative business? You need to check out the Ultimate Music Business Summit this January! I'll be presenting, and so will over two dozen other musicpreneurs!  Thinking of trying FONS to streamline scheduling and payment for your music studio? Click HERE for my affiliate link and a free two week trial!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! Or you could hop on a short call with me to brainstorm your next plan.  I'm your host, Jennet Ingle. I love you all. Stay safe out there!

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

David Krauss, principal trumpet of the Metropolitan Opera Orchestra, talks to The Lambert Center's Jason Blitman about what the title “principal trumpet” means, childhood as an “indoor kid,” and the little things he learns about music icons while talking to them on his podcast, Speaking Soundly. David Krauss is the prodigious host of Speaking Soundly, co-founder of Artful Narratives Media, and principal trumpet of the Metropolitan Opera Orchestra. As a soloist, he has performed with the All-Star Orchestra on their Emmy Award-winning PBS broadcast and was praised by the American Record Guide for his "singing tone, which is luxurious and inviting." He has performed as guest principal trumpet with the Chicago Symphony Orchestra, Boston Symphony Orchestra, and New York Philharmonic, as well as recorded for film and television, and played on several Broadway shows. David is a highly sought-after instructor at The Juilliard School, Manhattan School of Music, Mannes School of Music, Aspen Music Festival and School, and other top conservatories and music festivals throughout the United States.

Gloria Jones Allgood joined the Atlanta Symphony Orchestra at age 20 in 1984, just before completing her Bachelor's Degree in Double Bass Performance at The University of Michigan.   Born into a musical family in Greenville, SC, she studied violin and piano until age 12 when she started studying the bass. She was a member of the Greenville Symphony Orchestra for five years before college, soloing with the Charleston Symphony Orchestra at age 14. Six of her summers were spent at Interlochen Center of the Arts, studying with Lawrence Hurst, Oscar Zimmerman, and Jack Budrow. She also studied with her late husband, Atlanta Symphony Orchestra Principal Bass Ralph Jones for two years in high school.    While at The University of Michigan, Allgood was Principal Bass of the Flint Symphony Orchestra from 1982-1984, and she received the Mitslav Rostropovich Award for Outstanding Musicianship. She studied on Full Fellowship at the Aspen Music Festival in the summers of 1983 and 1984, studying with Stuart Sankey.   Joining the Atlanta Symphony Orchestra as a section player, she was promoted to Assistant Principal in 1989 and to Associate Principal in 2001. Additionally, she served as Acting Principal Bass during the 2013/14 and 2014/15 seasons. She teaches privately, coaches the Atlanta Symphony Youth Orchestra, participates in the Talent Development Program and has performed in many chamber music groups around Atlanta. She presently holds the Lucy R. and Gary Lee Jr. Associate Principal Bass Chair.   Gloria Jones Allgood is married to musician and recording engineer William Allgood.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life!   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.     theme music by Eric Hochberg

We had the opportunity to connect with Mark Murtagh and Hunter McGranahan, the co-founders of the video conferencing platform, Forte. They co-founded Forte because they believe there should be a free platform built specifically for online music lessons.Forte radically improves online education with audio quality far superior to existing platforms. Mark worked for years as a trusted advisor to some of the top music institutions in the world, including Juilliard, The Royal College of Music, and Berklee, helping them expand access to high-quality music instruction across the globe. And before Forte, Hunter helped build the Virtual Reality initiative at the Creative Artists Agency and led the development of Magic Leap's music education platform.In this latest episode, Mark and Hunter shared the story behind Forte, why Forte is (and will remain!) free, and how Forte's mission focuses on expanding access to quality music teachers anywhere in the world. [Forte]

Synopsis Franz Liszt, the inventor of the "symphonic poem," wrote 13 of them. The second, "Tasso," had its first performance on today's date in 1849. The occasion was a festival celebrating the 100th birthday of the great German national poet and playwright Johann Wolfgang von Goethe, the author of "Faust." The festival was in Weimar, Germany, the city where Goethe died and was buried in 1832. Liszt's "Tasso" was written to serve as the overture to Goethe's drama about the Italian poet "Torquato Tasso," and its premiere performance was conducted by its composer. The main theme of the work is said to be a tune Liszt claimed he heard sung by an Italian gondolier in Venice. One of the more surprising tributes to Goethe occurred not in Germany, but in scenic Aspen, Colorado, when the Aspen Music Festival was founded in Goethe's honor in 1949 – on the 200th anniversary of his birth. The Aspen Music Festival has grown over the years and today draws some 30,000 visitors annually. One of the original founders of the Festival was French composer Darius Milhaud, who taught at the Aspen Music School for many years. This music is from Milhaud's "Aspen Serenade," written in 1957. More recently, during conductor David Zinman years as the Festival's Music Director, many contemporary American composers, including John Corigliano, Richard Danielpour, Christopher Rouse, and Augusta Read Thomas, have had their works performed – and occasionally premiered – in Aspen. Music Played in Today's Program Franz Liszt (1811-1886) –Tasso (Orchestre de Paris; Sir Georg Solti, cond.) London 417 513 Darius Milhaud (1892-1974) –Aspen Serenade, Op 361 (Stuttgart Radio Symphony; Gilbert Varga, cond.) CPO 999114

There are many contemporary choral arts institutions that prioritize the "traditional" repertoire - the Southern California-based Choral Arts Initiative is not one of them. Artistic Director Brandon Elliott joins Garrett (55:00) to talk about their new album, the power of entrepreneurship, and his unique view of diversity. Scott and Garrett share their favorites from Beyoncé's latest album, discuss the latest misstep by the Aspen Music Festival, unpack a fundraising call from the Metropolitan Opera, and lots more. Playlist: David Ibbett - Black Hole Symphony (https://www.youtube.com/watch?v=liiB5QZycNc) Sergei Prokofiev - Symphony No. 6 (perf. SWR Symphonieorchester, Thomas Søndergård: https://www.youtube.com/watch?v=7G7XajHW1MI) Young Dolph, Key Glock - Aspen Beyoncé - CUFF IT Beyoncé - CHURCH GIRL Beyoncé - PLASTIC OFF THE SOFA Beyoncé - AMERICA HAS A PROBLEM Jeffrey Derus - "Kennedy Meadows" Jeffrey Derus - "Journey Into Yourself" Anthony Davis - "Audubon Ballroom" More: Brandon Elliott: https://www.brandon-elliott.com Choral Arts Initiative: https://www.choralartsinitiative.org Desus and Mero Break Up: https://www.vulture.com/2022/07/desus-and-mero-break-up-victor-lopez-manager.html Black Hole Symphony: https://www.wgbh.org/news/arts/2022/07/22/black-hole-symphony-translates-the-sounds-of-black-holes-into-orchestral-music Minnesota Orchestra Names Thomas Sondergard as Music Director: https://www.nytimes.com/2022/07/28/arts/music/minnesota-orchestra-thomas-sondergard.html Aspen Music Festival Flies Swastika: https://slippedisc.com/2022/07/aspen-festival-flies-swastikas-in-the-sound-of-music/

David Stewart Wiley is the Conductor of the Roanoke Symphony Orchestra and was the Conductor and Music Director of the Long Island Philharmonic from 2001 to 2016. He has been honored by Roanoke City Council as Roanoke's “Citizen of the Year” for his outstanding service and outreach to diverse communities, separate from his professional duties. As a solo pianist, Wiley has performed with numerous major orchestras throughout the United States including Minnesota, Indianapolis, Oregon, Honolulu, Wheeling, and West Virginia, performing major concerti by Baroque to contemporary, often conducting from the piano. He has appeared as both a jazz and classical pianist in Boston's Symphony Hall and in recital and chamber music appearances throughout the U.S. as well as in China, Russia, Romania, Germany, Hungary, Italy, the Czech Republic, and Bulgaria. David Stewart Wiley won the Aspen Conducting Prize, was Assistant Conductor for the Aspen Music Festival, and was awarded a Conducting Fellowship at Tanglewood. He and his wife Leah Marer Wiley (soprano soloist, teacher, and owner of Muevela Fitness) have a son and a daughter who play cello and violin and enjoy travelling, hiking, biking, chess, and making music together.

In January of this year, Asadour Santourian was named the Vice President of the Tanglewood Music Center and Learning. Santourian is joining The Boston Symphony from the acclaimed Aspen Music Festival and School, where he served for 18 years as Vice President for Artistic Administration and Artistic Advisor. At the BSO, Santourian will leverage his experience mentoring artists to the BSO's programs in support of the next generation of musicians. Leading all of the BSO's training, education, and community programs, Santourian will focus on expanding broader representation through wide-ranging partnerships and collaborations.

In this episode, Dave and Andrew look through Windows at Jacob Druckman's compositional style and legacy in American music. Druckman taught at Yale and the Aspen Music Festival for years, shaping generations of young composers, and coined the term "New Romanticism" when he curated the Horizons Festivals at the NY Philharmonic in the mid-1980s. Yet today, his attempts to merge modernist techniques with audience-friendly sounds are largely forgotten. Should they be?   If you'd like to know more about Druckman, we recommend: Nicholas Papador's dissertation Jacob Druckman: A Bio-Bibliography and Guide to Research, Northwestern University, 2003. Druckman's interview in Cole Gagne and Tracy Caras's Soundpieces: Interviews with American Composers (Scarecrow Press, 1982) Bruce Duffie speaks with Jacob Druckman  

Orchestral Timpanist, Percussionist, and Percussion Professor Laura Noah stops by to talk about her busy schedule of performing and teaching all over Alabama, Mississippi, and Florida (03:10), following her creative pursuits during the first part of COVID (19:50), her work with the PAS Diversity Alliance (25:25), growing up in Centreville (AL), growing up in the Funeral Home business, Drum Corps, the Aspen Music Festival, and getting connected to Peabody (29:50), going to the University of Alabama for undergrad, and explaining the differences between Goodman school vs. the Duff school (46:25), going to Peabody (MD) for her Master's, studying with Jonathan Haas, and living in Baltimore (56:30), and settles in for the Random Ass Questions, with sections on auditions, Marie Kondo, Dave Ramsey, Stargate SG1, and Mahler 2 (01:13:30).Finishing with a Rave on Pete's recent trip back to Wake Forest University for an Orchestra Reunion Concert (01:40:00).Links:Laura Noah's websiteLaura Noah's University of Mobile pageLaura Noah's University of West Florida pageLaura Noah's Innovative Percussion pageSean Noah's McGill-Toolen pageSymphony No. 104 (“London”) - Franz Josef Haydn“Calm Sea and Prosperous Voyage” - Ludwig van BeethovenPAS Diversity AllianceMy Girl trailerThe Planets - Gustav HolstSuite from The Firebird - Igor StravinskySymphony No. 5, 4th movement - Dmitri ShostakovichPhantom Regiment 1996Robert Van SiceJonathan HaasSanta Clara VanguardSouthwind Drum CorpsGrand Canyon Suite - Ferde GroféBlue Shades - Frank TicheliString Quartet No. 4 : “Allegro Pizzicato” - Bela BartokRyan SaulLarry MathisSaul GoodmanCloyd DuffTom Brady's Michigan highlightsTom StubbsDoug HowardGerald WelkerJi Hye JungSnatch trailerGreen Lantern trailerThe Total Money Makeover - Dave RamseyThe Life-Changing Magic of Tidying Up - Marie Kondo“Roll Tide” CommercialTate ModernStargate SG1 TV SeriesSymphony No. 2: Finale - Gustav MahlerThe Ukranian National AnthemRaves:Wake Forest University's Orchestra Homepage

“There's a real decrease in functional connectivity between regions of the brain that modulate the ego and a sense of self for Gabriela Montero when she's improvising. That's not a region of the brain in particular, it's the connections between a lot of them and that together as well and also our sense of self and also our conscious memory and our ability to anticipate and plan for the future. So our knowledge of ourselves in these different spheres of time, the light of that activity is dimmed during improvisation. There really is a biological reason behind her feeling that she gets out of the way and something else comes to the fore. The study asks why are her improvisations still so coherent, why did they hold together in time. They refer to it as this form of embodied creativity or embodied cognition, where it's a deeper kind of memory. a more physical memory in her fingers in her body that know how to play and kind of takes over and allows for ego to kind of dissolve in that moment as she performs.”Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.org

Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.orgPhoto by Krista Mercer Buchenau

Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.orgPhoto by Krista Mercer Buchenau

“There's a real decrease in functional connectivity between regions of the brain that modulate the ego and a sense of self for Gabriela Montero when she's improvising. That's not a region of the brain in particular, it's the connections between a lot of them and that together as well and also our sense of self and also our conscious memory and our ability to anticipate and plan for the future. So our knowledge of ourselves in these different spheres of time, the light of that activity is dimmed during improvisation. There really is a biological reason behind her feeling that she gets out of the way and something else comes to the fore. The study asks why are her improvisations still so coherent, why did they hold together in time. They refer to it as this form of embodied creativity or embodied cognition, where it's a deeper kind of memory. a more physical memory in her fingers in her body that know how to play and kind of takes over and allows for ego to kind of dissolve in that moment as she performs.”Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.org

Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.orgPhoto by Krista Mercer Buchenau

“There's a real decrease in functional connectivity between regions of the brain that modulate the ego and a sense of self for Gabriela Montero when she's improvising. That's not a region of the brain in particular, it's the connections between a lot of them and that together as well and also our sense of self and also our conscious memory and our ability to anticipate and plan for the future. So our knowledge of ourselves in these different spheres of time, the light of that activity is dimmed during improvisation. There really is a biological reason behind her feeling that she gets out of the way and something else comes to the fore. The study asks why are her improvisations still so coherent, why did they hold together in time. They refer to it as this form of embodied creativity or embodied cognition, where it's a deeper kind of memory. a more physical memory in her fingers in her body that know how to play and kind of takes over and allows for ego to kind of dissolve in that moment as she performs.”Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.org

“There's a real decrease in functional connectivity between regions of the brain that modulate the ego and a sense of self for Gabriela Montero when she's improvising. That's not a region of the brain in particular, it's the connections between a lot of them and that together as well and also our sense of self and also our conscious memory and our ability to anticipate and plan for the future. So our knowledge of ourselves in these different spheres of time, the light of that activity is dimmed during improvisation. There really is a biological reason behind her feeling that she gets out of the way and something else comes to the fore. The study asks why are her improvisations still so coherent, why did they hold together in time. They refer to it as this form of embodied creativity or embodied cognition, where it's a deeper kind of memory. a more physical memory in her fingers in her body that know how to play and kind of takes over and allows for ego to kind of dissolve in that moment as she performs.”Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.org

Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.orgPhoto by Krista Mercer Buchenau

“There's a real decrease in functional connectivity between regions of the brain that modulate the ego and a sense of self for Gabriela Montero when she's improvising. That's not a region of the brain in particular, it's the connections between a lot of them and that together as well and also our sense of self and also our conscious memory and our ability to anticipate and plan for the future. So our knowledge of ourselves in these different spheres of time, the light of that activity is dimmed during improvisation. There really is a biological reason behind her feeling that she gets out of the way and something else comes to the fore. The study asks why are her improvisations still so coherent, why did they hold together in time. They refer to it as this form of embodied creativity or embodied cognition, where it's a deeper kind of memory. a more physical memory in her fingers in her body that know how to play and kind of takes over and allows for ego to kind of dissolve in that moment as she performs.”Born and raised in Denver, Natalie Hodges has performed as a classical violinist throughout Colorado and in New York, Boston, Paris, and the Italian Piedmont, as well as at the Aspen Music Festival and the Stowe Tango Music Festival. She graduated from Harvard University, where she studied English and music, and lives in Denver, Colorado. Uncommon Measure is her first book.· www.nataliehodges.com · www.creativeprocess.info · www.oneplanetpodcast.org

Kenny Aronoff is one of the most influential and in-demand drummers and percussionists in the world. He has entertained millions of people with his drumming, has played on thousands of records, and has been the “go-to” drummer for the biggest stars in music while providing the beat of American culture over four decades! https://kennyaronoff.com/ Kenny grew up in a big country farmhouse in a small town of 3,000 people in the hills of western Massachusetts. He was a self-taught drummer who at the young age of 16 decided to learn how to play timpani, mallets, and legit snare drum. He studied and played with members of the Boston Symphony Orchestra, including world-renowned timpanist Vic Firth. He went on to study for one year at the university of Massachusetts and four years at Indiana University School of Music in Bloomington, Indiana, where among other honors, he was awarded the school's prestigious performer's certificate. During summer breaks, when he wasn't studying timpani with Vic Firth, he played in symphony orchestras at the Aspen Music Festival (run by the Juilliard School of Music) and the Tanglewood Music Festival (run by the Boston Symphony Orchestra). After graduating, Kenny was offered timpani positions in several symphony orchestras, but instead said “no” because he still wanted to be in a rock ‘n' roll band and be part of a team of musicians that recorded music and toured the world, just like The Beatles did. Kenny spent one year studying drum set with Alan Dawson in Boston and Gary Chester in New York before moving back to Bloomington to start his own band, “Streamwinner“. About Counterparts: Join them for conversations about film, music, health, and life. Two cousins from the Bronx are bringing you entertainment through great conversations. Nothing complicated. Just good talk and some funny commentary. :) It's LIVE so bring your questions and commentary too! Join them LIVE every Tuesday at 8 pm EST 7PM Central https://lnkd.in/eRbxWUB To further support and become part of our Counterparts Crew, Please visit our merch store! https://lnkd.in/egMwAmT You may also email them at counterpartspodcast@gmail.com. They love to hear from viewers!

Kenny Aronoff is one of the most influential and in-demand drummers and percussionists in the world. He has entertained millions of people with his drumming, has played on thousands of records, and has been the “go-to” drummer for the biggest stars in music while providing the beat of American culture over four decades! https://kennyaronoff.com/ Kenny grew up in a big country farmhouse in a small town of 3,000 people in the hills of western Massachusetts. He was a self-taught drummer who at the young age of 16 decided to learn how to play timpani, mallets, and legit snare drum. He studied and played with members of the Boston Symphony Orchestra, including world-renowned timpanist Vic Firth. He went on to study for one year at the university of Massachusetts and four years at Indiana University School of Music in Bloomington, Indiana, where among other honors, he was awarded the school's prestigious performer's certificate. During summer breaks, when he wasn't studying timpani with Vic Firth, he played in symphony orchestras at the Aspen Music Festival (run by the Juilliard School of Music) and the Tanglewood Music Festival (run by the Boston Symphony Orchestra). After graduating, Kenny was offered timpani positions in several symphony orchestras, but instead said “no” because he still wanted to be in a rock ‘n' roll band and be part of a team of musicians that recorded music and toured the world, just like The Beatles did. Kenny spent one year studying drum set with Alan Dawson in Boston and Gary Chester in New York before moving back to Bloomington to start his own band, “Streamwinner“. About Counterparts: Join us for conversations about film, music, health, and life. Two cousins from the Bronx are bringing you entertainment through great conversations. Nothing complicated. Just good talk and some funny commentary. It's LIVE so bring your questions and commentary too! Join us LIVE every Tuesday at 8 pm EST 7PM Central https://lnkd.in/eRbxWUB Thank you for watching and supporting our channel! To further support and become part of our Counterparts Crew, Please visit our merch store! https://lnkd.in/egMwAmT You may also email us at counterpartspodcast@gmail.com. We love to hear from our viewers!