Podcasts about atlanta symphony

BONUS EPISODE – Peace up ✌️ A-Town down

On this special episode, Little Kids, Big Hearts host Todd Loyd chats with award-winning composer, lyricist & performer Lance Horne

The Cello Sherpa Podcast Host, Joel Dallow, interviews Bassist Andrew Sommer. Andrew is in his second season as a bassist in the Chicago Symphony, after spending 4 years as Principal of the Richmond Symphony. He shares his story about growing up among musician parents, with his mom as his earliest music teacher, his dad paving the way as a bassist in the Atlanta Symphony and much more. For more information on Andrew Sommer: https://cso.org/about/performers/cso-musicians/strings/bass/andrew-sommer/You can also find Andrew on Facebook & Instagram: @ajsommerIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, TikTok, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Among Beethoven’s concerto compositions, The Triple Concerto is the least often played work. Still, on April 3 and 4, the Atlanta Symphony will feature Beethoven’s Concerto for Violin, Cello, and Piano with Concertmaster David Coucheron, Acting Principal Cellist Daniel Laufer, and pianist Julie Coucheron. The trio of soloists joined Lois to discuss the upcoming concerts. Plus, the annual DIY FEST returns on April 3, spotlighting the Punk Rock Collection at Emory University’s Rose Library, and Kosmo Vinyl stops by to share the story behind Horace Andy’s “Skylarking.”See omnystudio.com/listener for privacy information.

  About Kate: Kate Caliendo enjoys a diverse musical career of symphonic playing, chamber music, recording, soloing and teaching. She is currently Second Horn of the Jacksonville Symphony and has also held Fourth Horn positions with the Houston Symphony and San Antonio Symphony. She is a frequent guest musician with groups including the Kansas City Symphony, Atlanta Symphony, Charleston Symphony, Houston Grand Opera, North Carolina Symphony, Louisiana Philharmonic and the Coastal Symphony of Georgia. As a recorded artist, she is featured on projects with the Kansas City Symphony, Rice University Horn Studio and the Houston Symphony, including their 2018 Grammy Award winning live concert performance of Wozzeck. During the summers, Kate performs with the Bellingham Festival of Music in Washington state, and has also been a musician at Festival Mozaic in California and the Tanglewood Music Center. An avid solo musician, she performed as guest soloist with the Charleston Symphony, and in 2011 commissioned and premiered “Vanishing Points, Six Aural Paintings for Low Horn and Piano” by Rice Doctorate composer Stephen Bachicha. A native of New Jersey, Kate began her musical studies with her father, who was her band director. She was a student of Michelle Baker at the Manhattan School of Music and received her Bachelors and Masters degrees in French Horn Performance from Rice University as a student of William VerMeulen. Her other notable teachers  include Dale Clevenger, Julie Landsman, Douglas Lundeen, and Jeff Nelsen.

Gonzalo Grau is a Venezuelan born multi-instrumentalist and composer. He's received three Grammy nominations. He's composed original works for the Atlanta and Chicago Symphonies, the Los Angeles Philharmonic and the Boston Pops. He leads two projects of his own - Plural and La Clave Secreta.My featured song is “Take Me” from the album PGS 7 by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with Gonzalo:www.gonzalograu.com—---------------------------------------ROBERT'S SINGLES:“LOVELY GIRLIE” is Robert's latest single. It's a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Bone2pick kicks off 2025 by welcoming bass trombone virtuoso George Curran to the series. George has been the bass trombonist of the New York Philharmonic since 2013. Prior to that, he held the same position with the Atlanta Symphony for eight years. He has performed with the orchestras of Boston, Philadelphia, San Francisco, Detroit, Cincinnati, and Hong Kong. He is active as a soloist and chamber musician. His signature bass trombone is produced by the S.E. Shires Company. Enjoy!

The Cello Sherpa Podcast Host, Joel Dallow, interviews violinist Lauren Roth, who recently joined the Atlanta Symphony as the new Asst. Concertmaster. They talk about her past experience as Concertmaster of the Tucson Symphony, and how it relates to her current position. Lauren also offers advice on how to prepare for an orchestral audition. For more information on Lauren: https://www.laurenrothviolin.com/ For more information on Lauren's coach, Jo Zakany at Mindful Opus: www.mindfulopus.com If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out http://www.theCelloSherpa.comFollow us on Instagram, TikTok and YouTube @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Ray Kim, cellist and former member of the Atlanta Symphony Youth Orchestra, and former musical director Jere Flint discuss the 50th anniversary of the ASYO. Plus, we hear about this week's Southern Fried Queer Pride Festival, taking place at various locations around Little Five Points.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today on The Rough Draft, we're joined by Mark Watters, a six-time Emmy Award-winning composer and conductor renowned for his work in film, television, video games, global tours such as Star Wars in Concert, and major events like the Olympics. Mark's career spans iconic Disney classics and collaborations with artists like John Legend, Mary Jo Blige, and Beyoncé. In addition, Mark serves as the Associate Professor of Contemporary Media & Film Composition and Director of the Beal Institute for Film Music and Contemporary Media at the prestigious Eastman University in New York. Join us today as we discuss his creative process, how to embrace technology while guarding authenticity, and the deeply emotional resonance of music across all content mediums. Guest BioMark Watters is a six-time Emmy Award winning composer and conductor whose diverse career spans over 400 television episodes, feature films, DVDs, video games, concert works and music for the theater. He holds the distinct honor of having served as music director and featured composer for two Olympics. First, in 1996 for the Centennial Olympic Games in Atlanta and again in 2002 for the Salt Lake City Winter Olympics. For the '96 games, Mark composed the Emmy nominated song, "Faster, Higher, Stronger." Performed by opera legend, Jessye Norman and featuring lyrics by Grammy-nominated lyricist, Lorraine Feather, the song was the triumphant finale to the Opening Ceremonies. He has served as guest conductor for such orchestras as The Los Angeles Philharmonic, The Tokyo Philharmonic, The London Symphony, The Los Angeles Chamber Orchestra, The Detroit Symphony, The New York City Pops, The Baltimore Symphony and The Atlanta Symphony. In 2002, film score legend John Williams asked Mark to co-conduct the 74th Academy Awards. He has worked with such artists as Beyonce, Sting, Carrie Underwood, John Legend, Mary J. Blige, Trisha Yearwood, Yo Yo Ma and Broadway star, Brian Stokes Mitchell.In addition to his composing and conducting career, Mark is an associate professor at the famed Eastman School of Music where he heads the Media Composition curriculum and is the director of the Beal Institute for Film Music and Contemporary Media.Additional Resourcesmarkwatters.comesm.rochester.edu/directory/watters-mark/Rate & SubscribeBe sure to subscribe to Rev's YouTube Channel in order to stay up to date with the latest episodes and to watch our video production of The Rough Draft.Follow Rev and The Rough Draft on Instagram, LinkedIn, and XThe Rough Draft is produced by Rev, and releases a new episode every two weeks on Thursday. Subscribe now to stay up to date with the newest episodes, and be sure to check out rev.com/podcast for more content.

Many of you will recognize the name of this installment's guest: Joel Dallow; cellist in the Atlanta Symphony and founder of the Cello Sherpa podcast. Here's his website! https://www.thecellosherpa.com/#/ Here's an example of the BEMER device he mentioned (not a promotion). https://bemergroup.com/en_US/human-line/home Atlanta Symphony Orchestra website: https://www.aso.org/

Elaine Martone was a longtime Classical and Jazz producer for Telarc Records, including recordings by the Atlanta Symphony, Cleveland Orchestra, Geri Allen, Oscar Peterson and McCoy Tyner. She's a 5x Grammy winner. Elaine also ran the production department at Telarc where she managed more than 1,500 projects. And for seven years she produced the Ojai Music Festival. Now with her own company she has produced Grammy nominated recordings by singer Tierney Sutton. My featured song is my cover of Miles Davis's “All Blues” from my “lost” album Miles Behind. Spotify link. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest) Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Elaine:www.elainemartone.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview John Sebastian Vera and Nick Schwartz, trombonists and podcast hosts of The Trombone Retreat.  After you listen to this episode, head on over to The Trombone Retreat feed for the second half of this episode.  You can come see us at Booth #271 at the TMEA Convention, February 8th thru 10th, 2024 in San Antonio Texas.   About John Sebastian Vera John Sebastian Vera, a native of Texas, became the principal trombonist of the Pittsburgh Opera in 2010 and also joined the River City Brass as principal Trombone in 2015. He is also professor of trombone at Duquesne University and faculty member at the Cleveland Institute of Music where he teaches a course on Music Entrepreneurship and Digital Media as well as coach chamber music. In addition to the Pittsburgh Opera, Mr. Vera has played with the symphonies of Dallas, Detroit, Pittsburgh, Cleveland, the St. Paul Chamber Orchestra, Buffalo, Kennedy Center Opera House, Malaysian Philharmonic, New York City Ballet, Vermont, Harrisburg, Charleston, American Ballet Theatre, and Orquesta Sinaloa de las Artes in Mexico amongst others.  He began his studies with Jon Bohls in Texas and continued his education at Southern Methodist University where he studied with John Kitzman of the Dallas Symphony. He then spent a year studying with Ed Zadrozny as a graduate assistant at the University of Akron, and finished his graduate work in New York City at the Mannes College of Music studying with David Finlayson and James Markey of the New York Philharmonic.     In 2011, he spent the summer in Haiti volunteer teaching and performing in the Orchestre Philharmonique Sainte Trinite as well as the Ecole de Musique Dessaix Baptiste which became one of the more profound experiences of his life.   A dedicated chamber musician, he also was a founding member of the critically acclaimed Guidonian Hand Trombone Quartet in which he played from 2008-2014. With the quartet, John performed over 100 concerts and gave master classes all over the country. Heralded by the New York Times for their "expertly played performances" they have been recipients of numerous national grants which have enabled them to commission countless composers to create new and innovative works for four trombones.  In 2014 was the premiere of River of Fundament, a movie by film artist Matthew Barney, in which John recorded for and acted in along with the quartet.  Mr. Vera can also be heard on the HBO documentary The Words that Built America as well as on euphonium in the PBS documentary Abraham and Mary Lincoln, A House Divided as well as many commercial and video game soundtracks as well as James Markey's solo release, “On Base”. John is an Artist for Edwards Instruments and resides in Pittsburgh.  His favorite musicians include Sigur Ros, Radiohead, the Books, and Efterklang. When he can get away from the trombone he most enjoys basketball, traveling and reading about psychology and social science.  Check out his podcast he hosts with Nick Schwartz called the Trombone Retreat available everywhere you download your podcasts. Follow him on Instagram @js.vera.   About Nicholas Schwartz Nicholas Schwartz has a diverse career performing across North America, Europe, and Asia. After studying at The Juilliard School with then New York Philharmonic bass trombonist Don Harwood, he moved to San Francisco where he began freelancing throughout the Bay Area.  Since 2010, he has been the principal bass trombonist of the New York City Ballet Orchestra. He has also performed with the Pittsburgh Symphony, the New York Philharmonic, The Metropolitan Opera, The Philadelphia Orchestra, San Francisco Symphony, San Francisco Ballet, Orpheus Chamber Orchestra, St. Lukes Chamber Orchestra, the New York City Opera,  Atlanta Symphony, Minnesota Orchestra, The Malaysia Philharmonic, Mostly Mozart Festival, and Classical Tahoe.  Follow him on instagram @basstrombone444   About Third Coast Retreat The Third Coast Trombone Retreat is an 7-day trombone immersion welcoming talented college, high school, and amateur trombonists from across the country to the beautiful shores of Lake Michigan.   The Retreat takes place in the charming small town of Montague, MI. Truly an escape from the distractions of everyday life, the festival is nestled in a dense forest along the coast where happening across roaming deer is a common occurrence. The Retreat utilizes facilities all over the town from churches to coffee houses to historic barns to the beach.  We will perform not only for ourselves, but for the community. A fulfilling life of being a musician does not simply begin and end with winning an orchestral or teaching position. Mastering the instrument is only the first step.  Being an artist in the 21st century requires discovering one's unique voice and finding new ways to present the art-form to communicate and contribute to society.   Core to the retreat will be guest artist and faculty recitals, topical master classes including personal finance, performance anxiety and wellness as well as private lessons, orchestral section seminar, ensemble coachings, a trombone choir, a mock orchestral audition, and much more. In addition to the performance elements, the curriculum is expanded to include a talks about career-building, faculty bonfire Q&A, discussions on the mental approach to auditions and performances, wellness, meditation, and more.    

SynopsisIn the musical world, there are many creative people with innovative ideas, but far fewer with the ability and persistence to raise the funds necessary to realize their visions.Today, a tip of the hat to American composer John Duffy, who, in 1982, was president of Meet the Composer, an organization that secured funding from the National Endowment for the Arts and other foundations for a large-scale residency program that paired rising American composers with major American orchestras. The composers included John Corigliano, Joan Tower, Stephen Paulus, Christopher Rouse, Libby Larsen and Alvin Singleton. Each wrote special works for their orchestras, works that were premiered and recorded as part of the program — a major career boost for any young composer.For example, Singleton was the composer chosen for the Atlanta residency, and on today's date in 1988, that orchestra premiered his work After Fallen Crumbs.The unusual title doesn't refer to arts funding, however apt that might seem, but derives from an earlier choral piece by Singleton whose text dealt with world hunger and closed with the lines, “An ant can feed a family with the fallen crumbs of an elephant.”Music Played in Today's ProgramAlvin Singleton (b. 1940) After Fallen Crumbs; Atlanta Symphony; Louis Lane, cond. Nonesuch 79231

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Ray Kim, who is one of the newest members of the Atlanta Symphony Orchestra cello section. They talk about Ray's path from a childhood in South Korea through Atlanta for High School. When a global pandemic affected his ability to stay in the U.S., Ray returned to South Korea for mandatory military service, taught himself to play the trombone and still managed to find his way back to the Atlanta Symphony to land a job in the cello section. For more information on Ray, visit: https://www.aso.org/artists/detail/ray-kimYou can also find Ray on Facebook and Instagram: @hyugraykimFor more information on our sponsor: www.CLEAResources.com If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram and Threads @theCelloSherpa

Exciting episode today, as we have an international guest on the podcast today, interviewing Ilan Morgenstern! Ilan has experienced such a spectacular orchestral and solo playing career. He has subbed with numerous top orchestras across the United States and even overseas in Israel such as Israel Philharmonic, Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony, and many more. He has won many awards from internationally renowned competitions including the Jeju International Brass and Percussion Competition, Zellmer-Minnesota Orchestra Competition, and the National Repertory Orchestra's Concerto Competition. His official positions in the past include San Antonio Symphony, Houston Grand Opera Orchestra, Jacksonville Symphony, and Kansas City Symphony. Originally from Rehovot, Israel, Ilan has unique stories about his time growing up in Israel, how he eventually moved to the United States for his bachelor's and master's degrees, and continue through his progression as one of the top bass trombonists in North America up until his present day position in the Vancouver Symphony. -- Transition Music #1: Ballade for Bass Trombone Strings and Harp, Eric Ewazen, featuring Ilan Morgenstern, Rachel Ferris and the San Antonio Symphony Instagram: @8thposition @dbaldwin903 @_mehurst_

Jennifer Higdon wrote her Concerto for Orchestra for the Philadelphia Orchestra and its then-Music Director Wolfgang Sawallisch who gave the work its premiere in 2002. Since then it's been recorded by the Atlanta Symphony and, on a new Naxos album just out, by the Houston Symphony - both conducted by Robert Spano. The new recording finds the Concerto for Orchestra joined by a much newer work, Higdon's double percussion concerto, Duo Duel (2020), played by the artists who commissioned it, Svet Stoyanov and Matthew Strauss. James Jolly caught up with Jennifer Higdon to talk about the two works' beginnings, and about how the composer manages her amazingly busy schedule. This week's podcast is produced in association with the Lake George Music Festival where you can enjoy classical music among some of America's most spectacular scenery. Visit lakegeorgemusicfestival.com to find out more.

It's time for our mid-season finale and today for our guest, we have one of the greatest bass trombonists out there, Mr. George Curran! Mr. Curran became the bass trombonist of the New York Philharmonic in 2013 and prior to that he was a member of Atlanta Symphony, and a fellow with the New World Symphony. Due to his terrific personality and incredible skills on the trombone, he has performed with numerous orchestras such as the Metropolitan Opera Orchestra, San Francisco, Philadelphia, Detroit, Hong Kong Philharmonic, and many more. In addition to his impressive orchestral career, Mr. Curran is a renowned soloist performing solos in two International Trombone Festivals, being featured for the United States Air Force Band, and even the Jeju International Wind Ensemble Festival in South Korea. With such a great resume and history in the trombone world, we get right down to how he got into music by diving into the story of how he quit engineering to pursue music, how he transitioned from euphonium to bass trombone, how his orchestral career has progressed through the years and of course, we hit him with some rapid fire questions resulting in one of the most controversial responses yet! Fun Fact: When I (Darien) was first trying to start this Podcast with Lawson, I was studying with Mr. Curran at the time and asked him if this podcast was a good idea and how we should go about it. He supported the idea fully and told me how to reach out to all these wonderful musicians for these interviews! Without Mr. Curran's support and advice, this Podcast wouldn't have been possible! -- Transition Music #1: Barnacle Bill, Steven Frank, United States Air Force Band featuring George Curran  Transition Music #2: Rolling Thunder March, Henry Fillmore, Schwob Wind Ensemble featuring George Curran Instagram: @8thposition @dbaldwin903 @_mehurst_

Jonathan Colbert recently joined the faculty of the University of Memphis, bringing a wealth of experience gathered from playing with ensembles like the Atlanta Symphony, Pittsburgh Symphony Orchestra, and Philadelphia Orchestra.  He spent six years serving as co-principal bass of the Royal Danish Orchestra, and he is in high demand as a performer and private teacher. We talk about his path through the music world, the highlights and challenges of a career as an orchestral player, his approach to building a varied career, and much more. Enjoy, and be sure to check out Jonathan's University of Memphis faculty page and also this cool article on his appointment to this position! 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.   theme music by Eric Hochberg

She has had an amazing career in marketing and public relations for orchestras such as the Baltimore Symphony, San Francisco Symphony, and Atlanta Symphony, but in October of 2020, she moved to Sarasota to be the first executive director in the 78-year history of the Sarasota Concert Association.Take a listen to Linda Moxley's fascinating life and career while learning all about the history and current offerings of the Sarasota Concert Association.All that and more on this week's episode of the Suncoast Culture Club podcast.Come along and join the club!• Sarasota Concert Association Website & Facebook• The Pops Orchestra of Bradenton and Sarasota Website & Facebook & Instagram• SCF Music Program Website & Facebook & InstagramSupport the show

Nick Scholefield joined the double bass section of the Atlanta Symphony Orchestra in 2022. Prior to joining the ASO, Scholefield was a member of the Alabama Symphony Orchestra since 2019. He studied with Jeffrey Turner and Bruce Bransby and is a Georgia native. We talk about Nick's audition process, lessons learned along the way, his preparation process and how it evolved, and much more. Enjoy, and give Nick a follow on YouTube to hear this great player in action!   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 sponsor!   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.   theme music by Eric Hochberg

American composer Missy Mazzoli joins us from her home in New York for this latest episode of Composing Myself. It's a customarily broad-ranging chat with Wise Music CEO Dave Holley and Creative Director Gill Graham. Topics on today's conversational menu include Missy's childhood obsession with Beethoven and learning to play on a piano bought in a flea market, how writing made her feel like she was “putting the world in order”, getting stuck in to the Pennsylvania Riot Grrrl scene as a teenager, her long-standing collaboration with librettist Royce Vavrek, and how the COVID-19 pandemic impacted the creation of her most recent opera The Listeners.https://missymazzoli.com/Recently deemed “one of the more consistently inventive, surprising composers now working in New York” (NY Times) and “Brooklyn's post-millennial Mozart” (Time Out NY), Missy Mazzoli has had her music performed by the New York Philharmonic, Atlanta Symphony, the Philadelphia Orchestra, the BBC Symphony, the Cincinnati Orchestra, the National Symphony, LA Opera, Scottish Opera, eighth blackbird, Kronos Quartet and many others. In 2018 she became one of the first two women, along with Jeanine Tesori, to receive a main stage commission from the Metropolitan Opera, and was nominated for a Grammy award in the category of Best Classical Composition. From 2018-2021 She was Composer-in-Residence at the Chicago Symphony Orchestra, and from 2012-2015 was Composer-in-Residence with Opera Philadelphia. Upcoming commissions include works for Opera Philadelphia, Chicago Lyric Opera, Norwegian National Opera and Third Coast Percussion. In 2016, along with composer Ellen Reid, she founded Luna Composition Lab, a mentorship program for young female, nonbinary and gender nonconforming composers. Her works are published by G. Schirmer. Hosted on Acast. See acast.com/privacy for more information.

The holidays are a great time to catch up on all our favorite movies, and many of these films wouldn't enjoy the popularity they do without their amazing soundtracks! Today on One Symphony, we want to share with you some of our Holiday Film Score favorites! Join conductor Devin Patrick Hughes as he explores some classical films scores including Have Yourself a Merry Little Christmas from Meet Me in St. Louis, Gremlins by Jerry Goldsmith, Home Alone by John Williams, and Danny Elfman's Nightmare Before Christmas. Along the way we explore how these mammoth scores were influences by composers and works like Aaron Copland, Hector Berlioz, Tchaikovsky, Kurt Weill, Erich Wolfgang Korngold, Franz Schubert, and many more!  Thank you to all the amazing performers and record labels who made this episode possible including Danny Elfman, Disney, Judy Garland, UMG Recordings, the Mormon Tabernacle Choir, Geffen Records, the City of Prague Philharmonic Orchestra, Silva Screen Records, Warner Brothers, Orchestra of the Marinsky Theatre and Valery Gergiev, Universal Music, Atlanta Symphony and Louis Lane, Alessio Randon and Naxos, the Boston Symphony and Charles Munch, Valentina Lisitsa, Michael Francis and the London Symphony, Ute Lemper, Jeff Cohen and the RIAS Sinfonietta Berlin, with John Mauceri on Decca, Everest Records, Katherine O'Hara, Dietrich Fischer-Dieskau, Daniel Barenboim, and Mel Torme. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support to the podcast. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

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

Synopsis On this day* in 1888, the orchestral suite “Scheherazade,” the most famous work of the Russian composer Nicolai Rimsky-Korsakov, was first performed in St. Petersburg. The suite evokes episodes from “The Arabian Nights.” Though Rimsky-Korsakov was Russian, and most often concentrated on operas based on RUSSIAN history and fable, it's ironic that his most popular work was inspired by folklore and fables from the Middle East. Until recently, Western knowledge of the Middle Eastern music was mostly limited to such second-hand accounts. But today, we're discovering first-hand both the traditional music of the Middle East and new works by contemporary composers from that part of the world. One of these is Iranian-born American composer Reza Vali, who was born in Ghazvin, Iran in 1952 and began his musical studies at the Teheran Conservatory. In 1972, he moved to Vienna and studied at the Academy of Music, and then came to America to study at University of Pittsburgh. Despite his training in Western technique, Vali has returned to the instruments and traditions of Persian music for inspiration. “Music is like the ocean,” he once said in an interview. “It moves between cultures. It doesn't have boundaries. But that doesn't mean that you have to lose your identity … you can have a pluralistic approach by also keeping your identity.” *Julian calendar date: October 22 Music Played in Today's Program Nikolai Rimsky-Korsakov (1844-1908) Scheherazade, Op. 35 Atlanta Symphony; Robert Spano, conductor. Telarc 80568 Reza Vali (b. 1952) Folk Songs Set No. 9 Alberto Almarza, flute; Alvaro Bitran, cello New Albion 077

Romans 12:9-16Rev. Erik Veerman10/9/2022One Another-ingWe have 2 sermons left in Romans 12, today's and then in 2 weeks. Next week, I'll be out of town and pastor Chuck will be preaching from Jeremiah.Our text this morning is Romans 12:9-16. It is found on page 1127 of the pew Bibles. As I read, you'll hear that it is packed with commands. These are instructions for us. Most of them are about how we relate to one another. I counted something like 21 imperatives and participles just in these 8 verses. I can't think of another text of Scriptures so full of exhortations. Honestly, each could be a sermon in and of itself, but we're going to take them all together. My hope is that it will increase our love and care for one another. So with that in mind, let's now turn our attention to God's Word.Stand. This is God's holy and inspired word. And he's given it to us for our edification and his gloryReading of Romans 12:9-16PrayerIntroductionI've had this image of a symphony running through my mind all week.If you've ever been to the Atlanta Symphony, then you'll know that the first musical notes you hear are not when the conductor starts the program. No, there is a critical first step. The concertmaster, which is the first chair violinist, tunes the orchestra. She plays an A above middle C. Technically and A440. That musical note has 440 vibrations per second. It's the unifying note that they all tune to. So, you'll first hear a single note on a violin. Then the lead oboist follows suit. Then the woodwinds, the brass, the strings all come in, all tuning together to that A440 standard. The performance doesn't begin until this happens.An orchestra has come to mind this week because the heart of Romans 12 is about being unified together in our ministry and relationships. We're called to be in tune with one another sort of like an orchestra. Each of us, like individual instruments, is to work together with the other instrumentalists. We each have different musical parts, but we are one unified symphony – one community of believers in Christ, worshipping and serving together.And how do we get in tune with one another? What is the A440 of the church? Well, it's recognizing the unity that we share in Christ, and it's seeking to work out that unity in our relationships and ministry together.If we are not in tune with each other, it would be like an orchestra playing without tuning their instruments. There would be dissonance and discord affecting our ministry and community.To take a step back, God has made us for community. We've been created as relational beings. And that comes from the imagio dei. That's the Latin for the “image of God.” Our need for relationships and community comes from God's very nature. He is a God of relationships. God the Father, God the Son, and God the Spirit. Perfect unity and perfect community. And part of our nature as being created in his image emanates from the intimate relationship that God has within himself.The call to be in community is especially true for God's redeemed community in Christ – his covenant community, the church. What I mean is that the restored relationship that we have with God also work itself out in our relationships with each another. So as we worship, we worship together as a community. As we serve, we serve as a fellowship of believers. As we care for and love each other, we do so because we are a community.Much of Romans 12 is about community. Two weeks ago, we worked through what it means for us to be one body with many members. If you go back up to verse 5. It says, “so we, though many, are one body in Christ, and individually members one of another.” I mentioned a couple of weeks ago that when you come to faith in Christ, when you submit your life to him, you become united to him. Jesus said when we come to him, the true vine, then he abides in us and we in him. And one of the great blessings of being united to Christ, is that we are united to one another. That's what verse 5 is saying - one body in Christ. Individually members one of another.Then last week, we saw how that worked out in the different gifts that God has given us for the purpose of serving the community.And today, we'll see how that should work out in our relationships – specifically how we relate to one another.• For example, look at verse 10 – “Love one another” and then, “outdo one another in showing honor.” A call for a brotherly and sisterly love for each other.• Or verse 13 – “contribute to the needs of the saints, show hospitality.” A call to care for each other.• Or verse 15 – “rejoice with those who rejoice, weep with those who weep.” A call to be with one another in times of joy and times of trial.• Or verse 16 “Live in harmony with one another.” A call to peace.And even the other commands that don't explicitly relate to the community, have an effect on the community. Like verse 9 – “hate what is evil, hold fast to what is good.” When we pursue good and not evil our community is steady. Or verse 11, serving. When we serve each other in the Lord, we are building each other up. Or verse 12 – the calls to patience in tribulation and prayer are calls for the community together.Overall, you could say that these verses summarize the culture to which the church community is called, especially as worked out in relationships.Ok, take a moment, turn to someone near you, and say to them – “dear so and so, you are my brother or sister in Christ. You are beloved in the Lord.” Do that. Thank you. You each are my brothers and sisters in Christ, beloved of God.Let's now focus in on two things. • First, the church in Rome and how verses 9-16 related to their cultural situation. • And second, our understanding of these commands and how they apply to the church1. Roman Culture So first, a little bit of Roman culture. Some of you will be familiar with the writings of Francis Schaeffer. Schaeffer was a Christian philosopher in the middle to late 20th century. He was known for asking and answering deep questions of life and faith and morality. His most well-known book is titled How Should We Then Live? In it Shaeffer traces the philosophies and world views that led to the rise and decline of culture as it relates to virtue. He works through the origins of humanistic thinking and the influence and relationships of Christianity through the centuries.Chapter 1 of his book focuses on ancient Rome. That includes the time period when the apostle Paul wrote this letter to the church, which was 56-57 AD.The reason Schaeffer begins with Roman culture is because he saw ancient Roman virtue as foundationless. Ancient Rome was essentially godless. Even though there were many gods and goddesses that the Greeks and Romans worshiped, none were personal and none had sovereign power. Add to that, in the two centuries leading up to Jesus' birth, the authoritarian state took over in order to keep a semblance of peace. From that point, worship was to be directed to the emperor – to the Caesar. What unified the Roman empire was not a society founded on principles and virtues, rather unity came through power and might.The political elite class was full of vengeance and spite, adultery and assassinations. In fact, the very year that Paul wrote his letter to the Romans, Nero, the reigning emperor at the time, forcibly retired his mother. And he eventually had her killed for his own political power.Cicero, the famous Roman orator who lived in the early first century, often used his speeches to malign those he didn't like. To him, anger was a tool to be used to arouse emotion and accomplish his goals. Gossip was rampant. Rumors were considered a valid means of communication.So much of what Paul wrote in these verses contrasted societal norms.• Verse 9 – “let love be genuine.” The culture lacked genuine love. Relationships served your personal interests.• “Hate what is evil, hold fast to what is good.” Goodness and evil were bound up in the utilitarian legal system of the day. Good was not founded on God's goodness and love, but rather on what would keep society intact.• Verse 10 – “outdo one another in showing honor.” Or similarly in verse 16, “Do not be haughty, but associate with the lowly.” Honor, in Roman society, was strictly based on social status. Honor was only due someone in a higher class. But here, the call is to honor everyone! And not just to honor one another, try to be the best an honoring others.• Verse 14 – “Bless those who persecute you.” If someone opposed you, revenge was the answer. Some Roman laws permitted revenge.The community ethic of Romans 12 was deeply counter cultural to ancient Rome. God was calling them to something wholly different. They were to show true love and care for each other. They were to pursue goodness and not evil. And it all had a deep foundation… It emanated from two things. First, God's nature as eternal, personal, righteous, and just…. and second, it emanated from our relationship with him and with one another through salvation in Christ.Francis Shaeffer said it this way: “Thus the Christian,” by the way, he speaking about the Christians in ancient Rome, “Thus the Christian, not only had knowledge about the universe and mankind that people cannot find out by themselves, but they had absolute, universal values by which to live…. They had grounds for the basic dignity of the individual as a unique being made in the image of God”In other words, the community standards of love and peace, are only found in and through the one true God.Kids, I know I've used some big words today – humanism, authoritarian, dignity, virtue. You can ask your parents what those each mean. Let me try to put this all in a simple way. God is good. What is good and right needs to come from God who is good and right and who tells us what is good and right. Also, true love for others is based on God's love for us in Jesus. Instead of being mean and getting back at others, we're to show honor and care. And these commands about goodness and love and honor are especially for God's people in the church. Does that make better sense?2. The Church TodaySo that's the first part. The counter-cultural emphasis of Romans 12 for his original audience. The commands present an ethical standard for the community that's grounded…. grounded in God, his goodness, and his grace.And now the second part. Applying these commands to the church, today. And it's actually not that hard to make the jump from ancient Rome to today. Some of our culture is similarly foundationless. To be sure, our country has been shaped by Christianity, but less so every generation. And we see the effects today. Morality is in the eye of the beholder. Instead of honoring, we do our best to discredit and shame other people – especially on social media. Love is not a commitment, it's an emotion. Again, I'm broadly speaking about the culture in which we live. But it impacts the church community. What I'm saying is that these community standards for the church are similarly counter-cultural today.So, let's look at them broadly in relation to other Scripture, and then, focus in on a couple of them.Look at that phrase, “one another.” You'll see it twice in verse 10 and once in verse 16. In the Greek, it's the word allelon (ἀλλήλων ah-LAY-loan). It means a mutual togetherness. A reciprocal relationship. Where we are one with another, as verse 5 said.That phrase is all over the New Testament. Especially the apostle John and the apostle Paul's writings.For example, in the Gospel of John, chapter 13 and 15. love one another, love one another, love one another, love one another. 4 times. That's very similarly in 1st John chapters 3 and 4. Love one another 5 more times.In the Apostle Paul's letters, such as Ephesians 4 and 5 and in 1 Thessalonians 3, 4, 5. encourage one another. be kind to one another, forgive one another, submit to one another, patiently bear with one another, do good to one another.And many many more such as in the books of Hebrews, 2 Corinthians, and 1 Peter. There are over 50 statements where God is calling us, you and me, into a loving and caring relationship with one another in the church.An overwhelming part of the call for the church, God's covenant community, is the relational commitment to one another. You see, it's not just the roles and functions that we're called to – the gifts of grace that we considered last week. It's also a call to be in a loving, committed, forgiving, supporting, and caring relationship with each other. Here are some others I haven't mentioned… Serve one another, care for one another, encourage one another, carry each other's burdens, minister to one another, be at peace with one another, be kind and compassionate to one another, be devoted to one another. Or things we are not to do... like do not provoke one another, do not envy one another, do not lie to one another, do not speak evil with one another, and do not grumble with one another.Do you see? It's an essential part of the call for church family. The church body is not a robot with impersonal parts that work together like cogs in a wheel. Rather the church is a living organization. As we serve together, we're to serve and love one another.Let's look at a couple of examples from our text.1. Verse 10, “Love one another with brotherly affection.” Love one another is the most common one another. We are to care for and cherish and be devoted to each other, as brothers and sisters in Christ. 2 Thessalonians 1:3 says that our love for one another should be increasing as our faith increases. Or take 1 Peter 4:8, we should love one another deeply because love covers a multitude of sin. We need to spur one another on to love, Hebrews 10:24. Love, as Scripture defines it, is the essential principle of our relationships with each other. Loving one another is committing to care for and support each other. That love is worked out all through these verses. Like the second half of the verse 10, showing honor to one another. Or verses 15 and 16, being present in times of celebration and grief. And not being wise in your own sight, but listening to and caring for each other in Christ. Think of the other people in this room. Are you working out this kind of love with your brothers and sisters here at Tucker Pres? Something to be thinking about this week.2. Another example here is verse 16. “Live in harmony with one another.” There's our musical theme again. One of my undergraduate classes was music theory. It was fascinating, especially the study of harmonics. If you take a single musical note, built into that note are all these overtones like fifths and octaves and thirds. And if you layer the harmonics of the overtones, pretty soon you've created chords and scales. Their frequencies overlap, and that's what creates beautiful sound to our ears. There's an amazing symmetry to the way God created music. That's where the idea of living in harmony with one another comes from. We're not the same musical note, but we blend and work together in one accord. It means living at peace with each other. It means being a cohesive fellowship. It includes being reconciled to one another when conflict arises. The opposite of harmony is what? Discord! You see, all that language comes from music. When we're not in tune with each other, then dissonance happens. You know the sound. It's like playing 2 or 3 notes on the piano right next to each other. It happens when we gossip about or slander one another, or when we pass judgement on one another. When just one instrument in an orchestra is out of tune, it affects the sound of the whole symphony.On his Gospel Coalition blog, pastor Ray Ortlund lists all the “one anothers” that he could not find in script. Like… “humble one another, scrutinize one another, pressure one another, embarrass one another, corner one another, interrupt one another, defeat one another, sacrifice one another, shame one another, judge one another, run one another's lives, confess one another's sins, intensify one another's sufferings, and point out one another's failings…”Beloved, none of those fit in a community of true love and harmony, to which we are called.No, we are called to be a community in Christ that shows radical love to one another and a community that seeks unity and peace. It sounds great, doesn't it? And if relationships were easy, I could end this sermon now. But the fact is, and you well know, our relationships are often strained. As much as we desire love and unity and peace, sin gets in the way. Because of the fallen world in which we live and the fallen hearts that we have, we are not able, in our own strength, to love or be at peace with one another. Our own hearts want to run from reconciliation and forgiveness, not to it. Relationships are messy. Our selfish motivations, our idolatry, and our prejudice betray the love and harmony to which we're called. As much as we want to love and be at peace, in our own strength, we fail.And this is where we need to come back to where we began. The Christian ethic, the values and virtues of the community to which we are called, have a foundation. They are not built on a society's desire for self-preservation, like ancient Roman. Neither are they built on our modern concept of an individual's preferences and desires. No, that only exacerbates the problem.Instead, the foundation on which these principles are built is the foundation of the one true God and the one true Gospel. The love to which we are called comes from and is founded on the love of God for us in Christ. The unity and harmony to which we are called comes from and is founded on the reconciliation that we have with God, and the way we are united to him and to each other in him. The meditating work of God in Christ, through the cross, is the A440 of the church. It is why the apostle Paul can call us to live in such a community, and how we can pursue love and unity in it. In other words, we can love and we can have peace because God has first loved us.ConclusionThe stage is set, the concertmaster has tuned the orchestra. Each instrumentalist has fine-tuned his or her instrument. They are all aligned, well prepared, and ready. The conductor steps up to his podium. Pin-drop silence. He raises his hands and baton, they each take that final breath. And… it begins. Can you hear it? Brahms, Mendelson, a Tchaikovsky concerto, a Beethoven symphony, Vivaldi. The chordal progressions, the runs, the intricate harmonies, the melody passed back and forth between instruments, each note interwoven to produce a heavenly sound. It's no longer individual instruments, it's a unified symphony as each member beautifully working together.The love that God has given us in Christ, which reflects his nature, allows us to be such a community in him. So, with one voice and in one accord, all in tune to the Gospel, may we serve and love one another. May we live out that calling in how we love, honor, serve, bless, pray with, rejoice with, weep with, and live in harmony with one another. May that describe our community here. Amen.

Stephen James Taylor - Musician & Explorer : Trans-tonal Music - Transcendent ThinkingStephen James Taylor has a unique musical identity. His style has often been called “Afro-futuristic) as it represents a blend of classical, rock, blues, gospel, world music, homemade instruments, and avante garde. His past projects include scoring Richard Tanne's 2020 Amazon film Chemical Hearts, music for the Star Wars Cantina at Disneyland's Galaxy's Edge (2019) {the first microtonal music ever in rotation at Disneyland), the PBS documentary by Charles Burnett entitled Power To Heal (2018), Maya Angelou-And Still I Rise (2016), Richard Tanne's theatrical release, Southside With You (2016), Tom Bradley: Bridging the Divide (2015), People Are The Sky, (2015), Marvel's TV Series The Black Panther, music for theme parks such as Disney World and The Red Sea Astrarium, Universal's The Adventures of Brer Rabbit, Disney's Mickey's Twice Upon a Christmas (for which he won Best Original Score at the 2004 DVDX Awards), Teachers Pet, a Disney animated feature with wide theatrical release in 2003, and most of the films directed by Academy Award winner, Charles Burnett including To Sleep With Anger and the blues documentary, Warming By the Devil's Fire produced by Martin Scorsese. He has composed scores for many of Robert Townsend's films such as The Making of the Five Heartbeats (2017) Of Boys and Men (2008), Carmen, A HipHopera (2004) and Holiday Heart (2000). In 2001 he wrote underscore and produced some of the songs for Clark Johnson's Boycott (HBO films) as well as his 2018 Netflix film, Juanita (2017). In 1996 he was commissioned to write an orchestral suite for the Opening Ceremonies of the Olympics and was one of the conductors of the Atlanta Symphony for that occasion. In 1993, Stephen received an Emmy nomination for an R&B song he wrote for I'll Fly Away as well as a Daytime Emmy nomination for his classical orchestral score for an episode of the animated series, The Lion King's Timon and Pumbaa. Other Emmy nominations have been for the PBS movie Brother Future (1991), and Raw Toonage an animated series for Disney. In 1999 and 2000 he has received Annie nominations for his work on Disney's Mickey Mouseworks. He has also done string arrangements for James Taylor and for Crosby, Stills, and Nash. He is currently working on a cartoon series for Netflix. After graduating from Stanford University in 1976 with a B.A. in music, he studied composition for four years with Henri Lazarof, professor of music at UCLA. He studied microtonality with Erv Wilson for 20 years with whom he helped develop a new 810 key microtonal keyboard used in many of the above scores. Taylor's second chamber symphony was commissioned and premiered by the Pasadena Chamber Orchestra in 1983. The Detroit Symphony later performed it in 1990. His various chamber works have been performed throughout the country. He has done a great deal of composing in surround sound. His 2001 “COME ALIVE” premiered at the El Paso Microhoot and has been presented many times since. More recently his 55 minute surround suite, “MUSIC FROM THE OTHER WAKANDA”, was selected by the composition faculty at Virgina Tech to be presented as part of its 2022 Afrofuturist themed “Cubefest”. Other projects include a trans-tonal pop album entitled Embrace It All (now available on itunes). A filmmaker as well, he has also completed some short films of his own: the award winning documentary, SURFING THE SONIC SKY, the science fiction short, I AM HERE. as well a research documentary about the micro- geometry of subatomic matter with co-director Jesus Trevino called “Gurule Shells, A Quantum Metaphor”. A few samples: "Red Sun Blue Highway" (fretless acoustic blues guitar} https://www.youtube.com/watch?v=WgBIf... “The Bradley Variations” (31 tone guitar solo)

We continue our interviews with members of MOLA, An Association of Performance Librarians, at their annual conference in June. We're calling these brief conversations "Scoring Half Notes" In this segment, we revisit with our good friend Nicole Jordan, the principal librarian of the Philadelphia Orchestra. Nicole hosted the 2022 MOLA conference in her capacity in Philadelphia, and by sheer coincidence, she was the host of the last in-person MOLA conference in 2019 when she was principal librarian at the Atlanta Symphony. We caught up with Nicole during the closing banquet and look back at both conferences. At the 2022 conference, Nicole delivered a presentation about recording Florence Price's music. We learn what it was like making that composer's voice come alive in the course of this very successful project, and  some of the similarities and differences of working with contemporary music composers. By the way, you'll definitely want to listen to our full interview with Nicole from an earlier episode, if you haven't heard it already, where Nicole quizzes us about our software recommendations and gets our advice for people who are just beginning their technological journey. More from Scoring Notes: MOLA 2022: Advancements in music notation software MOLA 2022 conference wrap-up Half Notes: Jane Cross, keeping music files safe Half Notes: Mark Fabulich on committing to technology Nicole Jordan, Philadelphia Orchestra librarian [encore]

Throughout the summer, we'll be developing a brand podcast that will have a new name and a new sound. In the meantime, we'll be revisiting some of our favorite interviews from our first four years while still keeping you up-to-date on things to do in and around Atlanta. In 2018, Atlanta Symphony Orchestra conductor and music director Robert Spano announced that he'd be leaving the orchestra in 2021. The pandemic postponed that for a year, and he spent the 2021-22 season as co-artistic director with ASO principal guest conductor Donald Runnicles. This weekend, the ASO's season finale will also serve as Spano's farewell. Soon after the announcement of his departure, Bo Emerson spoke with Spano about his time in Atlanta leading the ASO and you can hear that on this week's podcast along with our usual roundup of some things to do in and around Atlanta. Learn more about your ad choices. Visit megaphone.fm/adchoices

For Video Edition, Please Click and Subscribe Here: https://youtu.be/DTiQGl9tPoM Peabody Award winning broadcaster, director, designer, filmmaker and producer. Afternoon host on New York's Classical Radio Station 105.9FM, WQXR, host of the national radio concerts of The Chamber Music Society of Lincoln Center and has hosted more than 60 concerts on-stage at Carnegie Hall, where his film FACE TO FACE premiered. Founding Executive Artistic Director of ArtsRock.org of Rockland County, NY. For 20 years he's been bringing professional concerts, theater and conversations to his upstate community. Co-Creator and Producer of the National Tour of AN EVENING WITH ITZHAK PERLMAN and MICHAEL FEINSTEIN CELEBRATES JUDY GARLAND. Co-Director and Projection Designer of the live national tour and PBS TV Special of CONSIDERING MATTHEW SHEPARD by Craig Hella Johnson. Executive Producer of The Public Theater's Shakespeare in the Park on the Radio of RICHARD II. Elliott has directed several versions of A CHRISTMAS CAROL with such Scrooges as David Hyde Pierce, F. Murray Abraham, Brian Cox, Tony Roberts and Kathleen Turner. He regularly produces, directs and designs symphony concerts: LA Philharmonic, The NY Philharmonic, Houston Symphony, Philadelphia Orchestra, Atlanta Symphony, New Haven Symphony Pasadena Pops and the Little Orchestra Society in venues including the Kennedy Center, Hollywood Bowl and Lincoln Center. Orchestra narrator: Saint-Saens' Carnival of the Animals, Peter and the Wolf, Stravinsky's Soldier's Tale and Britten's Young Person's Guide. For 12 years, Host for A&E Television's Breakfast with the Arts. BA in Theater from the University of Texas, Austin. www.ElliottForrest.com  

Composer Brittany J. Green is already making waves in the world of new classical music. However, given the variety of inspirations that pervades her work – from computer-coding languages to Black feminist theory – and her growing passion for electronica and for DJing her own sets, she is very much beating an artistic path that disregards the boundaries of genre.Her work has been performed at concerts and festivals throughout the United States, including the Boulanger Initiative's WoCo Fest and New York City Electronic Music Festival, and last year she recorded a new piece with the Atlanta Symphony that was released online in January 2022 as part of the Symphony's “Concerts for Young People” series.A recent recipient of the American Academy of Arts and Letters' Charles Ives Scholarship and the ASCAP Foundation's Morton Gould Award, Brittany is currently in residence at Duke University in Durham, NC, where she is pursuing a Ph.D. in music composition as a Deans Graduate Fellow. In this interview with Pier Carlo Talenti, Brittany discusses the two qualities that guide the evolution of her compositional practice: her ability to learn through deep listening and her commitment to cross-disciplinary collaborations. https://www.brittanyjgreen.com/

Nathalie Stutzmann makes her Pittsburgh Symphony debut May 6th, 7th, and 8th 2022 with Dvorak's New World Symphony and the Brahms Violin Concerto played by Daniel Lozakovich, along with a Heinz Hall first of Missy Mazzoli. Maestra Stutzmann makes her Met debut in two Mozart operas in 2021 and her debut at Bayreuth as well as the new Music Director of the Atlanta Symphony. Then there's the Kristiansand Orchestra in Norway and the recording career as a contralto. What's next? Hear all about it in the interview with Jim Cunningham complete with an assessment of women in the composing and conducting world and a little light shopping in Market Square.

The Cello Sherpa Podcast Host, Joel Dallow, interviews Khari Joyner, Assistant Professor of Cello at Baldwin Wallace University. They talk about his journey through the Atlanta Symphony Orchestra's Talent Development Program to his 3 degrees at the Juilliard School, and his experience landing a Faculty position at Baldwin Wallace University. For more information on Khari Joyner, visit www.kharijoyner.com If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on twitter @theCello Sherpa

Our sponsor: Houghton Hornswww.houghtonhorns.comDemondrae Thurman is professor of music in euphonium and chair of the Brass Department at the Indiana University Jacobs School of Music.Thurman has an outstanding international reputation as a euphonium soloist, having performed in Europe, Asia, and throughout North America. Many of America's premier colleges and universities have hosted him as a performer and teacher, and he continues to be in high demand. Over the past 10 years, he has been an invited guest artist/ clinician at many of the world's prestigious euphonium festivals, including the International Tuba Euphonium Conference, U.S. Army Band Tuba and Euphonium Conference, and Leonard Falcone Competition. Thurman is also an active chamber musician. He plays first euphonium and trombone in the Sotto Voce Quartet, which tours extensively. He also plays first baritone horn in the Brass Band of Battle Creek, a British brass band comprised of many of the world's best brass and percussion performers. In addition to his chamber music work, he is indemand as a euphonium specialist for symphony orchestras, including the New York Philharmonic, Atlanta Symphony, Sarasota Orchestra, North Carolina Symphony, and Philadelphia Orchestra.Support the show (https://thatsnotspit.com/support/)

The holidays are a great time to catch up on all our favorite movies, and many of these films wouldn't enjoy the popularity they do without their amazing soundtracks! Today on One Symphony, I wanted to share with you some of my Holiday Film Score favorites!  I'd like to thank our new sponsors including Kevin, Kim, Dana, Dennis, and Sound Espressivo Online Global Music Competition for their support to make One Symphony possible. Join conductor Devin Patrick Hughes as he explores some classical films scores including Have Yourself a Merry Little Christmas from Meet Me in St. Louis, Gremlins by Jerry Goldsmith, Home Alone by John Williams, and Danny Elfman's Nightmare Before Christmas. Along the way we explore how these mammoth scores were influences by composers and works like Aaron Copland, Hector Berlioz, Tchaikovsky, Kurt Weill, Erich Wolfgang Korngold, Franz Schubert, and many more!  Thank you for listening, I hope your holidays are filled with love, joy, and a bit of entertainment from some of these great films and soundtracks.  Thank you to all the amazing performers and record labels who made this episode possible including Danny Elfman, Disney, Judy Garland, UMG Recordings, the Mormon Tabernacle Choir, Geffen Records, the City of Prague Philharmonic Orchestra, Silva Screen Records, Warner Brothers, Orchestra of the Marinsky Theatre and Valery Gergiev, Universal Music, Atlanta Symphony and Louis Lane, Alessio Randon and Naxos, the Boston Symphony and Charles Munch, Valentina Lisitsa, Michael Francis and the London Symphony, Ute Lemper, Jeff Cohen and the RIAS Sinfonietta Berlin, with John Mauceri on Decca, Everest Records, Katherine O'Hara, Dietrich Fischer-Dieskau, Daniel Barenboim, and Mel Torme. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support to the podcast. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Joining Michael, Sky and Sui Lin today on Episode Nine of the TAMS Percussion Podcast is Earl Yowell! Earl Yowell was the Professor of Percussion Studies at Shenandoah Conservatory from 2007-2021. In addition to teaching during his time at Shenandoah, he has also been a featured soloist with the Shenandoah Conservatory Symphony Orchestra and Wind Ensemble. Prior to his appointment at Shenandoah, he performed for 20 seasons as the principal timpanist and percussionist of The Saint Paul Chamber Orchestra. He toured extensively with the SPCO throughout the United States, Europe and Asia. He was a featured soloist with internationally famous percussionist Evelyn Glennie in the SPCO performances of Andrzej Panufnik's “Concertino for Timpani, Percussion and Strings” and was timpani soloist in the Chamber Orchestra's premier performances of Johann Carl Christian Fischer's “Symphony for Eight Obbligato Timpani.” In 2006 and 2007 he has appeared as a Chamber music soloist with the SPCO. His performance of Marta Ptaszynskas multiple percussion solo Spiderwalk in 2007 received both audience and critical acclaim. He was also a regular performer with the Chamber Music Society of Minnesota where in 2001 he premiered, with cellist Yo Yo Ma, a concert of new chamber music works. The making of this concert was the subject of a PBS television production. In addition to participating in numerous recordings with the SPCO. Yowell has also played on two Grammy A ward-winning albums: “The Art of Arleen Auger” and Samuel Barber's ”Antony and Cleopatra.” He has appeared on Minnesota Public Radio's “Saint Paul Sunday” and “Prairie Home Companion” programs. More recently in 2010, he was a guest clinician for the Atlanta International Timpani Seminar. In 2011, Yowell was invited to be a guest artist at the 9th International Patagonia Percussion festival in Argentina. He was also in 2011 a featured Timpani clinician at the 50th Anniversary International Percussive Arts Society Convention in Indianapolis, Indiana. In 2012, Yowell served as a judge for the Mock Percussion Audition at the Percussive Arts Society International Conference held in Indianapolis, Indiana. While teaching he has also maintained an active performing schedule. Performing solo and chamber works and with orchestras. He performed as timpanist with the Atlanta Symphony in 2008 and 2011 and percussionist with the Maryland Symphony 2009. In 2010 he also performed with the internationally acclaimed percussion group, Nexus. In the fall of 2008, he performed the world premiere of William Cahn's “Night Ride for Timpani and Orchestra.” Additionally, in 2008 he co-founded the Ear Candy Contemporary Music Series. He also served on the Symphonic Committee of the Percussive Arts Society. More modernly, you can find Earl Yowell working on crafting timpani mallets and writing new music for percussion solos and ensembles! You can help us over at TAMS by following us on Instagram @tamspercpodcast and ask any questions you wish via email @ tamspercussion@gmail.com

Listen to four specially selected works from David's recordings, discussions about each work and, of course, all things six strings!Guest:David LeisnerAn extraordinarily versatile musician with a multi-faceted career as an electrifying performing artist, a distinguished composer, and a master teacher.“Among the finest guitarists of all time”, according to American Record Guide, David Leisner's career began auspiciously with top prizes in both the 1975 Toronto and 1981 Geneva International Guitar Competitions. His recent seasons have taken him around the US, including his solo debut with the Atlanta Symphony, a major tour of Australia and New Zealand, and debuts and reappearances in China, Japan, the Philippines, Germany, Hungary, Switzerland, Austria, Denmark, Sweden, Ireland, the U.K., Italy, Czech Republic, Greece, Puerto Rico and Mexico. An innovative three-concert series at Weill Recital Hall in Carnegie Hall included the first all-Bach guitar recital in New York's history, and currently he is the Artistic Director of Guitar Plus, a New York series devoted to chamber music with the guitar. He has also performed chamber music at the Santa Fe, Music in the Vineyards, Vail Valley, Crested Butte, Rockport, Cape and Islands, Bargemusic, Bay Chamber, Maui, Portland, Sitka and Angel Fire Festivals, with Zuill Bailey, Tara O'Connor, Eugenia Zukerman, Kurt Ollmann, Lucy Shelton, Ida Kavafian, the St. Lawrence, Enso, Escher and Vermeer Quartets and many others. Celebrated for expanding the guitar repertoire, David Leisner has premiered works by many important composers, including David Del Tredici, Virgil Thomson, Ned Rorem, Philip Glass, Richard Rodney Bennett, Peter Sculthorpe, Osvaldo Golijov, Randall Woolf, Gordon Beeferman and Carlos Carillo, while championing the works of neglected 19th-century guitar composers J.K. Mertz and Wenzeslaus Matiegka.A featured recording artist for Azica Records, Leisner has released 9 highly acclaimed CDs, including the most recent, Arpeggione with cellist Zuill Bailey, and Facts of Life, featuring the premiere recordings of commissioned works by Del Tredici and Golijov. Naxos produced his recording of the Hovhaness Guitar Concerto with Gerard Schwarz and the Berlin Radio Orchestra. Other CDs include the Koch recording of Haydn Quartet in D with the Santa Fe Chamber Music Festival and Hovhaness Spirit of Trees for Telarc with harpist Yolanda Kondonassis. And Mel Bay Co. released a solo concert DVD called Classics and Discoveries. Mr. Leisner is also a highly respected composer noted for the emotional and dramatic power of his music. Fanfare magazine described it as “rich in invention and melody, emotionally direct, and beautiful”. South Florida Classical Review called him “an original and arresting compositional voice.” Recent commissioners include the Rob Nathanson for the New Music Festival at UNC Wilmington, Cavatina Duo, baritone Wolfgang Holzmair, Arc Duo, Stones River Chamber Players (TN), Fairfield Orchestra (CT), Red Cedar Chamber Music (IA), and the Twentieth Century Unlimited Series (NM). Recordings of his works are currently available on the Sony Classical, ABC, Dorian, Azica, Cedille, Centaur, Town Hall, Signum, Acoustic Music, Athena and Barking Dog labels. The Cavatina Duo's recording of his complete works for flute and guitar, Acrobats (Cedille) was released to exceptionally strong reviews. His compositions are mostly published by Merion Music/Theodore Presser Co., as well as AMP/G. Schirmer, Doberman-Yppan and Columbia Music.David Leisner has been a member of the guitar faculty at the Manhattan School of Music since 1993, and also taught at the New England Conservatory from 1980-2003. Primarily self-taught as both guitarist and composer, he briefly studied guitar with John Duarte, David Starobin and Angelo Gilardino and composition with Richard Winslow, Virgil Thomson, Charles Turner and David Del Tredici. His book, Playing with Ease: a healthy approach to guitar technique, published by Oxford University Press, has received extraordinary acclaim.Website: www.davidleisner.com

Composer Viet Cuong joins us to discuss the role that marching band played in his formative years and the impact it continues to have on his current career. He shares his approach to composing for small ensembles, preparing students to take advantage of new and innovative tools, and the skills vital for success as a freelance musician. We finish with a conversation about what it means to “sound like tomorrow”. Called “alluring” and “wildly inventive” by The New York Times, the “irresistible” (San Francisco Chronicle) music of American composer Viet Cuong (b. 1990) has been commissioned and performed on six continents by musicians and ensembles such as the New York Philharmonic, Eighth Blackbird, Saint Paul Chamber Orchestra, Sō Percussion, Alarm Will Sound, Atlanta Symphony, Sandbox Percussion, Albany Symphony, PRISM Quartet, Orchestra of St. Luke's, and Dallas Winds, among many others. Viet's music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, National Gallery of Art, and Library of Congress, and his works for wind ensemble have amassed hundreds of performances worldwide, including at Midwest, WASBE, and CBDNA conferences. He was recently featured in The Washington Post‘s “21 for '21: Composers and performers who sound like tomorrow.” In his music Viet enjoys exploring the unexpected and whimsical, and he is often drawn to projects where he can make peculiar combinations and sounds feel enchanting or oddly satisfying. His recent works thus include a percussion quartet concerto, tuba concerto, snare drum solo, and, most recently, a concerto for two oboes. This eclecticism extends to the range of musical groups he writes for, and he has worked with ensembles ranging from middle school bands to Grammy-winning orchestras and chamber groups. Viet is also passionate about bringing different facets of the contemporary music community together, and he will have opportunities to do so with an upcoming concerto for Eighth Blackbird with the United States Navy Band. He recently began his tenure as the California Symphony's 2020-2023 Young American Composer-in-Residence, where he and the symphony will develop three new orchestral works together over three years. Viet is currently on the music theory and composition faculty at the University of Nevada, Las Vegas. He holds degrees in music composition from the Curtis Institute of Music (Artist Diploma), Princeton University (MFA), and the Peabody Conservatory (BM/MM). His mentors include Jennifer Higdon, David Serkin Ludwig, Donnacha Dennehy, Steve Mackey, Dan Trueman, Dmitri Tymoczko, Kevin Puts, and Oscar Bettison. During his studies, he held the Daniel W. Dietrich II Composition Fellowship at Curtis, Naumburg and Roger Sessions Fellowships at Princeton, and Evergreen House Foundation scholarship at Peabody, where he was also awarded the Peabody Alumni Award (the Valedictorian honor) and Gustav Klemm Award. The transcript for this episode can be found here. For more information about Viet Cuong, please visit his website, Facebook, Instagram, Twitter, YouTube, and SoundCloud.

Synopsis The year 2000 marked both the arrival of a new millennium and the 250th anniversary of the death of the great German Baroque composer Johann Sebastian Bach. The International Bach Academy in Stuttgart decided to mark the occasion by commissioning four very different composers to write four new passion settings, one each after the Gospel accounts of the evangelists, Matthew, Mark, Luke, and John. A German composer, Wolfgang Rihm, was chosen for the St. Luke Passion; a Russian, Sofia Gubaidulina for St. John's; an Argentine, Osvaldo Golijov for St. Mark's; and a Chinese composer, Tan Dun, for the Passion according to St. Matthew. And on today's date in 2000, Helmuth Rilling conducted the world premiere of Tan Dun's “Water Passion after St. Matthew.” Tan said he was struck by the references to water in St. Matthew's gospel, so his setting includes seventeen large, illuminated bowls of water, positioned on stage in the form of a cross. These divide the chorus, with three percussionists and a group of additional soloists stationed at the four points of this cross. In Tan's “Water Passion,” natural sounds of water mix with a wide range of vocal techniques, including Tuvan throat singing and the stylized virtuosity of Peking Opera. Music Played in Today's Program Tan Dun (b. 1957) – Water Passion (Stephen Bryant, bass; Mark O'Connor, violin; ensemble; Tan Dun, cond.) Sony 89927 On This Day Births 1841 - Czech composer Antonin Dvorák, in Nelahozeves; 1894 - Dutch composer Willem Pijper, in Zeist; 1933 - American composer Eric Salzman, in New York City; 1934 - British composer Sir Peter Maxwell Davies (whose last name, despite its spelling, is pronounced "Davis" by the British); 1934 - Canadian composer Srul Irving Glick, in Toronto; Deaths 1613 - Italian nobleman, composer, lutenist, and murderer (of his first wife and her lover) Don Carlo Gesualdo, age c. 53, at his castle in Gesualdo; 1949 - German composer and conductor Richard Strauss, age 85, in Garmisch-Partenkirchen; 1991 - American composer Alex North, age 80, in Pacific Palisades, Calif.; Premieres 1961 - Earle Brown: "Available Forms I" for 18 players, in Darmstadt; 1971 - Bernstein: gala premiere "Mass (A Theater Piece)" at the inauguration of the John F. Kennedy Center in Washington, D.C., choreographed by Alvin Ainley, directed by Gordon Davidson, and conducted by Maurice Peress (Bernstein shared a box section with members of the Kennedy family, including Senator Ted Kennedy and his mother, Rose; Jacqueline Kennedy Onasis did not attend this performance); A dress rehearsal performances of this new work was also open to the public and specially-invited members of Congress the preceding day; 1975 - Paul Chihara: "Ceremony V (Symphony in Celebration)," in Houston; 1994 - Michael Torke: "Javelin," by the Atlanta Symphony, Yoel Levi conducting; 1995 - Lou Harrison: "New First Suite for Strings," in Majorca, by the Stuttgart Symphony, Dennis Russell Davies conductin; 2000 - Tan Dun: "Water Passion after St. Matthew," in Stuttgart (Germany), with vocal soloists Elizabeth Keusch and Stephen Bryant, violinist Mark O'Connor, cellist Maya Beiser, and percussionist David Cossin, and the orchestra of the Bach Academy conducted by the composer; This work was one of four passion settings commissioned by the International Bach Academy to honor the 250th anniversary of Bach's death in the year 2000 (see also: Aug. 29 Sept 1 5). Links and Resources On Tan Dun More on Tan Dun

For our Season 1 finale, we interview Mr. Brian Hecht! As the (former) bass trombonist of the Atlanta Symphony, brand new utility trombonist for the Dallas Symphony, and a world-renown soloist, he had some excellent insight and advice to share with us about how to know when it's time to take your career in a new direction. We also had some more lighthearted conversations about his non-music hobbies, and talked about his nearly-one-year-old teaching service Slide School. We hope you enjoy this final interview of the season! Fun fact: friend of the podcast Evan Williams was also featured in the transition music for this episode! Worlds collide! -- Transition music: Concert Allegro, Alexei Lebedev, Brian Hecht & UT Trombone Choir 2016 Intro/Outro music: I Will Go Sailing No More, Randy Newman, Lawson Gardner Instagram: @8thposition @dabaldwin903 @lawson.does.trombone

Synopsis In the 1980s, the Finnish Broadcasting Company had come up with the idea of commissioning a whole evening’s worth of orchestral pieces by native composer Einojuhanni Rautavaara, which, when taken together, would form a conventional concert program of overture, concerto and symphony. These three works have come to be called the “Angel Trilogy,” since each of them has a title with the word “Angel” in it. Rautavaara’s Fifth Symphony, with the working title “Monologue with Angels,” premiered on today’s date in 1986, was originally to be the symphonic conclusion of this triple commission. But Rautavaara dropped the title, and his Symphony No. 7, subtitled “Angel of Light,” ended up being the third part of the “Angel Trilogy,” alongside an overture entitled “Angels and Visitations” and a double-bass concerto entitled “Angel of Dusk.” If you asked the mystical Rautavaara why he changed his mind, he would probably have said it really wasn’t HIS idea at all. Rautavaara believed that his compositions already existed in ‘another reality,’ as he said, and his job was just to bring it into our world in one piece. "I firmly believe that compositions have a will of their own,” he said, “even though some people smile at the concept.” Music Played in Today's Program Einojuhani Rautavaara (1928 - 2016) Symphony No. 5 Leipzig Radio Symphony; Max Pommer, cond. BMG 62671 On This Day Births 1885 - German conductor and composer, Otto Klemperer, in Breslau; 1917 - American composer Lou Harrison, in Portland, Ore.; Deaths 1847 - German composer Fanny Mendelssohn Hensel, age 41, in Berlin; She was the sister of Felix Mendelssohn; Premieres 1723 - Handel: opera "Flavio, re de' Langobardi" (Flavio, King of the Langobards), in London at the King's Theater in the Haymarket (Gregorian date: May 25); 1832 - Mendelssohn: "Hebrides" Overture ("Fingal's Cave"), in London, conducted by the composer; 1914 - R. Strauss: ballet "Josephslegende," in Paris; 1919 - Debussy: Saxophone Rhapsody (orchestral version by Roger-Ducasse), at a Société Nationale de Musique concert conducted by André Caplet at the Salle Gaveau in Paris; 1923 - Holst: "The Perfect Fool," in London at Covent Garden Opera House; 1941 - Cage: "Third Construction" for four percussionists, in San Francisco; 1942 - Copland: "Lincoln Portrait," by the Cincinnati Symphony conducted by André Kostelanetz, with William Adams the narrator; 1953 - American premiere of Stravinsky's opera, "The Rake's Progress," at the Metropolitan Opera in New York, with the composer conducting; The world premiere performance occurred on September 11, 1951, in Venice, again with the composer conducting; 1966 - Ginastera: "Concerto per Corde," by the Philadelphia Orchestra, Eugene Ormandy conducting; 1986 - Rautavaara: Symphony No. 5, in Helsinki, by Finnish Radio Symphony, Esa-Pekka Salonen conducting; 1987 - Alvin Singleton: "Shadows" for orchestra. By the Atlanta Symphony, Robert Shaw conducting; 1992 - James MacMillan: "Sinfonietta" at Queen Elizabeth Hall in London, by the London Sinfonietta, Martyn Brabbins conducting; 1993 - Philip Glass: opera "Orphée" (based on the Jean Cocteau film), by the American Repertory Theater in Cambridge, Mass.; Others 1719 - Handel is commanded by the Lord Chamberlain (Thomas Holles, Duke of Newcastle), to hire singers for the recently established Royal Academy of Music's productions of Italian operas (Gregorian date: May 25); 1974 - Final London concert performance by conductor Leopold Stokowski, age 92 conducting the New Philharmonia Orchestra at Royal Albert Hall: The program was Symphony No. 4 by Brahms, the "Fantasia on a Theme by Thomas Tallis" by Vaughan Williams, the "Merry Waltz" by Otto Klemperer, and the "Rapsodie espagnole" by Ravel; This was not Stokowski's "final" concert appearance, however; He was on the podium again in Venice in July of that year, and continued to make studio recordings; He died on September 13, 1977, at the age of 95 in his house in Nether Wallop, Hampshire, England; Links and Resources On Rautavaara Rautavaara NYTimes obit

Synopsis In the 1980s, the Finnish Broadcasting Company had come up with the idea of commissioning a whole evening’s worth of orchestral pieces by native composer Einojuhanni Rautavaara, which, when taken together, would form a conventional concert program of overture, concerto and symphony. These three works have come to be called the “Angel Trilogy,” since each of them has a title with the word “Angel” in it. Rautavaara’s Fifth Symphony, with the working title “Monologue with Angels,” premiered on today’s date in 1986, was originally to be the symphonic conclusion of this triple commission. But Rautavaara dropped the title, and his Symphony No. 7, subtitled “Angel of Light,” ended up being the third part of the “Angel Trilogy,” alongside an overture entitled “Angels and Visitations” and a double-bass concerto entitled “Angel of Dusk.” If you asked the mystical Rautavaara why he changed his mind, he would probably have said it really wasn’t HIS idea at all. Rautavaara believed that his compositions already existed in ‘another reality,’ as he said, and his job was just to bring it into our world in one piece. "I firmly believe that compositions have a will of their own,” he said, “even though some people smile at the concept.” Music Played in Today's Program Einojuhani Rautavaara (1928 - 2016) Symphony No. 5 Leipzig Radio Symphony; Max Pommer, cond. BMG 62671 On This Day Births 1885 - German conductor and composer, Otto Klemperer, in Breslau; 1917 - American composer Lou Harrison, in Portland, Ore.; Deaths 1847 - German composer Fanny Mendelssohn Hensel, age 41, in Berlin; She was the sister of Felix Mendelssohn; Premieres 1723 - Handel: opera "Flavio, re de' Langobardi" (Flavio, King of the Langobards), in London at the King's Theater in the Haymarket (Gregorian date: May 25); 1832 - Mendelssohn: "Hebrides" Overture ("Fingal's Cave"), in London, conducted by the composer; 1914 - R. Strauss: ballet "Josephslegende," in Paris; 1919 - Debussy: Saxophone Rhapsody (orchestral version by Roger-Ducasse), at a Société Nationale de Musique concert conducted by André Caplet at the Salle Gaveau in Paris; 1923 - Holst: "The Perfect Fool," in London at Covent Garden Opera House; 1941 - Cage: "Third Construction" for four percussionists, in San Francisco; 1942 - Copland: "Lincoln Portrait," by the Cincinnati Symphony conducted by André Kostelanetz, with William Adams the narrator; 1953 - American premiere of Stravinsky's opera, "The Rake's Progress," at the Metropolitan Opera in New York, with the composer conducting; The world premiere performance occurred on September 11, 1951, in Venice, again with the composer conducting; 1966 - Ginastera: "Concerto per Corde," by the Philadelphia Orchestra, Eugene Ormandy conducting; 1986 - Rautavaara: Symphony No. 5, in Helsinki, by Finnish Radio Symphony, Esa-Pekka Salonen conducting; 1987 - Alvin Singleton: "Shadows" for orchestra. By the Atlanta Symphony, Robert Shaw conducting; 1992 - James MacMillan: "Sinfonietta" at Queen Elizabeth Hall in London, by the London Sinfonietta, Martyn Brabbins conducting; 1993 - Philip Glass: opera "Orphée" (based on the Jean Cocteau film), by the American Repertory Theater in Cambridge, Mass.; Others 1719 - Handel is commanded by the Lord Chamberlain (Thomas Holles, Duke of Newcastle), to hire singers for the recently established Royal Academy of Music's productions of Italian operas (Gregorian date: May 25); 1974 - Final London concert performance by conductor Leopold Stokowski, age 92 conducting the New Philharmonia Orchestra at Royal Albert Hall: The program was Symphony No. 4 by Brahms, the "Fantasia on a Theme by Thomas Tallis" by Vaughan Williams, the "Merry Waltz" by Otto Klemperer, and the "Rapsodie espagnole" by Ravel; This was not Stokowski's "final" concert appearance, however; He was on the podium again in Venice in July of that year, and continued to make studio recordings; He died on September 13, 1977, at the age of 95 in his house in Nether Wallop, Hampshire, England; Links and Resources On Rautavaara Rautavaara NYTimes obit

Christina Smith, principal flute of the Atlanta Symphony Orchestra, shares incredible stories of her career in music. We discuss studying with Julius Baker, her vintage flutes, life in the Atlanta Symphony and how teaching recharges and energizes her.  Christina's passion for music and love of playing is inspiring and engaging!

The Cello Sherpa Podcast host, Joel Dallow, interviews St. Louis Symphony  Orchestra cellist, Jennifer Humphreys on her journey to successfully winning positions in the Charlotte Symphony, the Atlanta Symphony, the Dallas Symphony, and the St. Louis Symphony. If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on twitter @theCello Sherpa

Ernie won two major orchestral positions in his twenties: first with the Atlanta Symphony, and then the Philadelphia Orchestra. He's building a reputation as a teacher, and has also begun paying forward his knowledge to underprivileged horn players in his home country of Mexico.*LINKS*Ernie's biographyFollow the Philadelphia Orchestra horn section on FacebookSelected Videos:Ernie's "Musician's Minute"Buyanovsky España (solo horn)Rosetti Concerto with Jen MontoneLa Chasse by John Barrows (horn trio)Frijoles a la Charra - Cooking with Your Philadelphia OrchestraFollow us on Instagram at @Rising_Stars_Podcast_More about the host at caroljantsch.com

Introducing the American Muse Podcast!Hello! My name is Grant Gilman. I am a conductor, violinist, and author, based in Atlanta, Georgia. I grew up the son of 2 violinists, who both went to Eastman and became professionals. Beyond that, I have a pretty typical musician story. I was bitten by the music bug very young, and despite everyone, including my parents, constantly reminding me there is no money in classical music, I couldn't do anything else.I remember playing in youth orchestra and constantly breaking my bow hair. It is not unusual to break a hair every once in a while, but I did it regularly. I realized that I wanted to play my part AND the winds AND the percussion all at once, that's why I was pressing so hard. I knew, even then, that my place was on the podium. That's where I could be a part of all the sounds at once. Then my high school orchestra director let me conduct both my own composition and Elgar's famous Enigma Variations, both in concert. Well, that was it, no going back. I was going to be a conductor, for better or worse.So, I went to the Peabody Conservatory of Music, studied violin with Martin Beaver, former 1st violin of the Tokyo String Quartet, Misha Rosenker, and Pamela Frank, world renowned soloist and chamber player. It just so happened that one of the best conducting programs in the world is ALSO at Peabody, so I stayed for my Masters degree, and got to study with Gustav Meier (rest in peace, my friend) and Markand Thakar.After playing and conducting in various positions all over the country, I decided to get my doctorate. That took me to the University of Cincinnati College-Conservatory of Music, or CCM as we call it, and I studied under Mark Gibson.Now, it just so happens I married up! My wife, Kim, is a fantastic horn player. After 10 years playing under JoAnn Falletta in the Virginia Symphony, she won 2nd horn with the Atlanta Symphony, under the baton of Robert Spano. So, after having grown up in south Texas, I now live in another very hot and humid area of the country. But, Atlanta is great!When I was still quite young, I would actually listen to my mother's collection of vinyl records. No, this is not a joke. She had tons of them! One that I found was so striking because I had never heard of the composer, and certainly not the piece, but the music blew me away EVERY time I listened to it. The conductor was Leonard Bernstein, leading the strings of the New York Philharmonic. The piece was Symphony No. 5 by William Schuman. And that is where my journey began.I never lost that sound from my mind, the optimism, boldness, complex, driving rhythmic movement, dense and engaging harmonic support. Until that moment I knew only the most prevailing composers of history. Now I had another world to discover.So I'm starting a podcast! The title is “American Muse”, in honor of William Schuman, which is what he titled his 10th and final symphony. This podcast is for all of those people, like my young self, that have never heard of these American orchestral composers from the 19th and 20th centuries. I want to find and share hidden and lesser-known gems that will brighten your day and bring depth to your world, as only art and music can do.Now of course our team will need help! You can expect to hear a collection of extraordinary guests that are experts in this field. I will be interviewing them, asking them some pointed questions that we think you will find not only entertaining but also very educational. And the first guest will be none other than JoAnn Falletta!Beyond that, we want you to be as involved as possible. We want to know if you have a composer or piece you would like us to feature. We love finding new pieces!Also, we want to know if you have a guest to propose I interview. Like the composers themselves, the experts in this niche can be just quite elusive.Furthermore, If you are an educator and have an idea, something that would tie in with your curriculum that would be of benefit to you, please reach out to us. We plan to dedicate an episode each season toward educating young musicians and students.Thanks for listening to my short introduction, and I hope you are as excited as we are! The show will be available anywhere you get your podcasts already, a video version will be on YouTube, and you can also find links and show notes on my website grantgilman.com/americanmusepodcast. Feel free to contact us with thoughts or ideas at americanmusepodcast@grantgilman.com.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Welcome back to the Business Lieder Podcast, I'm your host Justin Lerma and I'm sorry I've been away for so long but I'm back and releasing a new episode every other Wednesday, in fact, I already have six incredible interviews ready to go including Brian Hecht, Bass Trombone of the Atlanta Symphony, Kellie Hotz, a top Health Care PR Consultant, and Aaron Tindal, a professor at the University of Miami. Today's guest is Tracy Friedlander. Tracy is the host of the wildly successful Crushing Classical Podcast, now in its fourth season with thousands of listeners. And I have some wonderful news. Tracy has created a 4-month program called THE VISIBILITY WORKSHOP. This workshop will take you from clueless and confused about social media to creating a strong foundation for audience building with confidence. By the end of the workshop you'll be posting and communicating with your community with confidence. The best part about becoming visible in the music world is not only do you lay the groundwork for creating income streams and opportunities in your career, but you feel the freedom from having your own project and platform to share your unique self and point of view.This program starts on December 2nd and if this is something you've thought of doing in your career, The Visibility Workshop would be a great place to start. If you're curious, you can click (or copy and paste) on the link below and book a call with Tracy to get a better sense of if this workshop is for you. https://calendly.com/tracyfriedlander/30min

Dale Henderson, the renowned cellist who founded Bach in the Subways, will return to Bloedel Reserve on the evening of September 3rd for the final concert in the Reserve's Summer Concert Series. Together with Atlanta Symphony principal harpist, Elisabeth Remy Johnson, he'll be bringing us a unique and lively program of music for harp and cello. These two accomplished musicians trained together in Boston as young students, and reconnected in 2015 to form Parsa Duo.  Since then, the popular pair have performed around the country, their unusual instrumental pairing garnering  great acclaim. Since there's not an abundance of music written for cello and harp, the two musicians transcribe parts originally written for other instruments — a task that requires a high level of patience and mastery to generate the magically beautiful music that results from their work. For Dale, however, “This program really was a labor of love. Parsa Duo has been one big, fun experiment!” Pieces offered for the September 3 concert include audience favorites from the last three years of performance, he adds — “Our Greatest Hits so to speak! I'm tremendously excited to share this program with the audience at Bloedel.” The following music will be performed: Chant du ménestrel………………….Aleksandr Glasunov (1865-1936) Piece en forme de habanera……….Maurice Ravel (1875-1937) Histoire du tango……………………..Astor Piazzolla (1921-1992) Bordel  1900 Café  1930 Nightclub  1960 Concert d'aujourd'hui Intermission Kol Nidrei………………………………..Max Bruch (1838-1920) Roumanian Folk Dances…………….Béla Bartók (1872-1958) Joc cu bâta Brâul Pe loc Buciumeana For more information, or to order tickets, visit http://bloedelreserve.org/event/summerconcerts/. Credits: BCB host: Channie Peters; BCB audio editor: Barry Peters; social media publisher: Diane Walker.

August 22, 2016:  I was very lucky to find a few minutes to speak with Capathia Jenkins this week.  When not performing on TV and Broadway, she is busy crisscrossing the globe performing on the world's biggest stages with the finest orchestras.  Last year I performed in Philadelphia, Atlanta and Jacksonville with Capathia in Classic Soul. She brought the house down in all three cities, every single night of the show.  It was a real thrill to hear her sing each night and to perform with her.  In this episode we learn about Capathia's early influences including the church and R&B, the significance of a teacher's encouragement, how her aural skills broadened at Temple University, the moment that she felt as though she had finally made it,  why live music is always her favorite, and her deep passion for her work with Covenant House.  This Brooklyn-born and raised actress most recently starred as ‘Medda' in the hit Disney production of Newsies' on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson.  An active concert artist, Ms. Jenkins has appeared with orchestras around the world including the Pittsburgh Symphony (with Marvin Hamlisch), National Symphony, Atlanta Symphony, Toronto Symphony, Calgary Philharmonic, The Philly Pops, and the Hong Kong Philharmonic, just to name a few.  Her Television credits include 30 Rock, the Practice, Law & Order SVU, the Sopranos, Law & Order and The Wiz Live!   When not acting and singing she spends much of her free time supporting the efforts of Covenant House by serving on the board of directors and organizing Sleep Out: Broadway Edition. 

April 29, 2016 Today's guest is the ever ebullient Joseph Conyers, assistant principal bass of The Philadelphia Orchestra, founder of Project440 and the newly appointed director of the Philadelphia All City Orchestra.  In this episode Joseph reminisces about dancing to the clothes washer, auditioning and winning the Philadelphia Orchestra job, and his halcyon days of being a certified storm tracker and dreams of becoming a meteorologist. Joseph H. Conyers was appointed assistant principal bass of The Philadelphia Orchestra in 2010. He joined the Orchestra after a one-and-a-half year tenure with the Atlanta Symphony, three-and-a half years as principal bass of the Grand Rapids Symphony, and four summers as a member of the Santa Fe Opera Orchestra.