Podcast appearances and mentions of Augusta Read Thomas

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

In today's episode, we talk with Erik Rohde about conducting and education!   Erik Rohde maintains a diverse career as a conductor, violinist, and educator, and has performed in recitals and festivals across the United States and in Europe and Asia.  He is the Director of Orchestral Activities at the University of Northern Iowa and the Artistic Director and Conductor of the Winona Symphony Orchestra (MN). Prior to his appointment at the University of Northern Iowa, Rohde served as the Director of String Activities and Orchestra at Indiana State University where he conducted the Indiana State University Symphony Orchestra and taught violin, chamber music, and Suzuki pedagogy. In Indiana, he also founded the Salomon Chamber Orchestra, an orchestra dedicated to promoting the works of living composers and of Haydn and his contemporaries. Having grown up in Rochester, Rohde is particularly excited to return to his hometown to conduct the orchestra that includes former teachers, classmates, and colleagues. He began his musical studies with Linda Thompson on the violin at the age of 4 and first heard the Rochester Symphony at one of their annual educational concerts a few years later. Having begun his musical journey in Rochester, this is an exciting chance to return and make music in a new way in a community that he loves and one that helped shape the early part of his musical journey. A committed advocate for contemporary music, he has premiered and commissioned many new works by both established and young composers, and is constantly seeking to discover new compositional voices. In addition to regularly bringing new orchestral works to programs each season, he is the violinist of the new music duo sonic apricity, which is dedicated to uncovering and commissioning new works by living composers for violin and viola. The duo released their first recording on the Navona label in December of 2022. At Indiana State University, he helped to host the annual Contemporary Music Festival – now running for over 50 years. He has worked with Joan Tower, Augusta Read Thomas, Libby Larsen, Chen Yi, Meira Warshauer, Elliott Miles McKinley, Christopher Walczak, Michael-Thomas Foumai, Pierre Jalbert, James Dillon, David Dzubay, Marc Mellits, Carter Pann, Narong Prangcharoen and countless others. In 2019, he released two recordings with composer Elliott Miles McKinley, conducting his percussion concerto Four Grooves and performing on his eighth string quartet. In his native Minnesota, Rohde has served as the Music Director of the Buffalo Community Orchestra, conductor and violinist for the Contemporary Music Workshop, Camarata Suzuki orchestra conductor for the MacPhail Center for Music, String Ensemble conductor at the Trinity School, and first violinist of the Cantiamo and Enkidu String Quartets.  Rohde holds a Doctorate of Musical Arts in Conducting from the University of Minnesota – Twin Cities, where he studied with conductors Mark Russell Smith, Kathy Saltzman Romey, and Craig Kirchhoff and violin pedagogue Mark Bjork. He also holds degrees in Violin Performance and Biomedical Engineering. Rohde lives in Cedar Falls, IA with his wife Erin and their children.   Betwixt Bach: Suite for Solo Violin (2021) Performed by Erik Rohde

In today's episode, we talk with Erik Rohde about conducting and education!   Erik Rohde maintains a diverse career as a conductor, violinist, and educator, and has performed in recitals and festivals across the United States and in Europe and Asia.  He is the Director of Orchestral Activities at the University of Northern Iowa and the Artistic Director and Conductor of the Winona Symphony Orchestra (MN). Prior to his appointment at the University of Northern Iowa, Rohde served as the Director of String Activities and Orchestra at Indiana State University where he conducted the Indiana State University Symphony Orchestra and taught violin, chamber music, and Suzuki pedagogy. In Indiana, he also founded the Salomon Chamber Orchestra, an orchestra dedicated to promoting the works of living composers and of Haydn and his contemporaries. Having grown up in Rochester, Rohde is particularly excited to return to his hometown to conduct the orchestra that includes former teachers, classmates, and colleagues. He began his musical studies with Linda Thompson on the violin at the age of 4 and first heard the Rochester Symphony at one of their annual educational concerts a few years later. Having begun his musical journey in Rochester, this is an exciting chance to return and make music in a new way in a community that he loves and one that helped shape the early part of his musical journey. A committed advocate for contemporary music, he has premiered and commissioned many new works by both established and young composers, and is constantly seeking to discover new compositional voices. In addition to regularly bringing new orchestral works to programs each season, he is the violinist of the new music duo sonic apricity, which is dedicated to uncovering and commissioning new works by living composers for violin and viola. The duo released their first recording on the Navona label in December of 2022. At Indiana State University, he helped to host the annual Contemporary Music Festival – now running for over 50 years. He has worked with Joan Tower, Augusta Read Thomas, Libby Larsen, Chen Yi, Meira Warshauer, Elliott Miles McKinley, Christopher Walczak, Michael-Thomas Foumai, Pierre Jalbert, James Dillon, David Dzubay, Marc Mellits, Carter Pann, Narong Prangcharoen and countless others. In 2019, he released two recordings with composer Elliott Miles McKinley, conducting his percussion concerto Four Grooves and performing on his eighth string quartet. In his native Minnesota, Rohde has served as the Music Director of the Buffalo Community Orchestra, conductor and violinist for the Contemporary Music Workshop, Camarata Suzuki orchestra conductor for the MacPhail Center for Music, String Ensemble conductor at the Trinity School, and first violinist of the Cantiamo and Enkidu String Quartets.  Rohde holds a Doctorate of Musical Arts in Conducting from the University of Minnesota – Twin Cities, where he studied with conductors Mark Russell Smith, Kathy Saltzman Romey, and Craig Kirchhoff and violin pedagogue Mark Bjork. He also holds degrees in Violin Performance and Biomedical Engineering. Rohde lives in Cedar Falls, IA with his wife Erin and their children.   Betwixt Bach: Suite for Solo Violin (2021) Performed by Erik Rohde

Return guest Zarin Mehta presents premieres of his own music and Augusta Read Thomas's, plus pieces by Bach, Beethoven, and Lyapunov. The post LIVE | Zarin Mehta, 16, piano and composer appeared first on WFMT.

Jess Gillam meets violist Jordan Bak to share some of their favourite music.Jamaican-American violist Jordan Bak is a proud new music advocate – he's performed world premieres of works by composers including Kaija Saariaho and Augusta Read Thomas. His debut album IMPULSE was released in 2022 and he's performed with orchestras including London Mozart Players. His musical picks include works by Florence Price, reggae singer Koffee, and Benjamin Britten, whilst Jess has chosen a classic Radiohead track and Stokowski's take on Bach.PLAYLIST:FLORENCE PRICE – String Quartet No 2 in A minor (3rd mvt, Juba) [Catalyst Quartet] FANNY MENDELSSOHN - Schluss [Heather Schmidt (piano)] PALACE – Live Well JOHANN SEBASTIAN BACH, ARR LEOPOLD STOKOWSKI – Passacaglia And Fugue in C minor, BWV 582 [Philadelphia Orchestra, Yannick Nézet-Séguin (conductor)] KOFFEE – Toast RADIOHEAD – House of Cards BENJAMIN BRITTEN – Night Piece “Notturno” [Stephen Hough (piano)]

Join Angela and Darrian as they talk with composer, Augusta Read-Thomas about her music and what makes her so well known!

This week, the latest performance from the CYSO Symphony Orchestra in Orchestra Hall in downtown Chicago. Allen Tinkham conducts the Chicago premiere of a new Augusta Read Thomas piece, followed by works of Claude Debussy and Gustav Mahler. The post Chicago Youth Symphony Orchestras Fall 2023 concert appeared first on WFMT.

Nesta edição de Clássicos CBN, o comentarista Helder Trefzger apresenta compositores que abordam a paz em suas músicas. São canções de artistas dos séculos 17 e 18, como Bach, e 19 e 20, como Holst - além de uma composição da americana contemporânea Augusta Read Thomas. Ouça a conversa completa!

Synopsis At New York's Alice Tully Hall on today's date in 2003 the Avalon Quartet gave the first complete performance of a new four-movement string quartet entitled Sun Threads, by the American composer Augusta Read Thomas. Each movement of the new work has its own evocative title and had been premiered previously as stand-alone pieces by a consortium of ensembles: the first movement, Eagle at Sunrise, by the Ying Quartet; the second, Invocations, by the Miami Quartet; the third, Fugitive Star, by the Avalon Quartet; and the fourth, Rise Chanting, by the Alexander Quartet.As the poetic titles indicate, Thomas is not afraid of emotion in music, but insists on internal logic as well, and says:“I believe my music must be passionate, involving risk and adventure, such that a given musical moment might seem like a surprise right when you hear it but, only a millisecond later, seems inevitable … One of my main artistic credos has been to examine small musical objects–a chord, a motive, a rhythm, a color–and explore them from every possible perspective. The different perspectives reveal new musical elements, which I then transform and which in turn become the musical development.” Music Played in Today's Program Augusta Read Thomas (b. 1964) Eagle at Sunrise, from Sun Threads Walden Chamber Players ART CD 1992007

 This week on Cultural Manifesto I'll speak with the rock and roll legend Graham Nash, best known for his work with The Hollies, and Crosby, Stills, and Nash. Graham Nash will be performing at the Palladium on April 23.  I'll also talk with the Pulitzer Prize-nominated composer Augusta Read Thomas, she'll be premiering a new work titled “Toward A Secret Sky”  with the Indianapolis Symphonic Choir on Friday, April 28 at the Hilbert Circle Theatre.  

 This week on Cultural Manifesto I'll speak with the rock and roll legend Graham Nash, best known for his work with The Hollies, and Crosby, Stills, and Nash. Graham Nash will be performing at the Palladium on April 23.  I'll also talk with the Pulitzer Prize-nominated composer Augusta Read Thomas, she'll be premiering a new work titled “Toward A Secret Sky”  with the Indianapolis Symphonic Choir on Friday, April 28 at the Hilbert Circle Theatre.  

Synopsis Late in 2013, the musical world was gearing up to celebrate the 70th birthday of British composer John Tavener, but sadly he died, so his 70th birthday, which fell on today's date in 2014, became a memorial tribute instead. Tavener had suffered from ill health throughout his life: a stroke in his thirties, heart surgery and the removal of a tumor in his forties, and two subsequent heart attacks. In his early twenties, Tavener became famous in 1968 with his avant-garde cantata entitled The Whale, based loosely on the Old Testament story of Jonah. That work caught the attention of one of The Beatles, and a recording of it was released on The Beatles' own Apple label. Tavener converted to the Russian Orthodox Church in 1977, and his music became increasingly spiritual. Millions who watched TV coverage of the funeral of Diana, Princess of Wales, in 1997, were deeply moved by his “Song for Athene,” which was performed to telling effect as Diana's casket left Westminster Abbey. Taverner was knighted in 2000, becoming Sir John Tavener In 2003, Tavener's Ikon of Eros, commissioned for the Centennial of the Minnesota Orchestra, and premiered at St. Paul's Cathedral—the one in St. Paul, Minnesota, that is, not the one in London—and Tavener came to Minnesota for the event. Music Played in Today's Program Sir John Tavener (1944-2013) Ikon of Eros Jorja Fleezanis, vn; Minnesota Chorale; Minnesota Orchestra; Paul Goodwin, conductor. Reference Recording 102 On This Day Births 1791 - French opera composer Louis Joseph F. Herold, in Paris; 1898 - Italian-American composer Vittorio Rieti, in Alexandria, Egypt; 1944 - British composer Sir John Tavener, in London; Deaths 1935 - Russian composer Mikhail Ippolitov-Ivanov, age 75, in Moscow; 1947 - Venezuelan-born French composer Reynaldo Hahn, age 72, in Paris; Premieres 1725 - Bach: Sacred Cantata No. 92 ("Ich hab in Gottes Herz und Sinn") performed on Septuagesimae Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1828 - Schubert: Piano Trio in Bb, Op. 99 (D. 898), at a private performance by Ignaz Schuppanzigh (violin), Josef Linke (cello), and Carl Maria von Bocklet (piano); 1830 - Auber: opera "Fra Diavolo" in Paris at the Opéra-Comique; 1876 - Tchaikovsky: "Serenade mélancolique" for violin and orchestra, in Moscow (Julian date: Jan. 18); 1897 - Glazunov: Symphony No. 5, in London; 1915 - Ravel: Piano Trio in a, in Paris, by Gabriel Wilaume (violin), Louis Feuillard (cello), and Alfredo Casella (piano); 1916 - Granados: opera "Goyescas," at the Metropolitan Opera in New York; 1927 - Copland: Piano Concerto, by the Boston Symphony conducted by Serge Koussevitzky, with the composer as soloist; 1941 - Copland: "Quiet City," at Town Hall in New York City by the Little Symphony conducted by Daniel Saidenberg; This music is based on incidental music Copland wrote for Irwin Shaw's play of the same name produced by the Group Theater in New York in 1939; 1944 - Bernstein: Symphony No. 1 ("Jeremiah"), at the Syria Mosque in Pittsburgh by the Pittsburgh Symphony conducted by the composer, with mezzo-soprano Jennie Tourel as vocal soloist; 1972 - Scott Joplin: opera "Treemonisha" (orchestrated by T.J. Anderson), in Atlanta; 1990 - Joan Tower: Flute Concerto, at Carnegie Hall in New York, with soloist Carol Wincenc and the American Composers Orchestra, Hugh Wolff, conducting; 1995 - Elinor Armer: “Island Earth” (to a text by Sci-Fi writer Usula K. Le Guin), at the University of California, Berkeley, by the various San Francisco choirs and the Women's Philharmonic, conducted by JoAnn Falletta; On the same program were the premiere performance's of Chen Yi's “Antiphony” for orchestra and Augusta Read Thomas's “Fantasy” for piano and orchestra (with piano soloist Sara Wolfensohn); 1997 - Morten Lauridsen: “Mid-Winter Songs” (final version) for chorus and orchestra, by the Los Angeles Master Chorale, John Currie conducting; Earlier versions of this work with piano and chamber orchestra accompaniment had premiered in 1981, 1983, and 1985 at various Californian venues; 2000 - André Previn: "Diversions," in Salzburg, Austria, by the Vienna Philharmonic, the composer conducting; Others 1742 - Jonathan Swift, Dean of St. Patrick's Cathedral in Dublin (and the author of "Gulliver's Travels"), objects to the cathedral singers taking part in performances of Handel's works while the composer is in that city (Gregorian date: Feb. 8); Rehearsals for the premiere performance of Handel's "Messiah" would begin in April of that year, involving the choirs of both Christ Church and St. Patrick's Cathedrals in Dublin; 1971 - William Bolcom completes his "Poltergeist" Rag (dedicated to Teresa Sterne, a one-time concert pianist who was then a producer for Nonesuch Records); According to the composer's notes, the "Poltergeist" Rag was written "in a converted garage next to a graveyard in Newburgh, N.Y." Links and Resources On Tavener

What happens when you combine a love for uncovering new gems in classical music with two highly skilled performers? Violist Jacob Tews and Violinist Erik Rohde answer this very question with SONIC APRICITY: an album consisting of works they have either commissioned or championed and the namesake of their musical coalescence.The duo presents a dynamic selection of new pieces from contemporary composers Augusta Read Thomas, Erzsébet Szőnyi, Elliott Miles McKinley, Christopher Walczak, and Michael-Thomas Foumai, an engaging program of works influenced by poetry, notable tales from pop culture, the passage of time, and more. Augusta Read Thomas: Rumi Settings Erzsébet Szőnyi: Duo for Violin and Viola Elliott Miles McKinley: Dialogues Christopher Walczak: Flashing Forward Thinking Back Michael-Thomas Foumai: Scrumdiddlyumptious Elliott Miles McKinley: The Dream Angel Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

Oggi a Cult: la giovane violinista italo-americana Clarissa Bevilacqua presenta il suo album d'esordio "Dreamcatcher" dedicato alla compositrice Augusta Read Thomas; Luca Scarlini ha curato la mostra "Stregherie" alla Villa Reale di Monza; Sara De Simone parla di "Nessuna come lei. Katherine Mansfield e Virginia Woolf. Storia di un'amicizia" (Neri Pozza); la rubrica di musica classica a cura del maestro Giuseppe Califano... Cult è condotto da Ira Rubini e realizzato dalla redazione culturale di Radio Popolare. Cult è cinema, arti visive, musica, teatro, letteratura, filosofia, sociologia, comunicazione, danza, fumetti e graphic-novels… e molto altro! Cult è in onda dal lunedì al venerdì dalle 11.30 alle 12.30. La sigla di Cult è “Two Dots” di Lusine. CHIAMA IN DIRETTA: 02.33.001.001

Darrian and Angela sit down with the award-winning composer Augusta Read-Thomas. We talk about her compositions and the success of her career. In today's episode, we talk about her pieces Brio, Star Box, Violin Concerto No. 3, Incantation, Toft Serenade, and Plea for Peace.

The Cultured Mind: A Conversation with Augusta Read Thomas

Planet Poet-Words in Space  – NEW PODCAST!  LISTEN to my WIOX show (originally aired September 13th, 2022) featuring award-winning poet Cammy Thomas who discusses and reads from her most recent poetry collection, Tremors, published by Four Way Books.  Pamela Manché Pearce, Planet Poet's endlessly interesting and erudite Poet-At-Large, also joins us on the show!  Cammy Thomas' first book of poems, Cathedral of Wish, received the 2006 Norma Farber First Book Award from the Poetry Society of America.  A fellowship from the Ragdale Foundation helped her complete her second book, Inscriptions. Her third book, Tremors, came out in September 2021.  All are published by Four Way Books. Her poems have recently appeared in Image, Poetry Porch, Amsterdam Quarterly, Gravel, and Compose, and in the anthologies, Poems in the Aftermath (Indolent Books), and Echoes from Walden (edited by David Leff, from Wayfarer Books). Her poem, "French Toast," was featured on Poem-a-Day on August 6, 2021. Two of her poems are the text for Far Past War, a choral work by her sister, composer Augusta Read Thomas, which was performed by the Cathedral Choral Society at the National Cathedral in Washington DC, March 13, 2022. “Thomas explores how poetry in narrative form can draw from various sources and frames. The tremors in the title have to do with facing the fears that lie beneath the surface. They are also about hoping for a steady hand, taking a deep breath, and summoning the courage to write, despite the quivering scrawl on the page.” —Joyce Wilson - Poetry Porch, 2022 “The poems in Cammy Thomas's wonderful collection, Tremors, individually and collectively form a coherent, insightful, and very moving arc from the wrong beginnings of a childhood marked by privilege and abuse, whose traumatic dependencies were/are only partly tempered by ambivalent love and belated understanding, to a complex, mature and at times visionary grasp of the intricacies and inextricabilities of beauty and loss, desire and separation, without either side of the equation diminishing the power (for good or ill) of the other. The artistry of the poems is part and parcel of the maturity of the poet. This is a book to live with and cherish.”—Alan Shapiro As always, thanks for listening Yours in Radio, Sharon

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

Synopsis Each summer, music lovers congregate about 25 miles north of downtown Chicago for the annual Ravinia Festival, the oldest outdoor music festival in America, and since 1936 the summer home of the Chicago Symphony. But on today's date in 2013, Ravinia was the venue for world-premiere performances of several new art songs, including “Twilight Butterfly,” by the American composer Augusta Read Thomas, a setting of a poetic text written by the composer herself. “The poetic is always in my music”, explained Thomas. “In writing ‘Twilight Butterfly' … I began with a mental picture … [of] someone, viewing a butterfly fluttering on a deep summer evening beneath the twilight moon. This imagery became so specific that writing my own lyrics was almost inescapable.” Now even at their most poetic, composers must keep practical considerations in mind, as Thomas explained: "Beyond the evocative, impressionist nature of the piece … I sought to provide a comfortable performance environment for the singer. My lyrics integrate words whose open vowel sounds suit the voice ... The piano gives the singer pitches at every entrance … [and] rubato indications allow the singer delicate rhythmic and interpretive flexibility.” Music Played in Today's Program Augusta Read Thomas (b. 1964) –Twilight Butterfly (Yvonne Redman, soprano; Julie Gunn, piano) Nimbus 6306

This show originally aired on December 20, 2018. A tribute to Leonard Bernstein with Nigel Simeone, Jamie Bernstein, and Augusta Read Thomas. Leonard Bernstein, the multi-musician, did it all in his lifetime. At his 100th ...

We're joined by composer Augusta Read Thomas, featured guest for this year's New Music Festival at Bowling Green State University and a longtime force behind the scenes of contemporary music. Along with celebrated oboist Andrew Nogal, Thomas discusses the debut album from the Grossman Ensemble (founded by Thomas and housed at the University of Chicago). Called Fountain of Time, the album features a wide variety of works written for the ensemble, including David Dzubay's PHO (Potentially Hazardous Objects) and Shulamit Ran's Grand Rounds. http://www.augustareadthomas.com/ http://www.andrewnogal.com/ https://arts.uchicago.edu/content/fountain-time-album

Hear the sounds of bravery, battle and romance in Strauss' exuberant Ein Heldenleben (A Hero's Life), led by Karina Canellakis. Kirill Gerstein performs Schumann's only piano concerto, a work that brims with joy and melody. Augusta Read Thomas' Brio is a study in agility and motion, building to a full-throttle, sparkling intensity. Ticket holders are invited to a free preconcert conversation featuring Carl Grapentine in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/21-22/cso-classical/ein-heldenleben

Synopsis Many good things come in threes – at least William Bolcom seems to think so. On today's date in 1971, in a converted garage next to a graveyard in Newburgh, New York, American composer and pianist William Bolcom put the finishes touches to the second of three piano pieces he collectively titled “Ghost Rags.” “Ghost Rag” No. 2 was titled “Poltergeist” and dedicated to Tracey Sterne, who at that time was a dynamic record producer at Nonesuch Records.  In her youth Sterne pursued a career as a concert pianist, but in the 1960s and 70s was responsible for assembling the Nonesuch label's astonishingly diverse catalog of old, new and world music.   “Ghost Rag” No. 3, titled “Dream Shadows,” was described by Bolcom as a “white rag” which evoked “the era of white telephones and white pianos” and “was in the white key of C Major.” Bolcom dedicated this rag to his fellow composer, William Albright. And Bolcom's ‘Ghost Rag” No. 1, which has proved to be the most popular of the three, was titled “Graceful Ghost.”  Bolcom dedicated this music to the memory of his father, whose benign spirit Bolcom said he often felt hovering around his piano while he played at night. Music Played in Today's Program William Bolcom (b. 1938) — Graceful Ghost Rags (Paul Jacobs, piano) Nonesuch 79006 On This Day Births 1791 - French opera composer Louis Joseph F. Herold, in Paris; 1898 - Italian-American composer Vittorio Rieti, in Alexandria, Egypt; 1944 - British composer Sir John Tavener, in London; Deaths 1935 - Russian composer Mikhail Ippolitov-Ivanov, age 75, in Moscow; 1947 - Venezuelan-born French composer Reynaldo Hahn, age 72, in Paris; Premieres 1725 - Bach: Sacred Cantata No. 92 ("Ich hab in Gottes Herz und Sinn") performed on Septuagesimae Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1828 - Schubert: Piano Trio in Bb, Op. 99 (D. 898), at a private performance by Ignaz Schuppanzigh (violin), Josef Linke (cello), and Carl Maria von Bocklet (piano); 1830 - Auber: opera "Fra Diavolo" in Paris at the Opéra-Comique; 1876 - Tchaikovsky: "Serenade mélancolique" for violin and orchestra, in Moscow (Julian date: Jan. 18); 1897 - Glazunov: Symphony No. 5, in London; 1915 - Ravel: Piano Trio in a, in Paris, by Gabriel Wilaume (violin), Louis Feuillard (cello), and Alfredo Casella (piano); 1916 - Granados: opera "Goyescas," at the Metropolitan Opera in New York; 1927 - Copland: Piano Concerto, by the Boston Symphony conducted by Serge Koussevitzky, with the composer as soloist; 1941 - Copland: "Quiet City," at Town Hall in New York City by the Little Symphony conducted by Daniel Saidenberg; This music is based on incidental music Copland wrote for Irwin Shaw's play of the same name produced by the Group Theater in New York in 1939; 1944 - Bernstein: Symphony No. 1 ("Jeremiah"), at the Syria Mosque in Pittsburgh by the Pittsburgh Symphony conducted by the composer, with mezzo-soprano Jennie Tourel as vocal soloist; 1972 - Scott Joplin: opera "Treemonisha" (orchestrated by T.J. Anderson), in Atlanta; 1990 - Joan Tower: Flute Concerto, at Carnegie Hall in New York, with soloist Carol Wincenc and the American Composers Orchestra, Hugh Wolff, conducting; 1995 - Elinor Armer: “Island Earth” (to a text by Sci-Fi writer Usula K. Le Guin), at the University of California, Berkeley, by the various San Francisco choirs and the Women's Philharmonic, conducted by JoAnn Falletta; On the same program were the premiere performance's of Chen Yi's “Antiphony” for orchestra and Augusta Read Thomas's “Fantasy” for piano and orchestra (with piano soloist Sara Wolfensohn); 1997 - Morten Lauridsen: “Mid-Winter Songs” (final version) for chorus and orchestra, by the Los Angeles Master Chorale, John Currie conducting; Earlier versions of this work with piano and chamber orchestra accompaniment had premiered in 1981, 1983, and 1985 at various Californian venues; 2000 - André Previn: "Diversions," in Salzburg, Austria, by the Vienna Philharmonic, the composer conducting; Others 1742 - Jonathan Swift, Dean of St. Patrick's Cathedral in Dublin (and the author of "Gulliver's Travels"), objects to the cathedral singers taking part in performances of Handel's works while the composer is in that city (Gregorian date: Feb. 8); Rehearsals for the premiere performance of Handel's "Messiah" would begin in April of that year, involving the choirs of both Christ Church and St. Patrick's Cathedrals in Dublin; 1971 - William Bolcom completes his "Poltergeist" Rag (dedicated to Teresa Sterne, a one-time concert pianist who was then a producer for Nonesuch Records); According to the composer's notes, the "Poltergeist" Rag was written "in a converted garage next to a graveyard in Newburgh, N.Y." Links and Resources On William Bolcom

For Part I of the interview, please see Previous Post With a shared passion for Music, Text & Story, we talk about the many hurdles young musicians face in getting the support they need to succeed. We talk about the impact of the pandemic and the lessons we've learned along the way. Most importantly we talk about the soul-deep need for community that is the human experience, and how we can use music to connect. New music powerhouse Dr. Lisa Neher (pronouns: she/her, last name pronounced "NEER") is an award-winning composer, mezzo-soprano, and actress on a mission to transform audiences through sound, story, and vulnerability. Described as a “maestro of beautifully wacky noises” (Oregon ArtsWatch) and a composer of “varied and imitable” vocal lines (Contemporary Classical), Lisa writes music inspired by female athleticism, the tender love of friends, the ambiguities of death, and the eerie mystery of deep ocean life. Praised as “a small woman with a very big voice” and “especially alive” (Oregon ArtsWatch), Lisa captivates audiences as a performer with her electrifying dramatic commitment and unforgettable vocal colors. Lisa's musical-theatrical fluency and passion for contemporary music have led to engagements such as Reciter for William Walton's Façade with the Portland Columbia Symphony Orchestra, the world premiere of Space Station 189: A Micro-Opera for Instagram at New Music Gathering, the first staged version of Sun Songs: Three Micro-Operas by Augusta Read Thomas with the Center for New Music, the world premiere of Aaron Israel Levin's Fiumana, for mezzo-soprano singing while playing the bass drum, and the leading role of Jennifer in the world premiere of Rita Ueda's chamber opera One Thousand White Paper Cranes for Japan with the Singaporean ensemble Chamber Sounds. Her recent engagements include performances with Third Angle New Music, the Resonance Ensemble, Opera Theatre Oregon, Queer Opera, and the International Saxophone Symposium. Lisa is an active advocate for new music, frequently premiering new works as well as established masterworks of the last fifty years. She is the creator of the One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores initiative. ​Lisa is in high demand as a concert soloist. Her credits include Duruflé's Requiem, Mozart's Requiem, Vesperae Solennes de Confessore, and Coronation Mass, Bach's Magnificat and Ascension Oratorio, and Arvo Part's Pässio, with groups such as the Central Iowa Symphony, the Grinnell Oratorio Singers, and the Chamber Singers of Iowa City. Her operatic credits include Dorabella in Così fan tutte with Iowa City Concert Opera, Dolores in The Gondoliers, Mrs. Malaprop in The Rivals, Orlofsky in Die Fledermaus and Annio in La clemenza di Tito with Martha-Ellen Tye Opera Theatre, the Student in the premiere of the chamber opera The Nightingale and the Rose by Li Kai Han Jeremiah with Helianthus Ensemble, and Cherubino in Le nozze di Figaro with the Midwest Institute of Opera. Lisa was a Young Artist with Cedar Rapids Opera Theatre and the Vancouver International Song Institute. Lisa's compositions include solo and chamber music for instruments and vocal works in the operatic, song, and choral genres. Her particular passion for text and poetry has led to works such as her chamber operas Sense of Self, about a triathlete struggling with a breast cancer diagnosis and White Horizon, about a nineteenth-century Arctic expedition gone wrong. Lisa's major song cycle, No One Saves the Earth from Us But Us speaks the the urgency of the global climate crisis. Her commissioners include Third Angle New Music, Third Angle New Music, Opera Elect, Opera Theatre Oregon, Coe College Symphony Orchestra, Kirkwood Community College Choirs, the Glass City Singers, tenor Zach Finkelstein, pianist Michael Kirkendoll, and flutists Rose Bishop and Hal Ide. Lisa was selected to be part of the inaugural year of the Gabriela Lena Frank Creative Academy of Music. Lisa is a member of the Iowa Composer's Forum, Cascadia Composers, the National Association of Teachers of Singing, and ASCAP. In addition to her creative work, Lisa coaches singers on technique, acting, and interpretation, and composers on writing and marketing their music. Recognized in particular for her deep knowledge of the voice and extended techniques, she frequently teaches workshops on composing for singers. Lisa has served on faculty at Lewis & Clark College, Coe College, Kirkwood Community College, and Grinnell College. ​Lisa graduated summa cum laude from Lewis & Clark College with degrees in vocal performance, music composition, and theatre, and holds a master's degree in music composition from the University of Kansas and a Doctor of Musical Arts in voice performance and pedagogy from the University of Iowa. Her doctoral essay explores the chamber vocal works of composer Gabriela Lena Frank. She is a vocal student of Julia Nielsen, Stephen Swanson, Katherine Eberle, Julia Broxholm, and Susan McBerry, and studied composition under the tutelage of Michael Johansen and Forrest Pierce. Born just south of Seattle, Lisa is an outdoor enthusiast and triathlete. She spends her free time distance running, watching science fiction movies, and baking delicious treats involving copious amounts of chocolate.​ DR. LISA NEHER: Facebook Twitter LinkedIn Instagram LATEST NEWS: Announcing Something About Isolation, a series of web releases Nov 8-20 Lisa is selected as one of 10 composers for this season's NATS Mentoring Program for Composers Lisa's opera with Kendra Preston Leonard Par for the Course​ programmed on New Opera West's Pop-Up Festival 2022! Lisa's choral work Three Basho Haiku chosen for Project: Encore Catalog Lisa is the winner of the 2021 Iowa Composer's Forum / Iowa Choral Directors Association Composition Contest for Three Basho Haiku Lisa and Kendra Preston Leonard release new Halloween songs for young singers ​Read Now: BRINGING GRIT AND GUTS TO OPERA, a profile of Lisa in Oregon ArtsWatch Read Now: MUSICAL READINGS ON A BROKEN WORLD, the story behind Red Vespa's commission of Upon a Broken World in Women's Song Forum

With a shared passion for Music, Text & Story, we talk about the many hurdles young musicians face in getting the support they need to succeed. We talk about the impact of the pandemic and the lessons we've learned along the way. Most importantly we talk about the soul-deep need for community that is the human experience, and how we can use music to connect. New music powerhouse Dr. Lisa Neher (pronouns: she/her, last name pronounced "NEER") is an award-winning composer, mezzo-soprano, and actress on a mission to transform audiences through sound, story, and vulnerability. Described as a “maestro of beautifully wacky noises” (Oregon ArtsWatch) and a composer of “varied and imitable” vocal lines (Contemporary Classical), Lisa writes music inspired by female athleticism, the tender love of friends, the ambiguities of death, and the eerie mystery of deep ocean life. Praised as “a small woman with a very big voice” and “especially alive” (Oregon ArtsWatch), Lisa captivates audiences as a performer with her electrifying dramatic commitment and unforgettable vocal colors. Lisa's musical-theatrical fluency and passion for contemporary music have led to engagements such as Reciter for William Walton's Façade with the Portland Columbia Symphony Orchestra, the world premiere of Space Station 189: A Micro-Opera for Instagram at New Music Gathering, the first staged version of Sun Songs: Three Micro-Operas by Augusta Read Thomas with the Center for New Music, the world premiere of Aaron Israel Levin's Fiumana, for mezzo-soprano singing while playing the bass drum, and the leading role of Jennifer in the world premiere of Rita Ueda's chamber opera One Thousand White Paper Cranes for Japan with the Singaporean ensemble Chamber Sounds. Her recent engagements include performances with Third Angle New Music, the Resonance Ensemble, Opera Theatre Oregon, Queer Opera, and the International Saxophone Symposium. Lisa is an active advocate for new music, frequently premiering new works as well as established masterworks of the last fifty years. She is the creator of the One Voice Project, a one-woman performance combining contemporary poetry and new musical works for unaccompanied voice chosen through a call for scores initiative. ​Lisa is in high demand as a concert soloist. Her credits include Duruflé's Requiem, Mozart's Requiem, Vesperae Solennes de Confessore, and Coronation Mass, Bach's Magnificat and Ascension Oratorio, and Arvo Part's Pässio, with groups such as the Central Iowa Symphony, the Grinnell Oratorio Singers, and the Chamber Singers of Iowa City. Her operatic credits include Dorabella in Così fan tutte with Iowa City Concert Opera, Dolores in The Gondoliers, Mrs. Malaprop in The Rivals, Orlofsky in Die Fledermaus and Annio in La clemenza di Tito with Martha-Ellen Tye Opera Theatre, the Student in the premiere of the chamber opera The Nightingale and the Rose by Li Kai Han Jeremiah with Helianthus Ensemble, and Cherubino in Le nozze di Figaro with the Midwest Institute of Opera. Lisa was a Young Artist with Cedar Rapids Opera Theatre and the Vancouver International Song Institute. Lisa's compositions include solo and chamber music for instruments and vocal works in the operatic, song, and choral genres. Her particular passion for text and poetry has led to works such as her chamber operas Sense of Self, about a triathlete struggling with a breast cancer diagnosis and White Horizon, about a nineteenth-century Arctic expedition gone wrong. Lisa's major song cycle, No One Saves the Earth from Us But Us speaks the the urgency of the global climate crisis. Her commissioners include Third Angle New Music, Third Angle New Music, Opera Elect, Opera Theatre Oregon, Coe College Symphony Orchestra, Kirkwood Community College Choirs, the Glass City Singers, tenor Zach Finkelstein, pianist Michael Kirkendoll, and flutists Rose Bishop and Hal Ide. Lisa was selected to be part of the inaugural year of the Gabriela Lena Frank Creative Academy of Music. Lisa is a member of the Iowa Composer's Forum, Cascadia Composers, the National Association of Teachers of Singing, and ASCAP. In addition to her creative work, Lisa coaches singers on technique, acting, and interpretation, and composers on writing and marketing their music. Recognized in particular for her deep knowledge of the voice and extended techniques, she frequently teaches workshops on composing for singers. Lisa has served on faculty at Lewis & Clark College, Coe College, Kirkwood Community College, and Grinnell College. ​Lisa graduated summa cum laude from Lewis & Clark College with degrees in vocal performance, music composition, and theatre, and holds a master's degree in music composition from the University of Kansas and a Doctor of Musical Arts in voice performance and pedagogy from the University of Iowa. Her doctoral essay explores the chamber vocal works of composer Gabriela Lena Frank. She is a vocal student of Julia Nielsen, Stephen Swanson, Katherine Eberle, Julia Broxholm, and Susan McBerry, and studied composition under the tutelage of Michael Johansen and Forrest Pierce. Born just south of Seattle, Lisa is an outdoor enthusiast and triathlete. She spends her free time distance running, watching science fiction movies, and baking delicious treats involving copious amounts of chocolate.​ DR. LISA NEHER: Facebook Twitter LinkedIn Instagram LATEST NEWS: Announcing Something About Isolation, a series of web releases Nov 8-20 Lisa is selected as one of 10 composers for this season's NATS Mentoring Program for Composers Lisa's opera with Kendra Preston Leonard Par for the Course​ programmed on New Opera West's Pop-Up Festival 2022! Lisa's choral work Three Basho Haiku chosen for Project: Encore Catalog Lisa is the winner of the 2021 Iowa Composer's Forum / Iowa Choral Directors Association Composition Contest for Three Basho Haiku Lisa and Kendra Preston Leonard release new Halloween songs for young singers ​Read Now: BRINGING GRIT AND GUTS TO OPERA, a profile of Lisa in Oregon ArtsWatch Read Now: MUSICAL READINGS ON A BROKEN WORLD, the story behind Red Vespa's commission of Upon a Broken World in Women's Song Forum

Harold Pollack, the Crown Family School's Helen Ross Professor and Thomas J. Dart, Cook County, (IL) Sheriff discuss what Sheriff Dart has learned about policing and mental and behavioral health, the co-responder model, and how he has enhanced the co-responder model to combine the use of tablets with Crisis Intervention Training. They also talk about how social work and policing can learn from one another to help keep everyone in the community safe. Music by Augusta Read Thomas, UChicago University Professor of Composition in the Department of Music and the College. Visit the Crown Family School of Social Work, Policy, and Practice at https://crownschool.uchicago.edu/

The music of Augusta Read Thomas has been performed all over the world by conductors such as Daniel Barenboim, Pierre Boulez, Mstislav Rostropovich, Seiji Ozawa, Oliver Knussen, George Benjamin, Vimbayi Kaziboni, Christoph Eschenbach and many others. She is Vice President for Music at The American Academy of Arts and Letters, among many other distinctions, and is a long-standing, exemplary citizen of the profession at large supporting the work of others. Her music is published by G Schirmer and, since 2016, by Nimbus Music Publishing. Her music has been featured on nearly 100 commercial CDs. Since 2013, Nimbus Records has been recording her complete works. She is currently a University Professor of Composition in Music at The University of Chicago. Thomas played piano as a young child, starting private lessons at age four.  In third grade, she took up the trumpet and played for 14 years, attending Northwestern University as a trumpet performance major.  She played trumpet in brass quintet, chamber orchestra, orchestra, band, and Jazz band and she sang in choirs for many years.Thomas also had the distinction of having her work performed more frequently in 2013-2014 than any other living composer, according to statistics from performing rights organization ASCAP.MUSICAL EXCERPTS (in order)Words of the Sea  for orchestra (3rd movement)Chicago Symphony OrchestraPierre Boulez, conductorCarillon Sky  for violin and chamber orchestraBaird Dodge, violinChicago Symphony Orchestra MusicNOW ensembleOliver Knussen, conductorAugusta Read Thomas official websiteSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Synopsis On today's date in 1981, at a house concert in St. Paul, Minnesota, a chamber work by the American composer Stephen Paulus entitled “Courtship Songs” received its first performance. It was commissioned to celebrate the 15th wedding anniversary of Jack and Linda Hoeschler and scored for the instruments the couple and their two children played: flute, oboe, cello and piano. The commissioning bug caught on, and anniversary commissions became a family tradition. Eventually the Hoeschlers and some of their friends started up a Commissioning Club, modeled along the lines of an investment club, to commission American composers including Paulus, Paul Schoenfield, Steve Heitzeg, and Augusta Read Thomas, among others, for premieres by ensembles like New York's Chamber Music Society of Lincoln Center and Washington D.C.'s 20th Century Consort, as well as the Minnesota Orchestra and St. Paul Chamber Orchestra. In 1996, one Commissioning Club premiere reached an audience of millions when Stephen Paulus's setting of “Pilgrim Jesus,” by the English poet Kevin Crossley-Holland, was performed at King's College, Cambridge, as part of the “Festival of Nine Lessons and Carols,” broadcast live on both the BBC's World Service and public radio stations across America. Not a bad return on their investment! Music Played in Today's Program Stephen Paulus (1949-2014) — Courtship Songs (Jane Garvin, flute; Merilee Klemp, oboe; Mina Fisher, cello; Jill Dawe, piano) Innova 539

Gina Miranda Samuels and Kelly Faye Jackson are two social work academics who are also black multiracial. They discuss their book, Multiracial Cultural Attunement, and the enduring challenges of publishing scholarship about mixed race persons and families within social work, where “race” is often treated as an uncontested, fixed, and singular status or identity. Samuels (UChicago Crown Family School) and Jackson (ASU-SW) will introduce and define monoracism and moncentricity and explore social constructions of race and mixed race rooted in white supremacy. Listeners will hear about their own life experiences, how mixed-race people and families are “erased” or pathologized both in society and academic research, and how data on mixed race people is gathered, displayed, and used – or not used. Finally, they pose a challenge to the social work profession:  that preparing the next generation of social workers to dismantle systems of racism requires disrupting the monoracism within our field's engagement of race in research, theory, and practice. Motown the dog makes a cameo appearance. Music by Augusta Read Thomas, UChicago University Professor of Composition in the Department of Music and the College. Visit the Crown Family School of Social Work, Policy, and Practice at https://crownschool.uchicago.edu/

The premiere of Augusta Read Thomas’s Enchanted Invocation and Bebop Riddle. Performed by percussionist John Corkill.Missioncommissionpodcast.com

An introduction to our composers: Augusta Read Thomas, Courtney Bryan, and Marcos Balter, as they begin their creative journey to compose a new piece of classical music in 6 weeks for Mission: Commission.  Visit missioncommissionpodcast.com for a full listing of pieces, performers, and recordings included in this episode.

How does classical music actually get made? Mission: Commission sets out to answer that question by starting at the very beginning - with the composers who write the music. The podcast follows the creative journey of three world-class composers, Augusta Read Thomas, Courtney Bryan, and Marcos Balter, as they compose new works for the show. Over a period of 6 weeks, listen as the pieces gradually take shape, from idea to final recording, and the composers reveal insights into how they work and think about music. Hosted by Melissa Smey, Artistic Director of Miller Theatre at Columbia University in New York.Learn more at http://missioncommissionpodcast.com

This week is all about the alto clef: 18-year-old Bella Kim of Buffalo Grove is a viola player who has chosen a diverse recital of Johann Sebastian Bach, Béla Bartók, local composer Augusta Read Thomas, and the recently rediscovered 1939 Sonatine of Ulysses Kay. Beilin Han joins her on piano. Thanks to the Music Institute of Chicago for allowing WFMT ... The post Bella Kim, 18, viola appeared first on WFMT.

The Quad City Symphony Orchestra will perform a tribute to the unique sound of American music with their Signature Series III concert on Saturday, February 27, 2021 at 7:30 PM, inspired by the Figge Art Museum’s exhibition For America . This intimate string trio performance will be available for a limited socially distanced audience at the Figge as well as via digital access/live streaming. Emily Nash, Associate Concertmaster and violinist; Bruno Silva, violist; and Kit Pollen, Associate Principal and double bassist for the Quad City Symphony Orchestra , will perform works by three American composers. The first portion of the program features Silent Moon by Augusta Read Thomas, three movements written for violin and viola which evoke the stillness of winter. After a brief pause, the tempo and style will change with six selections being played by the composers Edgar Meyer and Mark O’Connor - bluegrass/folk compositions hailing from their Appalachia Waltz album in 1996 and from

A hummingbird, a beatboxer, and a sweet potato walk into a theatre…  We should probably mention the bees, the dog, the squirrel, the baby pigeons, and a few woodpeckers, too. These are some of the creatures that inhabit the magical garden community of Sweet Potato Kicks the Sun, and in 2019, they lit up the stage performing opera in Santa Fe, New Mexico. But a menagerie as complex and unpredictable as this one didn’t just arrive fully formed, ready for its world premiere. Instead, Opera for All Voices’ first-ever premiere required years of lead time, months of prep work, and several changes to its artistic team.  Key Change host Andrea Fellows Fineberg fires up the time machine once again to travel behind the scenes with members of the Sweet Potato... creative crew. Andrea asks them about the artistic challenges inherent to wrangling myriad talents and viewpoints into a cohesive staged performance. Their answers reveal a shared vision that binds these creative individuals to the OFAV mission, the production, and each other. Librettist Leslie Dunton Downer discusses the risk and ultimate reward of relinquishing control to the interpretive artists on stage. Dramaturg Cori Ellison and collaborator Ruth Nott recall decisions that helped shape the show’s production team. Director John de los Santos and costume designer Ashley Soliman trade thoughts on the role ambiguity played in their designs, while offering glimpses into their working relationship.  And it’s composer Augusta Read Thomas who offers an observation that best captures Sweet Potato Kicks the Sun’s collaborative and connective genius. In an age of so much uncertainty, the production is a reminder that anything is still possible. “It’s a joyful piece. I think everybody feels it, every single character, and it jumps off the stage.” RELATED EPISODES Season 1, Episode 3 “Beatboxing and Opera: a love story” - interview with Nicole Paris and Augusta Read Thomas Season 2, Episode 1 “Press Play” - Sweet Potato’s Augusta Read Thomas and Leslie Dunton Downer on story and score development on the eve of the Chicago workshop *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Hosted by Andrea Fellows Fineberg Featuring Cori Ellison, Ruth Nott, Stage Director: John de los Santos, Costume Designer: Ashley Soliman, Librettist: Leslie Dunton Downer, Composer: Augusta Read Thomas  Produced and edited by Andrea Klunder at The Creative Impostor Studios Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello. Cover art by David Tousley Additional music in this episode composed and provided by Augusta Read Thomas, with permission from Nimbus Records. This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera for All Voices, visit us at SantaFeOpera.org

Key Change is back for Season 3!  Hold on… Some things have changed around here; some things have changed everywhere. What happens when a global pandemic upends your well-crafted plans? How does art respond within the confines of social distancing? Where’s Brandon?! Don’t worry, all will be revealed. To better understand where Opera for All Voices (OFAV) is headed this year, it’s helpful to reflect on where it’s been, to acknowledge achievements, and hear from the people whose talents shaped the initiative’s history. For a trip like that, we’ll need a time machine. Luckily, Andrea knows how to drive one.  In 2019, the curtain rose on the world premiere of OFAV’s first-ever commission Sweet Potato Kicks the Sun by Augusta Read Thomas and Leslie Dunton-Downer. That energetic beatboxing-infused opera amazed audience members and energized performers. Bracketed by a sampling of those excited voices, Andrea revisits OFAV’s origin story, trading insights with collaborator Ruth Nott and Cori Ellison, the production’s dramaturg. If Sweet Potato Kicks the Sun played a crucial foundational role in OFAV’s inaugural season, Hometown to the World, composed by Laura Kaminsky, libretto by Kimberly Reed, was poised to reinforce that vision the following year. 2020 messed with everyone’s momentum, but OFAV maintained belief in its mission, to tell the stories of our time and make opera for all voices. The impetus to develop relevant content and foster rich collaborations has never been more necessary. Safely socially distanced, of course. What began several years ago as the desire to introduce new audiences to the art form has since grown into a rich resource, brimming with possibility. Andrea explores that journey and this podcast’s evolution before steering the time machine triumphantly toward the future. “If this grand experiment that is OFAV has taught us anything,” she says, “it is how to move forward, even when everything goes sideways, and how to keep dreaming.” And, yes, she fills everyone in on Brandon’s exciting new endeavor.  RELATED EPISODES Season 1, Episode 2 “What’s in a name?” - the origin story of Opera for All Voices Season 1, Episode 3 “Beatboxing and Opera” - Sweet Potato’s Augusta Read Thomas and Nicole Paris on the origin story of their collaboration Season 2, Episode 1 “Press Play” - Sweet Potato’s Augusta Read Thomas and Leslie Dunton Downer on story and score development on the eve of the Chicago workshop Season 1, Episode 6 “Hometown to the World” - Hometown’s Laura Kaminsky and Kimberly Reed on telling history and collaboration Season 2, Episode 9 “America is Impossible Without Us” - Revisiting Hometown’s story, structure, music, and what it means to be an American with Laura Kaminsky and Kimberly Read during the San Francisco workshop *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Hosted by Andrea Fellows Fineberg Featuring Brandon Neal, Cori Ellison, Ruth Nott, and post-show feedback from Nicole Paris, Rachel de la Torre, Dawn Lura, chorus members, and audience members. Produced and edited by Andrea Klunder at The Creative Impostor Studios Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello. Cover art by David Tousley This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera for All Voices, visit us at SantaFeOpera.org

We're joined by composer Augusta Read Thomas, featured guest for this year's New Music Festival at Bowling Green State University and a longtime force behind the scenes of contemporary music. Along with celebrated oboist Andrew Nogal, Thomas discusses the debut album from the Grossman Ensemble (founded by Thomas and housed at the University of Chicago). Called Fountain of Time, the album features a wide variety of works written for the ensemble, including David Dzubay's PHO (Potentially Hazardous Objects) and Shulamit Ran's Grand Rounds. http://www.augustareadthomas.com/http://www.andrewnogal.com/https://arts.uchicago.edu/content/fountain-time-album

We're joined by composer Augusta Read Thomas, featured guest for this year's New Music Festival at Bowling Green State University and a longtime force behind the scenes of contemporary music. Along with celebrated oboist Andrew Nogal, Thomas discusses the debut album from the Grossman Ensemble (founded by Thomas and housed at the University of Chicago). Called Fountain of Time, the album features a wide variety of works written for the ensemble, including David Dzubay's PHO (Potentially Hazardous Objects) and Shulamit Ran's Grand Rounds. http://www.augustareadthomas.com/ http://www.andrewnogal.com/ https://arts.uchicago.edu/content/fountain-time-album

www.jasonhaaheim.comJason Haaheim (pronounced HAW-heim) was appointed a Principal Timpanist of the Metropolitan Opera Orchestra in 2013. In addition to performances at New York's Lincoln Center and Carnegie Hall, Mr. Haaheim can be seen and heard performing with the MET Orchestra on television, international radio, and Live in HD movie theater broadcasts. Mr. Haaheim is on faculty at the NYU Steinhardt School of Music and the Bard Conservatory of Music. A sought-after clinician, Mr. Haaheim gives masterclasses both nationally and internationally, and is the founder of the Northland Timpani Summit, the Deliberate Practice Bootcamp, and the Artful Timpani Auditioning seminar. He is also a frequent coach for The Orchestra Now (TON), the Carnegie Hall National Youth Orchestra (NYO), and the New York Youth Symphony (NYYS).Mr. Haaheim’s guest principal timpanist engagements have included the All Star Orchestra, the Seoul Philharmonic, the Mostly Mozart Festival Orchestra, and the Milwaukee Symphony. He is the principal timpanist of the Lakes Area Music Festival, and has also been a resident artist of the Twickenham Festival. Prior to the Met, Mr. Haaheim was principal timpanist of the Southwest Michigan Symphony and the Civic Orchestra of Chicago, and he performed regularly as timpanist with the Madison Symphony, Illinois Symphony, Peoria Symphony, Fort Wayne Philharmonic, and the Illinois Philharmonic.Mr. Haaheim began studying piano in 4th grade, adding percussion studies in 5th grade. He holds a bachelor of arts degree with a double major in honors-music-performance and physics from Gustavus Adolphus College (St. Peter, MN); he also holds a master’s degree in electrical engineering from UC-Santa Barbara. Influential teachers have included John Tafoya (Indiana University, National Symphony), Dean Borghesani (Milwaukee Symphony), Jonathan Haas (Aspen Music Festival, NYU), and Robert Adney (Gustavus Adolphus College, MacPhail Music School). While auditioning and freelancing, Mr. Haaheim worked as a Senior Research and Development Engineer at NanoInk, a Chicago-area tech company. In this capacity, he gave invited talks on nanotechnology, authored multiple peer-reviewed publications, and was granted numerous patents. In 2017, this dual-career path was highlighted in an interview with Melissa Block on NPR’s Weekend Edition.Active in many musical areas, Mr. Haaheim has also performed extensively as a chamber musician and jazz drummer. He collaborated with Yo-Yo Ma in a Civic Orchestra / Silk Road Ensemble performance, and recorded the premiere of Augusta Read Thomas’s “Terpsichore’s Dream” with members of the Chicago Symphony. Mr. Haaheim has performed with Chicago’s ensemble dal niente, and premiered Ryosuke Yagi’s “Mirrors…for timpani” with the UCSB Ensemble of Contemporary Music. Other projects have included drumming for the jazz-fusion quartet “The J3 Intent” and the alt-country band “The Lost Cartographers.” At Gustavus, Mr. Haaheim was selected for the honors recital and won first place in the orchestra’s concerto competition. Extra-musical interests include backpacking and hiking, rock climbing, and both downhill and cross-country skiing.Support the show (https://thatsnotspit.com/support/)

(S3, EP 5) In this week's episode, I spoke with my old friend Tereza Lee back in July. Tereza is a mother of 3, professional pianist, and a long-time immigration rights activist. Tereza was one of the pioneers of the DREAM movement in the early 2000's when her then-undocumented status inspired US-IL Senator Dick Durbin to sponsor the first DREAM Act proposal in 2001. In this interview, Tereza shared her experiences growing up undocumented, and how her music teacher inspired her to share her story to Senator Durbin. She reminisces back on the struggles of the undocumented movement, but also hopes for this current generation of DACA / undocumented activists. She recently received her doctorate, and talked about her research of Czech composer Antonín Dvořák and his mentorship of Harry Burleigh, one of the earliest African American composers as well as his work with Black and Indigenous music students. We talked about her experiences living in NYC during this Covid-19 era. Hope you get to listen in, and hear her powerful journey! -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Special thanks to my sponsor, Lawrence and Argyle, a Viet-American owned merchandise line representing immigrant empowerment. Get yourself a pin, hoodie or t-shirt and show off your immigrant pride. Visit them at www.lawrenceandargyle.com or on Instagram @lawrenceandargyle or on their Facebook page -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Bio -- Tereza Lee is a pianist “whose touch is exceptionally clear” (—Chicago Sun-Times), who is also a prominent advocate for immigrant rights. She began her performing career at the age of 11, as the pianist at her family's church. At 16, she became the first student from an inner-city school to win first prize in the Chicago Symphony Orchestra Youth Concerto Competition, and performed with the C.S.O. She has gone on to perform as a soloist at Weill Hall at Carnegie Hall, Steinway Hall, Barge Music, Lincoln Center and the Ravinia Festival in Chicago. She has premiered works by Aaron Jay Kernis, Augusta Read Thomas, Ned Rorem, Josephine Lee, and Kenneth Frazelle. Tereza's role in helping to inspire Senator Dick Durbin of Illinois to introduce the DREAM Act has been documented in The New York Times, PBS, NPR, USA Today, The Economist, NY1, and WNYC. She has been engaged in activism especially on immigration issues, supporting the New York State Liberty Act, the New York State DREAM Act, Greenlight NY and Driver's License For All Campaigns. Tereza recently completed her Doctor of Musical Arts Degree from the Manhattan School of Music. --- Support this podcast: https://anchor.fm/banhmichronicles/support

In my conversation with composer Augusta Read Thomas, she expresses her heartfelt support of Black Lives Matter; her empathy for the performer in her compositions; why the music profession should be "wildly diverse"; and the three things that one needs to be an excellent composer.Subscribe to the podcast here! Augusta Read Thomas2:40 - Augusta makes a statement about Black Lives Matter and says "it's profoundly urgent that we finally, hopefully, this time, make things better."3:44 - How Augusta got started in music.6:40 - How she brings "enormous empathy" for the player when she is writing music.7:10 - Why "Jazz is the great American music" and her obsessions with Louis Armstrong, Ella Fitzgerald, etc.8:21 - "I don't see any reason why the profession of music should be anything but wildly diverse....Music is so much bigger."11:00 - "I love music!" Augusta talks about collaboration and the range of her output.Luciano Berio15:23 - Augusta talks about her opera, Sweet Potato Kicks the Sun, which features the "astonishing" beatboxer, Nicole Paris. "Opera should be able to include all voices."20:06 - How the large majority of people who make music on the planet don't read music and the importance of "breaking down every wall," "deep collaboration," and the integration of art forms. "Come with your creative courage. Be crazy, let's go!"24:09 - Why Augusta never encounters "creative blocks.""Every piece I've ever written starts as an improvisation."26:32 - Why music is Augusta's main source of inspiration and why she also loves poetry. "The reason I write music is to give thanks."31:59 - Augusta talks about her love of and dedication to teaching.33:04 - The three things one needs to be an excellent composer.34:57 - How Augusta started the Chicago Center for Contemporary Composition at the University of Chicago as well as her robust volunteerism and citizenship within the music profession.Tania Leon39:35 - "I've worked so hard for so long; I've worked as hard as anybody."41:43 - "I look forward to a time when we can all be together and can make music together." The challenges of the COVID pandemic for musicians, especially for performers.44:15 - Augusta's advice to young people: "What do you want to do? Be true to yourself. Always be honest. Look for integrity in your own work and your own life. Be generous to others. And work toward extreme excellence."

Ralph Sauer retired from the Los Angeles Philharmonic in 2006 after 32 years as principal trombonist. Previously, he spent six years as principal with the Toronto Symphony as well as with the Canadian Opera and the Canadian Broadcasting Corporation. A native of Philadelphia, he is a graduate of the Eastman School of Music, where he studied with Emory Remington. Mr. Sauer has performed as a soloist with many orchestras, including premieres of concertos by Kazimierz Serocki and Augusta Read Thomas. He has given masterclasses and recitals throughout Europe, Japan, Mexico, Costa Rica, Brazil, Canada, Australia, and the United States, and has appeared at the Stratford, Marlboro, Aspen, and Pacific summer music festivals. He is a founding member of Summit Brass. Recent activities include performing as guest principal with the Malmö (Sweden) Symphony Orchestra, teaching at the Malmö Academy of Music, and leading masterclasses at various American universities. He continues to add to his catalog of more than 300 transcriptions for brass instruments.

At New York’s Alice Tully Hall on today’s date in 2003 the Avalon Quartet gave the first complete performance of a new four-movement string quartet entitled “Sun Threads,” by the American composer Augusta Read Thomas. Each movement of the new work has its own evocative title and had been premiered previously as stand-alone pieces by a consortium of ensembles: the first movement, “Eagle at Sunrise,” by the Ying Quartet; the second, “Invocations,” by the Miami Quartet; the third, “Fugitive Star,” by the Avalon Quartet; and the fourth, “Rise Chanting,” by the Alexander Quartet. As the poetic titles indicate, Thomas is not afraid of emotion in music, but insists on internal logic as well, and says: “I believe my music must be passionate, involving risk and adventure, such that a given musical moment might seem like a surprise right when you hear it but, only a millisecond later, seems inevitable … One of my main artistic credos has been to examine small musical objects–a chord, a motive, a rhythm, a color–and explore them from every possible perspective. The different perspectives reveal new musical elements, which I then transform and which in turn become the musical development.”

Podcast THE TALKING CURE: Conversations with Jedediah Wheeler Augusta Read Thomas, composer of The Auditions, commissioned by Montclair State University and Peak Performances talks about her collaboration with choreographer, Troy Schumacher for the Martha Graham Dance Company. This new work has been designed to resonate with Graham's classic, Appalachian Spring, which turns 75 this year. “America's foremost new-music group” (Alex Ross), the International Contemporary Ensemble joins the Graham Company for these world-class renditions of new music by Thomas and the original Pulitzer Prize–winning score for Appalachian Spring by Aaron Copland. More: https://www.peakperfs.org/event/the-auditions/2019-11-14/ Produced Peak Performances and the Office of Arts and Cultural Programing at Montclair State University Artistic Director, Jedediah Wheeler Producer, Natalie Marx Recorded on July 31, 2019 at WMSC Radio

Podcast THE TALKING CURE: Conversations with Jedediah Wheeler Janet Eilber, Artistic Director of the Martha Graham Dance Company and choreographer Troy Schumacher speak about the legendary Appalachian Spring in its 75th year anniversary and the new piece commissioned by Peak Performances, The Auditions, with music composed by Augusta Read Thomas. https://www.peakperfs.org/event/the-auditions/2019-11-14/ Produced by Peak Performances and The Office of Arts and Cultural Programing at Montclair State University Artistic Director, Jedediah Wheeler Producer, Natalie Marx Recorded on July 31, 2019 at WMSC Radio

Today's guest in this second episode of the Fischoff Effect series is Dorival Puccini, trumpet player and founding member of Axiom Brass. In this series, I bring you five former winners of the competition to talk about their experience preparing for and competing at Fischoff, and about the wonderful adventures and opportunities that have followed their win! My guests this week are Blaise Magniere from the Avalon String Quartet, Dorival Puccini from Axiom Brass, Matt Landry from the Akropolis Reed Quintet , Christopher Whitley from the Thalea String Quartet, and Lydia Reah from the former Kairos String Quartet!  Whether you are a musician about to compete at the competition, or a music lover looking for a fresh approach to practicing and preparing for a concert, make sure to subscribe and tune in everyday, because those conversations are bursting with inspiration and EXTREMELY useful information!  Each group has a unique and motivating story and my guests are so generous with their insightful tips and advice!    About Fischoff Founded in 1973 in South Bend, Indiana, the Fischoff National Chamber Music Competition has grown to become the largest chamber music competition in the world, attracting the finest and most talented young musicians from around the globe. and is one of the most prestigious classical music prizes attainable today. Since its founding, more than 6,000 musicians have participated, many of whom have gone on to distinguished careers in music performance and education.  The Fischoff is also deeply committed to music education and partners with competition alumni to bring free, innovative Arts-in-Education programs directly to children in their own schools and community centers. Since 1995, nearly 50,000 children, youth and adults have received free educational programming of the highest order. Website: http://www.fischoff.org/ Facebook: https://www.facebook.com/TheFischoff Instagram: https://www.instagram.com/fischoffchambermusic/     Meet Axiom Brass – 2010 Senior Wind Division Bronze Medal & 2011 Fischoff Educator Award Dorival Puccini, Jr. , Michael Hawes | Matthew Bronstein, horn | Corey Sansolo, trombone |           Kevin Harrison, tuba   http://www.axiombrass.com/ Facebook: https://www.facebook.com/axiombrass/ Instagram: https://www.instagram.com/axiom_brass/ YouTube: https://www.youtube.com/user/AxiomBrass5   Praised for their “high level of musicality and technical ability” and for their “clean, clear and precise sound,” the award-winning Axiom Brass Quintet has quickly established itself as “one of the major art music groups in brass chamber music.” As the only Brass Quintet in 27 years to ever win the prestigious Chamber Music Yellow Springs Competition (2012), and the only American ensemble to ever win the Preis der Europa-Stadt Passau in Germany (2012), Axiom has also been named winners of the 2008 International Chamber Brass Competition and prize-winners of the 2016 M-Prize,  2010 Fischoff Chamber Music Competition, the Plowman Chamber Music Competition, and the Jeju City International Brass Quintet Competition in South Korea. Axiom Brass is dedicated to enhancing the musical life of communities across the globe and educating the next generation of musicians. Axiom's commitment to education and their blend of virtuosic performances and dynamic teaching have inspired young audiences around the nation, earning the ensemble the 2011 Fischoff Educator Award.  Their educational concert “Let's Make Music” has captivated thousands of elementary and middle school students in the U.S.  Since 2011 the ensemble has been featured as brass quintet-in-residence for the National Brass Symposium, sharing the stage with principal brass players from the Chicago Symphony, Boston Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic and Atlanta Symphony. Internationally recognized for their groundbreaking programming, their repertoire ranges from jazz and Latin music to string quartet transcriptions, as well as original compositions for brass quintet.  Axiom Brass' performances have captured the hearts and imaginations of their audiences, leading the ensemble to national radio and television appearances as well as concerts in Asia, Europe and across the U.S. Axiom's dedication to brass repertoire has led the ensemble to commission and premiere several new works, including Avian Capriccio by Augusta Read Thomas, Axiom by Liduino Pitombeira, A Martyred Village by David Faleris, Celestial Suite by James Stephenson and For Then and Now by Laurence Bitensky. For Celestial Suite, Axiom Brass partnered with the New York Philharmonic Brass Quintet, the Chicago Symphony Brass Quintet, the Chicago Chamber Musicians and the Fischoff Chamber Music Society, as well as with the Digital Visualization Theater of the University of Notre Dame and Professor Keith Davis. Highlights of Axiom's past seasons have included concerts in the Dominican Republic, Germany, Portugal, Spain, China, South Korea and Japan; a four-week residency at the Grand Tetons Music Festival; the release of their début album New Standards, clinics and performances at the 2010, 2012 and 2015 Midwest Clinic, their New York debuts at Symphony Space and Merkin Hall, masterclasses at The Juilliard School and Manhattan School of Music, as well as recitals, masterclasses and solo appearances with orchestras and bands around the U.S. In October of 2013, Axiom gave the American premiere of Fantasia Flamenca and the world premiere of Raimundo Penaforte's Concertice for brass quintet and orchestra under the baton of David Lockington and the Modesto Symphony, followed by the 2015 midwest premieres of Bernard Rands' Adieu for quintet and strings, and the Midwest premiere of Fantasia Flamenca with the Grand Rapids Symphony. During the 2016/17 season Axiom commissioned and premiered ten new works as a celebration of the ensemble's 10th anniversary. Axiom Brass performs exclusively with the Blackbinder automatic scroll app for iPads. Axiom Brass performs exclusively on Mutec Mutes.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/

Andrea Fellows Walters and Brandon Neal are back with Season 2! Sweet Potato Kicks the Sun, our first commission for Opera for All Voices, gets a closer listen with a live audience. Hopping back in our OFAV time machine, we travel to September 2018 Chicago. Sweet Potato had a live workshop with invited audience and we had a rare opportunity to find out both what audience members were anticipating before the workshop, and what they thought afterward. Andrea and our dramaturg Cori Ellison sat down with composer Augusta Read Thomas and librettist Leslie Dunton Downer to learn more about their alchemical process of working together on a new opera, influences and nuances of story, and what happens next with this new opera. Sweet Potato Kicks the Sun will premiere in Santa Fe, NM in October 2019. ***  If you are new to Key Change, we recommend going back to listen to the first 8 episodes of Season 1 for even more OFAV context. Episode 3 is a first introduction to Sweet Potato Kicks the Sun with composer Augusta Read Thomas and beatbox artist Nicole Paris. If you can’t right this minute, don’t worry! We’ll catch you up. *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosts: Andrea Fellows Walters and Brandon Neal Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello. Cover art by David Tousley Special music licensing from PodcastMusic.com Special thanks to the Reva and David Logan Center for the Arts at the University of Chicago, Reba Cafarelli, Cori Ellison, Andrea Klunder and Aliyah Rich for recording our audience reactions and Shannon Harris for recording our interviews in Chicago. OFAV Consortium Members:  Lyric Opera for Kansas City, Minnesota Opera, Opera Theatre of Saint Louis, San Francisco Opera, Sarasota Opera and Seattle Opera. This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera for all voices, visit us at SantaFeOpera.org

In this episode, I speak with Jason Haaheim, principal timpanist with NY's Metropolitan Opera since 2013.   We discuss his fascinating journey, going from working full-time as an engineer to holding one of the most coveted position in the world.  He applied the principles of deliberate practice in his life in a way that will amaze and inspire you!  Jason's experience and insight on deliberate practice and music-making are eye opening!   We elaborate on: His unorthodox path – securing a position at the MET How he was exposed to deliberate practice What is “talent?” (Pssst!  It's not what you think!) How his playing soared once he figured out what type of practice works for him How deliberate practice is, in essence, applying the scientific method to instrumental learning How refining the technique in a scientific, methodical way, leads us to musicality and expression Why feedback is so crucial in learning and growing as an artist Why essential to be process-focused and how it impacts the end result Why it's up to you and the decision you make over the years Why it pays to be a tenacious loser What the things you can control are How the process never ends (and that's a good thing!) Why we should keep asking questions and how they make us better How his process continues in his career How results are a by-product of the process His audition preparation process – how he organized it and what it involved (have specific goals, a solid plan, record yourself, play mock auditions, get lots of feedback, etc.) How he uses Anders Ericsson's Mental Representation concept How recording ourselves transforms how we pay attention to our playing in real time How he prepares for the opera repertoire     ALL ABOUT JASON: Website: https://jasonhaaheim.com/ Instagram: https://www.instagram.com/jasonhaaheim/ Metropolitan Opera: https://www.metopera.org/ Artful Timpani Auditioning Seminar: https://steinhardt.nyu.edu/music/summer/percussionworkshops/artful_timpani_auditioning Talent is Overrated: What Really Separates World-Class Performers from Everybody Else by Geoff Colvin Peak: Secrets from the New Science of Expertise by Anders Ericsson     Jason Haaheim (pronounced HAW-heim) was appointed a Principal Timpanist of the Metropolitan Opera Orchestra in 2013. In addition to performances at New York's Lincoln Center and Carnegie Hall, Mr. Haaheim can be seen and heard performing with the MET Orchestra on television, international radio, and Live in HD movie theater broadcasts. Mr. Haaheim is on faculty at the NYU Steinhardt School of Music and the Bard Conservatory of Music. A sought-after clinician, Mr. Haaheim gives masterclasses both nationally and internationally, and is the founder of the Northland Timpani Summit. He is also a frequent coach for The Orchestra Now (TON), the Carnegie Hall National Youth Orchestra (NYO), and the New York Youth Symphony (NYYS). Mr. Haaheim's guest principal timpanist engagements have included the Seoul Philharmonic, the Mostly Mozart Festival Orchestra, and the Milwaukee Symphony. He has also been principal timpanist of the Lakes Area Music Festival, and a resident artist of the Twickenham Festival. Prior to the Met, Mr. Haaheim was principal timpanist of the Southwest Michigan Symphony and the Civic Orchestra of Chicago, and he performed regularly as timpanist with the Madison Symphony, Illinois Symphony, Peoria Symphony, and the Illinois Philharmonic. Mr. Haaheim has also been invited to perform as guest principal timpanist with the Chicago Symphony, the Detroit Symphony, the International Contemporary Ensemble (ICE), the Glimmerglass Festival, the Auckland Philharmonia, the Fort Wayne Philharmonic, and the Hong Kong Philharmonic. Mr. Haaheim began studying piano in 4th grade, adding percussion studies in 5th grade. He holds a bachelor of arts degree with a double major in honors-music-performance and physics from Gustavus Adolphus College (St. Peter, MN); he also holds a master's degree in electrical engineering from UC-Santa Barbara. Influential teachers have included John Tafoya (Indiana University, National Symphony), Dean Borghesani (Milwaukee Symphony), Jonathan Haas (Aspen Music Festival, NYU), and Robert Adney (Gustavus Adolphus College, MacPhail Music School). While auditioning and freelancing, Mr. Haaheim worked as “Senior Research and Development Engineer” at NanoInk, a Chicago-area tech company. In this capacity, he gave invited talks on nanotechnology, authored multiple peer-reviewed publications, and was granted numerous patents. In 2017, this dual-career path was highlighted in an interview with Melissa Block on NPR's Weekend Edition. Active in all musical areas, Mr. Haaheim has also performed extensively as a chamber musician and jazz drummer. He collaborated with Yo-Yo Ma in a Civic Orchestra / Silk Road Ensemble performance, and recorded the premiere of Augusta Read Thomas's “Terpsichore's Dream” with members of the Chicago Symphony. Mr. Haaheim has performed with Chicago's ensemble dal niente, and premiered Ryosuke Yagi's “Mirrors…for timpani” with the UCSB Ensemble of Contemporary Music. Other projects have included drumming for the jazz-fusion quartet “The J3 Intent” and the alt-country band “The Lost Cartographers.” At Gustavus, Mr. Haaheim was selected for the honors recital and won first place in the orchestra's concerto competition. Extra-musical interests include backpacking and hiking, rock climbing, and both downhill and cross-country skiing.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfingertribe   (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

What happens when the composer that you've commissioned to write a new opera says to you, "Sit down -- I have something to tell you," and that something is that she's fallen in love... with a beatbox artist? The first Opera for All Voices (OFAV) commission, Sweet Potato Kicks the Sun, is scheduled to premiere in the Fall of 2019 and this episode is a very early look at the creative process of Grammy Award winning composer, Augusta Read Thomas. We get a deep dive into how she "sculpts sound" to create magic, and how collaboration is such a crucial element in the way she composes new work. The collaboration gets even livelier as we meet renowned beat-box artist, founder of Drop The Beats, and actor Nicole Paris, who plays an integral role in the original soundscaping of this new opera. Listen in and fall in love for yourself. *** Special music in this episode used with permission by Augusta Read Thomas. Helix Spirals for String Quartet: Mvt. I. Loci, memory palace. Performed by the Spektral Quartet. Of Being is a Bird: Mvt. II. The most triumphant Bird I ever knew or met. Claire Booth, soprano, Aurora Orchestra, Nicholas Collon conductor. Love Twitters for solo piano. Nicola Melville, piano. *** Key Change is a production of The Santa Fe Opera in collaboration with Opera For All Voices. Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosts: Andrea Fellows Walters and Brandon Neal Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello. Cover art by David Tousley Special thanks to Halfway to Hell Studios in Albuquerque and C.W. Media in Chicago OFAV Consortium Members:  Lyric Opera for Kansas City, Minnesota Opera, Opera Theatre of Saint Louis, San Francisco Opera, Sarasota Opera and Seattle Opera. This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera for all voices, visit us at SantaFeOpera.org

To say Augusta Read Thomas is prolific is an understatement. A past Grammy Award winner and finalist for the Pulitzer Prize in Music, Thomas has been hailed as “a true virtuoso composer” by The New Yorker, and her work has been performed more than almost any other living composer. Thomas, the University Professor of Composition in the Department of Music and the College, champions classical music as co-curator of the Chicago Ear Taxi Festival and works with new musicians as founder and director of the UChicago Center for Contemporary Composition.     On this episode of Big Brains, Thomas gives a glimpse into the creative process of a world-class composer, discusses the state of classical music today and how she helps train the next generation of composers.   Subscribe to Big Brains on Apple Podcasts, Stitcher, and RadioPublic, and learn more at news.uchicago.edu

I programmet diskuteras pianomusik av Debussy med Steven Osborne, Tönnesen dirigerar Lully och Strauss, Mahlers 5a med Francois-Xavier Roth samt verk av Augusta Read Thomas. Johan väljer Mahler-7a. I panelen Alexander Freudenthal, David Björkman och Sofia Nyblom som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  CLAUDE DEBUSSY Pianoverk Steven Osborne, piano Hyperion CDA 68161 JEAN-BAPTISTE LULLY RICHARD STRAUSS Borgaren som adelsman Norska kammarorkestern Terje Tönnesen, violin och dirigent LAWO LWC 1143 GUSTAV MAHLER Symfoni nr 5 ciss-moll Gürzenich-Orchester, Köln Francois-Xavier Roth, dirigent Harmonia Mundi HMM 905285 AUGUSTA READ THOMAS Ritual Incantations m.m. Taipei symfoniorkester, Spektral Quartet, Allen Harrington, saxofon, Civitas-ensemblen m.fl. Nimbus Alliance NI 6355 Johans val Johan väljer och spelar valda delar ur ett album med Mahlers sjunde symfoni framförd av Concertgebouw-orkestern, Amsterdam och ledd av Mariss Jansons. Inspelad på skivmärket RCO Live.  Referensen - Mahler Johan jämför med och refererar till en inspelning av Mahlers femte symfoni med Wiens filharmoniker ledd av Leonard Bernstein och inspelad 1987 på skivmärket DGG.  Andra i programmet nämnda eller rekommenderade inspelningar: Debussys pianomusik med Pascal Rogé på skivmärke Onyx Classics; Marc-André Hamelin på Hyperion samt en alldeles nyutkommen inspelning med Daniel Barenboim på DGG.   Mahlers femte symfoni med Wiens filharmoniker dirigerad av Leonard Bernstein på DGG (Referensen); New Philharmonia Orchestra, London under John Barbirolli på EMI samt med Concertgebouw-orkestern ledd av Riccardo Chailly på Decca. Svepet Johan sveper över en inspelning i BBC Music Magazine som innehåller Bernsteins Violinkonsert, "Serenad" samt baletten Facsimile. Violinisten Anne Akiko Meyers spelar tillsammans med BBCs skotska symfoniorkester under Ilan Volkov.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Composer and UChicago alumnus Philip Glass discusses his music career, his time at the University of Chicago, and artistic collaboration. The February 18, 2016, public conversation with Augusta Read Thomas, University Professor of Composition, Department of Music and the College, at the Reva and David Logan Center for the Arts was part of Glass’s three-day residency at the University as a Presidential Arts Fellow.

Program: Robert Schumann: Adagio and Allegro, op.70 Arvo Part: Fratres Luigi Boccherini (arr. Katims): Sonata No. 6 in A Major, G4 Robert Schumann: Märchenbilder, Op.113 Henri Vieuxtemps: Élégie, Op.30 Aurelien Pederzoli, viola Chicago-based violist Aurelian Pederzoli trained from a young age on the violin and his talent and skill earned him wide acclaim from critics and the public alike. But something was missing. Artistic frustrations with the violin led him to pick up the viola and, to his surprise, his authentic musical voice emerged. “The sonority of the viola just seems to resonate with the fibers of my being,” Pederzoli says, “and I love the viola’s repertoire and the very communal role it plays in ensembles.”  A finalist in the 2015 International Hugo Kauder Competition for Viola at Yale University, Pederzoli merges a deep reservoir of  musicality with wide-eyed curiosity about his instrument as a soloist and chamber ensemble player, and as a teacher at the New Music School in Chicago. He is a member of the innovative Black Oak Ensemble which pairs classical works with music from around the world, a frequent collaborator with the Lincoln Trio, and he has toured internationally with blues harmonica virtuoso Corky Siegel. A deft collaborator, Pederzoli works with other musicians of many stripes, including members of eighth black bird, bassist Matt Ulery, composer/pianist Fernando Otero, members of the Vermeer Quartet, pianist H.J Lim, accordionist Julien Labro, violinist Rachel Kolly d'Alba, pianist Christian Chamorel, violinist Daniel Rowland, violist David Aaron Carpenter, and composer/saxophonist Miguel Zenon. He also works with many of the leading composers of our time, Recent project have included Lee Hyla, Hans Thomalla, Gunter Schuller, and Robert Dillon, and he has premiered and recorded works by Augusta Read Thomas, Bernard Rands, Mason Bates,  Shulamit Ran, Sarah Ritch, Jennifer Higdon, Marc Mellitts, Nico Muhly and others. Aurelian Pederzoli was born in France and graduated from the Paris Conservatory before moving to Chicago. He studies viola with Frank Babbitt and Li Kuo Chang. His violin teachers included Jean Lenert, Shmuel Ashkenasi, and Veda Reynolds. In 2008, Pederzoli cofounded Anaphora Ensemble to explore and present adventurous music in Chicago. Pederzoli was a founding member of the Spektral Quartet in 2010 and played with the ensemble until 2014. His work appears on recordings from Azica, Parlour Tapes+, Cedille, Southport, and Aparte labels. A new string trio recording with Desirée Ruhstrat, violin, and David Cunliffe, cello, of music by Conrad Tao, Jennifer Higdon, David Ludwig, and Marc Mellits, is forthcoming in 2016.   Matthew Hagle, piano Pianist Matthew Hagle is a musician of great versatility and depth, whose performances are a rare mixture of musical understanding, imaginative programming, pianistic mastery and beauty of sound. In solo recitals he often explores the boundaries of the piano repertoire, using thoughtful programming and committed performance to integrate newer repertoire and lesser-known older works with the traditional canon. At the moment, he is working on a more conventional project: performing the 32 Beethoven Sonatas in a series of live radio recitals. Mr.

One of the leading composers of our time and an ardent promoter of new music throughout the world, Augusta Read Thomas is an artistic force to be reckoned with. Championed by Pierre Boulez in her early years and later named composer-in-residence with the Chicago Symphony Orchestra, Thomas rose early to the top of her profession and has remained there ever since. Hosted by Seth Boustead Produced by Jesse McQuarters Augusta Read Thomas: Words of the Sea, III CSO/Boulez Thomas: Aureole (excerpt) DePaul University Symphony Orchestra/Colnot Thomas: In My Sky at Twilight, I. Deeper than all Roses CSO MusicNOW Ensemblep/Boulez; Brandes, s. Thomas: Terpsichore's Dream Chamber Orchestra/Colnot Thomas: Caprice fr. Traces Makiko Hirata, p, Thomas: (kiss me) fr. Two E.E. Cummings Songs The Elm City Girls' Choir

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. “Earth Echoes,” a Franke Institute for the Humanities talk by Augusta Read Thomas, took place at the University of Chicago’s Gleacher Center on February 13, 2013. Thomas, a renowned Grammy-winning composer, is the sixteenth person to hold a University Professorship at the University of Chicago. Widely considered to be among the world’s most accomplished and original composers, she has won acclaim for the dramatic, spontaneous quality of her work and her masterful use of instrumental color. During her talk, Thomas discussed her creative process, examining fundamental qualities inherent to her musical compositions. Topics included rhythm, counterpoint, harmony, text setting, motivic development, organic transformation, nuance, color, improvisation, spirit, and gestalt. The discussion explored how music shares these qualities and processes with many other forms of human endeavor and creativity. Sponsored by the University of Chicago’s Franke Institute for the Humanities, the Chicago Humanities Forum is a series of free public talks by renowned University scholars. For more information on the Franke Institute, please visit: http://franke.uchicago.edu.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. “Earth Echoes,” a Franke Institute for the Humanities talk by Augusta Read Thomas, took place at the University of Chicago’s Gleacher Center on February 13, 2013. Thomas, a renowned Grammy-winning composer, is the sixteenth person to hold a University Professorship at the University of Chicago. Widely considered to be among the world’s most accomplished and original composers, she has won acclaim for the dramatic, spontaneous quality of her work and her masterful use of instrumental color. During her talk, Thomas discussed her creative process, examining fundamental qualities inherent to her musical compositions. Topics included rhythm, counterpoint, harmony, text setting, motivic development, organic transformation, nuance, color, improvisation, spirit, and gestalt. The discussion explored how music shares these qualities and processes with many other forms of human endeavor and creativity. Sponsored by the University of Chicago’s Franke Institute for the Humanities, the Chicago Humanities Forum is a series of free public talks by renowned University scholars. For more information on the Franke Institute, please visit: http://franke.uchicago.edu.

New York, stad med ständig Klang! Del 4 Podd. New York bär på ett omfattande musikaliskt arv och är än idag en viktig grogrund för ny musik. Möt en av världens främsta tonsättare, Augusta Read Thomas, som spelas av de största symfoniorkestrarna i världen. Tidskriften Gramophone m fl skriver: Hon är uppfinningsrik och hennes musik är formfulländad, precist kalibrerad av förfinad skönhet, den är majestätisk, elegant, klar och lyrisk och hennes musik är en legering av ett livligt sinne förenat med ett klappande hjärta. 53 CD-skivor finns utgivna med musik av Gusty, som hon kallas. CDn Colors of love, kärlekens färger, med manskören Chanticlee, från San Francisco, vann 2009 en amerikansk Grammy. Under tio år var hon Composer in Residence hos Chicago Symfoniorkester och skrev musik för dirigenterna Daniel Barenboim och Pierre Boulez. Gusty slutade för att ha egen tid och bli fri tonsättare. Manus och produktion: Birgitta Tollan.

Episode 62: “Blues and High Spirits” - Rachel Barton Pine on St. Paul SundayUpcoming Events: May 26 – Chausson Concerto at the Montreal Chamber Music Festival, May 28 – Arensky Piano Trio No. 1 and Tchaikovsky Souvenir de Florence at the Montreal Chamber Music Festival, June 3 – recording Montsalvatge’s Poema concertante with the NDR in Hanover, Germany, June 12 – recital for the Amelia Island Chamber Music Festival in Florida.Inquiries from my Inbox: Jason writes: “Hey! Last night, I went to see Sepultura. The first openers were all bands I knew and somewhat liked. Most of them played tight, well-rehearsed, energetic and interesting sets. But when Sepultura came on, it took about a minute to realize that they were working on a completely different level than the openers. They were tight, well-rehearsed, energetic and interesting but they had something else that I can't describe. It was just electric. I'd chalk it up to liking the band and knowing their material - and I sure there's some of that - but I'm really not THAT big of a Sepultura fan.”Random Musical Thought: from Psalm 33:3, “Play skillfully on the strings, with loud shouts.”Rachel Barton Pine’s appearance on the national radio show St. Paul Sunday, recorded on October 19, 2004. Includes performances of music by Ravel, Mackenzie, Bach, Westhoff, and more, plus the world premiere of Augusta Read Thomas’s “Rush,” written for Ms. Pine.total playing time: 01:13:32SUBSCRIBE TO THIS PODCAST ON I-TUNES!Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for your answer on Inquiries From My Inbox!Thanks for listening! www.rachelbartonpine.com www.facebook.com/rachelbartonpineviolinist www.youtube.com/RachelBartonPine Violin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com

Episode 54: Seven cool new pieces for unaccompanied violin! Upcoming events: November 27 - Barber Concerto with the Orquestra Sinfonica Brasileira in Rio de Janeiro, November 28 and 29 - Barber Concerto with the Orquestra Sinfonica Brasileira and Maestro Roberto Minczuk in Sao Paolo, December 2 - unaccompanied recital for Bargemusic in Brooklyn, New York: Bach D Minor Partita, Ysaye Sonata No. 4, works dedicated to Ms. Pine by Augusta Read Thomas, Jose Serebrier, Luis Jorge Gonzalez, Fred Onovwerosuoke, Yale Strom, Philip Pan, and Edgar Gabriel, Ballada Espagnola arr. Jesus Florido, Asturias by Albeniz arr. Rachel Barton Pine Inquiries from my Inbox: Penelope asks, "How many concerts  a  year do you play? Just wondering..." Random Musical Thought: Teaching artist Eric Booth writes: "Entertainment happens within what you already know. Underneath its many features that inspire, delight, frighten, sadden us, it confirms our sense of the way the world is. That's the whole point of entertainment- to stimulate and affirm- and it's often done brilliantly. The artistic experience had better not be opposed to this, or we are in big trouble. Art also stimulates and affirms, but it happens outside of what we already know; art enlarges our sense of the works- it expands our sense of the possible." "Live from the Mayne Stage," a concert on WFMT radio from October 3, 2010. Rush by Augusta Read Thomas, Aires de Tango by Jose Serebrier, Epitalamio tanguero by Luis Jorge Gonzalez, Six and a Half Variations by Fred Onovwerosuoke, Vaynshl No. 1 by Yale Strom, Thrash by Philip Pan, Theme and Variations by Edgar Gabriel (world premiere!), Ballada Espagnola arranged by Jesus Florido, Asturias by Isaac Albeniz arranged by Rachel Barton Pine. total playing time: 01:12:16SUBSCRIBE TO THIS PODCAST ON I-TUNES! Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for your answer on Inquiries From My Inbox! Thanks for listening! www.rachelbartonpine.comwww.facebook.com/rachelbartonpineviolinistwww.youtube.com/RachelBartonPine Violin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com

Episode 50: Fantasies on Beethoven's Violin Concerto (a.k.a. my cadenzas) Upcoming events: October 3 - private event honoring Augusta Read Thomas, October 9 – Ravel Tzigane and Sarasate Zigeunerweisen and Carmen Fantasy with the Iceland Symphony, October 11 – children"s concert with the Iceland Symphony Inquiries from my Inbox: Will asks, "Do you ever hang out with other soloists?” Random Musical Thought: Verdi says, “I adored and I adore this art; and when I am alone and am wrestling with my notes, then my heart pounds, tears stream from my eyes, and the emotions and pleasures are beyond description." My cadenzas to the Beethoven Violin Concerto – a complete walkthrough of my construction with musical examples.  Includes the first and last movement cadenzas from my new CD “Beethoven and Clement Violin Concertos” with Maestro Jose Serebrier and the Royal Philharmonic.  To purchase this CD, please visit www.rachelbartonpine.com. total playing time: 27:49 SUBSCRIBE TO THIS PODCAST ON I-TUNES! Would you like to be featured on Violin Adventures? Just send your question via text or as an MP3 attachment to rachelbartonpine@aol.com and listen for your answer on Inquiries From My Inbox! Thanks for listening! www.rachelbartonpine.comwww.myspace.com/rachelbartonpinewww.youtube.com/RachelBartonPine Violin Adventures with Rachel Barton Pine is produced by Windy Apple Studios www.windyapple.com