Podcasts about boston modern orchestra project

Siendo una niña, durante la revolución cultural maoísta, se ve obligada a vivir en una granja de reeducación, a la que consigue llevarse su violín. Años después, ya producido el grueso de una obra inspirada en las costumbres y renovadora de la música folclórica china, es posiblemente la compositora asiática más conocida del mundo.____Has escuchado“Chen Yi: Ba Ban (1999)”. Qing Nadia Feeken, piano. YouTube Vídeo. Publicado por mdr9999, 20 de febrero de 2022: https://www.youtube.com/watch?v=kcc4vfBpiJ0“Chen Yi: Chinese Ancient Dances (2004)”. Intérpretes: Mingzhe Wang, clarinete; Jessica Osborne, piano. YouTube Vídeo. Publicado por Mingzhe Wang, 1 de noviembre de 2013: https://www.youtube.com/watch?v=2EPhtjTw3h4“Chen Yi: Ge Xu (1994)”. Foundation Philharmonic Orchestra; David Snell, director. YouTube Vídeo. Publicado por TheWelleszCompany, 28 de agosto de 2011: https://www.youtube.com/watch?v=xyf9XeaHMks“Chen Yi: Guessing (1989)”. Qing Nadia Feeken, piano. YouTube Vídeo. Publicado por mdr9999, 20 de febrero de 2022: https://www.youtube.com/watch?v=urGB9me3HsoSpring in Dresden: For Violin and Orchestra (2005). Mira Wang, violín; Boston Modern Orchestra Project; Gil Rose, director. BMOP/sound (2018)_____Selección bibliográficaMILLER, Leta, “Beneath the Hybrid Surface: Baban as a Tool for Self-Definition in the Music of Chen Yi”. American Music, vol. 37, n.º 3 (2019), pp. 330-357*MILLER, Leta y J. Michele Edwards, Chen Yi. University of Illinois Press, 2020RAO, Nancy Yunwha, “Hearing Pentatonicism Through Serialism: Integrating Different Traditions in Chinese Contemporary Music”. Perspectives of New Music, vol. 40, n.º 2 (2002), pp. 190-231*YE, Bai, “Conceptual Models of Chinese Piano Music Integration into the Space of Modern Music”. International Review of the Aesthetics and Sociology of Music, vol. 49, n.º 1 (2018), pp. 137-148* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

On today's episode we have an inspiring conversation with Author, Musician, and Coach for High-Performing Creatives Kate Kayaian. In this special dual episode, recorded in collaboration with Kate's podcast "Tales from the Lane," we dive deep into themes of self-doubt, imposter syndrome, and the ever-evolving nature of personal and professional growth. Kate shares her journey from a busy freelance cellist in Boston to making the brave decision to pivot her career towards coaching and entrepreneurship. We discuss the importance of setting aside personal time, even amidst the hustle, and how creative problem-solving can be boosted by shifting from a "no because" to a "yes if" mindset. We'll also touch on the challenges and emotions surrounding career pivots, the value of self-care, and the necessity of adaptability in the arts. You will hear about how the pandemic forced diversification but also the change in our artistic social circles. Ultimately this episode is about shifting your mindset, aligning with your personal goals, and blooming where you are planted. Let's dive in.  A graduate of the prestigious New England Conservatory of Music, and a New World Symphony fellow,  Kate has performed in the world's top concert halls, including Carnegie Hall, the Musikverein, Concertgebouw, and London's Barbican and Royal Albert Halls. She has performed extensively as a soloist, chamber musician, and conductor, and was a member of the Grammy-award-winning group Boston Modern Orchestra Project for 20 years. She has worked with contemporary artists Jay-Z, Beyoncé, Alicia Keys, John Mayer, Josh Groban, and Peter Gabriel and can be heard on over 75 recordings, including her award-winning 2016 release, The French Cello.   Having pivoted into the online coaching space in 2019, she now helps other creatives expand their artistic vision and roles through her 9-month coaching program, The Creatives Leadership Academy as well as in 1:1 client work. She is the writer and host of the Podcast, Tales from The Lane, and was a contributing author to the 2023 best-selling book Business on Purpose. While she still occasionally performs as a cellist, she has taken up her baton again as Music Director of the Bermuda Philharmonic. She has been working this year to complete the manuscript for her first full-length book, Beyond Potential–due out in March of 2025. She lives with her husband Paul and their menagerie of cats, dogs, lizards, and tree frogs on the beautiful island of Bermuda.  Podcast Instagram  Podcast Patreon Podcast Merch  Podcast Youtube Channel   Kate Kayaian Website Instagram  Ayana Major Bey  Website  Instagram  Show Sponsors:  WeAudition: Get 25% off your membership when you use the code PIVOT, join at https://www.weaudition.com/ Host & Exec. Producer: Ayana Major Bey  Editor: Kieran Niemand  Theme Song: Lyrics co-written by Ayana Major Bey and Melissa Victor, with performance by Ayana Major Bey   Part of the Atabey & Co Network  Learn more about your ad choices. Visit megaphone.fm/adchoices

Tobias Picker, deemed “our finest composer for the lyric stage” by The Wall Street Journal, joins Devin Patrick Hughes on One Symphony. Tobias is a prolific composer in all genres. He has composed six operas, commissioned by Dallas Opera, LA Opera, Metropolitan Opera, San Francisco Opera, Santa Fe Opera, and Opera Theatre St. Louis. Tobias Picker has composed numerous symphonic works including three symphonies, concertos for violin, viola, cello, and oboe, as well as four piano concertos and a ballet. Picker's recent honors include the 2020 Grammy Award for Best Opera Recording of Fantastic Mr. Fox, and a lifetime membership at the American Academy of Arts and Letters. Thank you for joining us on One Symphony. Thanks to Tobias Picker for sharing his music and insights. Thank you to Visconti Arts for making this episode possible. You can find more info at https://tobiaspicker.com. Music Selections—all music by Tobias Picker, except for the first selection. Gian Carlo Menotti, Suite from Amahl and the Night Visitors. Performed by the Cleveland Pops Orchestra conducted by Louis Lane. First movement from Symphony No. 1; performed by the San Francisco Symphony. Edo de Waart, conductor. Awakenings, adapted from the non-fiction book by Oliver Sacks. Libretto by Aryeh Lev Stollman, produced by Odyssey Opera in 2023 of Boston in partnership with the Boston Modern Orchestra Project. Gil, Rose, Conductor. Directed by James Robinson. Commissioned by Opera Theatre of St. Louis. The Encantadas for narrator and orchestra. Based on the writings of Herman Melville. Sir John Geilgud, narrator; Christoph Eschenbach, conductor; Houston Symphony Orchestra. "Letter Aria" from Emmeline. Text by J.D. McClatchy Virginia Douglas, soprano Amir Farid, piano. Conducted by Modestas Pitrenas. Supported by Modestas Pitrenas. “I See A Woman” from Lili Elbe. Text by Aryeh Lev Stollman. Featuring Lucia Lucas as Lili. Performed by the St. Gallen Symphonic Orchestra. Old and Lost Rivers, for orchestra. Performed by the London Symphony Orchestra conducted by John Williams. Nova featuring Benjamin Hudson- Violin John Graham - Viola Fred Sherry - Cello Don Palma - Bass Tobias Picker – Piano. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music. https://tobiaspicker.com https://www.fox21news.com/business/press-releases/ein-presswire/674899601/devin-patrick-hughes-arapahoe-philharmonic-conductor-presents-a-new-discovery-concert-this-holiday-season/  

An interview with renowned jazz pianist, composer, innovator, and MacArthur Fellow Vijay Iyer. In this podcast, Vijay Iyer discusses his debut orchestral album "Vijay Iyer: Trouble," his classical music roots, and his dynamic journey through various musical genres. From his early violin lessons to his groundbreaking work in jazz and contemporary classical music, Iyer shares insights into his creative process and the collaborations that have shaped his illustrious career.Iyer discusses the profound importance of jazz and Black music in his development as a musician, how the rich legacy of Black music has been a backbone of American culture and how it has significantly influenced his artistic journey. Reflecting on his collaborations with jazz legends--like NEA Jazz Master Roscoe Mitchell-- and his deep respect for the contributions of Black artists, Iyer highlights the ongoing impact of these traditions on his work.Iyer also discusses the creation of "Trouble," recorded with the Boston Modern Orchestra Project. He reflects on the challenges and joys of composing for an orchestra, and the process of merging classical and jazz elements in his compositions.

An interview with renowned jazz pianist, composer, innovator, and MacArthur Fellow Vijay Iyer. In this podcast, Vijay Iyer discusses his debut orchestral album "Vijay Iyer: Trouble," his classical music roots, and his dynamic journey through various musical genres. From his early violin lessons to his groundbreaking work in jazz and contemporary classical music, Iyer shares insights into his creative process and the collaborations that have shaped his illustrious career.Iyer discusses the profound importance of jazz and Black music in his development as a musician, how the rich legacy of Black music has been a backbone of American culture and how it has significantly influenced his artistic journey. Reflecting on his collaborations with jazz legends--like NEA Jazz Master Roscoe Mitchell-- and his deep respect for the contributions of Black artists, Iyer highlights the ongoing impact of these traditions on his work.Iyer also discusses the creation of "Trouble," recorded with the Boston Modern Orchestra Project. He reflects on the challenges and joys of composing for an orchestra, and the process of merging classical and jazz elements in his compositions.

In this episode, Dave and Andrew address one of the most controversial awards in Pulitzer history. What happened in 1992 and was Wayne Peterson's music worthy of the ruckus that grew around it?    If you'd like more information about Wayne Peterson, we recommend: Joshua Kosman's Obituary of the composer in the New York Times. Peterson's professional management service (with discography, video, etc.) The Boston Modern Orchestra Project's recording of The Face of the Night, The Heart of the Dark.

The horror writer was born in Boston in 1809, then died 40 years later — destitute and delirious — in Baltimore. Poe's final days are being conjured by the Boston Modern Orchestra Project in "The Voyage of Edgar Allan Poe."

Celebrated composer Chen Yi shares her life's journey with host Devin Patrick Hughes. Chen Yi touches upon her roots in China, how classical music came into her life due to her music-loving parents, and the experience of living through the Cultural Revolution. She credits her upbringing and early life experiences for shaping her perspective towards education, community service, and music. Chen Yi moved to Beijing after the Cultural Revolution to study music and was one of 32 selected from 20,000 applicants to study at the Beijing Central Conservatory. She talks about the various musical styles she learned and how they inspired her compositions. The discussion gives an insight into Chen Yi's blend of Western and Chinese musical traditions, drawing from her experiences, culture, and a wide range of musical techniques. Chen Yi also talks about 'Momentum,' one of her favorite works, and how the community and society have inspired her compositional process. Thank you for joining us on One Symphony. Thanks to Chen Yi for sharing her incredible music and wealth of knowledge. You can find her music where ever you listen. Musical selections on this episode today include Momentum and Duo Ye From the album Best of Chen Yi by the Singapore Symphony Orchestra. Ge Xu: (Antiphony) was from the album The Women's Philharmonic: The Music Of Chen Yi. Viola Concerto Shian Shi was from Chen Yi: Concertos for String Instruments by the Boston Modern Orchestra Project & Gil Rose. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music! 00:00 Introduction and Early Life 00:39 Musical Beginnings and Cultural Revolution 02:17 Post-Cultural Revolution and Education in Beijing 02:36 Influence of Chinese Traditional Music 03:28 Experiences in Countryside and Folk Music Influence 04:24 Journey to Western Classical Music 05:06 Language and Music: A Unique Blend 05:39 Career as a Concertmaster and Composer 06:03 Folk Song Collection and Composition 08:03 Moving to the United States and Further Studies 08:16 Residency at the Women's Philharmonic 08:34 Community Engagement and Education Programs 11:39 Career as an Educator 12:40 Discussion on Cultural Revolution and Music 13:22 Influence of Chinese Folk Music Storytelling 17:31 Incorporating Chinese Instrumental Techniques into Western Instruments 20:22 Breaking Barriers and Creating a Unique Musical Language 28:26 Commemorating Major Events and Depicting Rituals in Music 46:42 Bringing Different Worlds Together in Music 50:53 Advice for Young Composers 51:34 Conclusion https://www.presser.com/chen-yi https://twitter.com/devinphughes https://www.muvac.com/en/profile/devin-patrick-hughes  

I'm continually amazed by the immensity of the world that a small poem can conjure. In just a few lines or words, or even just a line break, a poem can travel across time and space. It can jump from the minuscule to the incomprehensible vastness of the universe. And in these inventive leaps, it can create, in our minds, new ideas and images. It can help us see connections that were, before, invisible.John Shoptaw has conjured such magic with his poem, “Near-Earth Object,” combining the gravity of mass extinction on Earth with the quotidian evanescence of his sprint to catch the bus.John Shoptaw grew up in the Missouri Bootheel. He picked cotton; he was baptized in a drainage ditch; and he worked in a lumber mill. He now lives a long way from home in Berkeley, California, where I was lucky enough to visit him last summer. John is the author of the poetry collection, Times Beach, which won the Notre Dame Review Book Prize and the Northern California Book Award in poetry. He is also the author of On The Outside Looking Out, a critical study of John Ashbery's poetry. He teaches at the University of California, Berkeley.John has a new poetry collection coming out soon, also called Near-Earth Object.This episode of Chrysalis is part of the Chrysalis Poets series, which focuses on a single poems from poets who confront ecological issues in their work.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!John ShoptawJohn Shoptaw is a poet, poetry reader, teacher, and environmentalist. He was raised on the Missouri River bluffs of Omaha, Nebraska and in the Mississippi floodplain of “swampeast” Missouri. He began his education at Southeast Missouri State University and graduated from the University of Missouri at Columbia with BAs in Physics and later in Comparative Literature and English, earned a PhD in English at Harvard University, and taught for some years at Princeton and Yale.  He now lives, bikes, gardens, and writes in the Bay Area and teaches poetry and environmental poetry & poetics at UC Berkeley, where he is a member of the Environmental Arts & Humanities Initiative. Shoptaw's first poetry collection, Times Beach (Notre Dame Press, 2015), won the Notre Dame Review Book Prize and subsequently also the 2016 Northern California Book Award in Poetry; his new collection, Near-Earth Object, is forthcoming in March 2024 at Unbound Edition Press, with a foreword by Jenny Odell.Both collections embody what Shoptaw calls “a poetics of impurity,” tampering with inherited forms (haiku, masque, sestina, poulter's measure, the sonnet) while always bringing in the world beyond the poem. But where Times Beach was oriented toward the past (the 1811 New Madrid earthquake, the 1927 Mississippi River flood, the 1983 destruction of Times Beach), in Near-Earth Object Shoptaw focuses on contemporary experience: on what it means to live and write among other creatures in a world deranged by human-caused climate change. These questions are also at the center of his essays “Why Ecopoetry?” (published in 2016 at Poetry Magazine, where a number of his poems, including “Near-Earth Object,” have also appeared) and “The Poetry of Our Climate” (forthcoming at American Poetry Review).Shoptaw is also the author of a critical study, On the Outside Looking Out: John Ashbery's Poetry (Harvard University Press); a libretto on the Lincoln assassination for Eric Sawyer's opera Our American Cousin (recorded by the Boston Modern Orchestra Project); and several essays on poetry and poetics, including “Lyric Cryptography,” “Listening to Dickinson” and an essay, “A Globally Warmed Metamorphoses,” on his Ovidian sequence “Whoa!” (both forthcoming in Ovid's Metamorphoses and the Environmental Imagination at Bloomsbury Press in July 2023).“Near-Earth Object”Unlike the monarch, though the asteroid also slipped quietly from its colony on its annular migration between Jupiter and Mars, enticed maybe by our planetary pollen as the monarch by my neighbor's slender-leaved milkweed. Unlike it even when the fragrant Cretaceous atmosphere meteorized the airborne rock, flaring it into what might have looked to the horrid triceratops like a monarch ovipositing (had the butterfly begun before the period broke off). Not much like the monarch I met when I rushed out the door for the 79, though the sulfurous dust from the meteoric impact off the Yucatán took flight for all corners of the heavens much the way the next generation of monarchs took wing from the milkweed for their annual migration to the west of the Yucatán, and their unburdened mother took her final flit up my flagstone walkway, froze and, hurtling downward, impacted my stunned peninsular left foot. Less like the monarch for all this, the globe-clogging asteroid, than like me, one of my kind, bolting for the bus.Recommended Readings & MediaJohn Shoptaw reading from his collection Times Beach at the University of California, Berkeley.TranscriptionIntroJohn FiegeI'm continually amazed by the immensity of the world that a small poem can conjure. In just a few lines or words, or even just a line break, a poem can travel across time and space. It can jump from the minuscule to the incomprehensible vastness of the universe. And in these inventive leaps, it can create, in our minds, new ideas and images. It can help us see connections that were, before, invisible.John Shoptaw has conjured such magic with his poem, “Near-Earth Object,” combining the gravity of mass extinction on Earth with the quotidian evanescence of his sprint to catch the bus.I'm John Fiege, and this episode of Chrysalis is part of the Chrysalis Poets series.John Shoptaw grew up in the Missouri Bootheel. He picked cotton; he was baptized in a drainage ditch; and he worked in a lumber mill. He now lives a long way from home in Berkeley, California, where I was lucky enough to visit him last summer. You can see some of my photos from that visit at ChrysalisPodcast.org, alongside the poem we discuss on this episode.John is the author of the poetry collection, Times Beach, which won the Notre Dame Review Book Prize and the Northern California Book Award in poetry. He is also the author of On The Outside Looking Out, a critical study of John Ashbery's poetry. He teaches at the University of California, Berkeley.John has a new poetry collection coming out soon, also called Near-Earth Object.Here is John Shoptaw reading his poem, “Near-Earth Object.”---PoemJohn Shoptaw “Near-Earth Object”Unlike the monarch, thoughthe asteroid also slippedquietly from its colonyon its annular migrationbetween Jupiter and Mars,enticed maybe byour planetary pollenas the monarch by my neighbor'sslender-leaved milkweed.Unlike it even whenthe fragrant Cretaceousatmosphere meteorizedthe airborne rock,flaring it into what mighthave looked to the horridtriceratops like a monarchovipositing (had the butterflybegun before the periodbroke off). Not much likethe monarch I met when Irushed out the door for the 79,though the sulfurous dustfrom the meteoric impactoff the Yucatán took flightfor all corners of the heavensmuch the way the nextgeneration of monarchstook wing from the milkweedfor their annual migrationto the west of the Yucatán,and their unburdened mothertook her final flitup my flagstone walkway,froze and, hurtlingdownward, impactedmy stunned peninsularleft foot. Less likethe monarch for all this,the globe-clogging asteroid,than like me, one of my kind,bolting for the bus.---ConversationJohn Fiege Thank you so much. Well, let's start by talking about this fragrant Cretaceous atmosphere that metorizes the airborne rock, which is is really the most beautiful way I've ever heard of describing the moment when a massive asteroid became a meteor, and impacted the earth 66 million years ago, on the Yucatan Peninsula. And that led to the extinction of about 75% of all species on Earth, including all the dinosaurs. This, of course, is known as the fifth mass extinction event on earth now, now we're in the sixth mass extinction. But but this time, the difference is that the asteroid is us. And, and we're causing species extinctions at even a much faster rate than the asteroid impact did, including the devastation of the monarch butterfly, which migrates between the US and Mexico not far from the Yucatan where the asteroid hit. And in your poem, these analogies metaphors parallels, they all bounce off one another. parallels between extinction events between humans and asteroids between planets and pollen, between monarch eggs and meteors between the one I absolutely love is the annular migration of asteroids in the annual migration of monarchs. But in some ways, the poem puts forward an anti analogy a refutation of these parallels you know, you say multiple times things like unlike the, monarch unlike it, not much like the monarch less like the monarch. So So what's going what's going on here? You're you're giving us these analogies and then and then you're taking them away.John Shoptaw The ending of Near Earth Object is a culmination of fanciful comparisons. In this regard it resembles Shakespeare's Sonnet 130. And you probably know this, John, And that poem proceeds—Shakespeare's—through a series of negative similarities, which I call dis-similes. And at the end, the poem turns on a dime in the final couplet, which is, “and yet, by heaven, I think my love as rare as any she belied with false compare.” Now, I didn't have Shakespeare's poem in mind—probably good—when I wrote Near Earth Object, but I was certainly familiar with it. And my poem goes through a series of far-fetched similarities between a monarch butterfly and the Chicxulub asteroid, we follow the lifecycles of these two and then a third character, the first person I enters the poem comes out the door, and then gets, you know, hit by the asteroid monarch on penisular left foot. That turn at the end, to comparing the asteroid to me, one of my kind, would seem equally farfetched. What can I have to do with the globe-clogging asteroid? Before climate change, the answer would have been nothing. This poem couldn't have been understood, wouldn't have made sense. Now, we're caught out by the unlikely similarity that, you know, humankind has the geologically destructive potential of the life-altering asteroid.John Fiege I love that the idea of that turn partially because it's so much pulls out the power of poetry, and the power of poetic thinking, where, you know, so much environmental discourse is around rationality, of making rational, reasonable arguments about this is how things are, this is how things ought to be. But when you have this kind of turn, you're you're kind of highlighting the complexity, and the complicated nature of understanding these things, which are really complex. And it really, you know, in such a short poem, you can encapsulate so much of that complexity, which I think benefits our ultimate understanding of, of what we're grappling with, with these environmental questions.John Shoptaw Yeah, that's very well put. I think that this poem is a kind of psychological poem as well, and that I'm playing on the readers expectations. And I think the reader probably has less and less faith in this persona, who keeps keeps being lured into these weird comparisons between the asteroid and and the and the monarch butterfly. And then at the end, we're thinking, well, this, too, is absurd. And then we're caught up, like I say, and that's the psychological turn, you know, early on, when people and people still many people doubt. The existence of climate change. It's just  because of a matter of scale. How can we affect Mother Nature, right? It's so big, it's so overwhelming. It does what it wants. We're just little features on this big, big planet. So that it's so counterintuitive. So that's why yes, we grapple and this poem is meant to take you through that kind of experience. That without saying that explicitly, and I think that's something that, yeah, it sets this apart from both the psychological essay and an environmental essay,John Fiege Right the other line I want to pull out of this is slender leaved milkweed. Which I love. and there is a musicality to it. How do you about that? sonorous aspect of the poem and the musicality and the rhythm of it.John Shoptaw Yeah, Thank you for that question. Its one of the ways I beleive that poetry is like music. We do have a musicality and one of the wonderful things about poetry and music is that it it works below the level of meaning. A way a song often does. You know you often will before you even know all the words will get the song. And understand what the song is comunicating and sometimes I am communicating delicacy in slender leaved milkweed. Not only by the image, but by the sound. Its a quiet line. Whereas when I say airborne rock, that's very tight. And very definitive, like globe clogging asteroid or bolting for the bus. These are dynamics that I can play with, and I can accentuate them by changing the rhythms making to very hard plosive as an explosion, you know, b sounds far from each other. And this is something that poetry can do, that prose can't. So well. And that, you know, it's one reason why you have soundtracks and film to help bring things across.John Fiege Yeah, and then in the midst of, of some of these grand images that you have in the poem of like monarch colonies and asteroid colonies, there's also your presence, and the glimpse of them of what seems like a moment in your life, potentially, you run out the door and catch the 79 bus, which goes through Berkeley where you live. And and you encounter a monarch butterfly, which also has a California migration route. The monarch impacts your, as you say, stunned, peninsular left foot. And so now you're shifting the metaphor from human as asteroid to human as Yucatan peninsula, which is the site the site of the impact. And the way you you play with scale. In this poem, I find quite remarkable moving from the asteroid belt between Jupiter and Mars to your foot. And in your peninsular foot makes me feel as if humans are both the perpetrators of the sixth mass extinction, but also one of its victims. And so I was curious, was this moment with the butterfly is something that actually happened? And how do you understand it? In relation to that, you know, this small moment with the butterfly? How do you understand that in relation with the broader context of the poem?John Shoptaw Yeah, thank you. I, I think, one way I proceed. And in poetry, which is something like chance operations that John Cage and poets following John Cage would use as I become very receptive to things happening around me. And if something happens around me while I'm writing a poem, then it gets to come in the poem, at least I am receptive to that possibility. And as I was going for the bus one day, on the walkway, I came across a dead monarch butterfly was very startled to see it. And I thought, Oh, my God, that pet needs to be in the poem, this butterfly has fallen out of the sky like the asteroid. And so and it turned out that the third thing I needed to link our personal, small felt scale with the astronomical and the geological timescale. And it's exactly the problem of scale, both in space and time. I'm constantly zooming in and zooming out. I actually wrote one poem in which I compare this surreal or unreal feeling that we have, if not a knowledge but a feeling of climate change behind the weather as a hit the Hitchcock zoom, where the background suddenly comes into the foreground, right?John Fiege Yeah, and it seems like, you know, the problem of climate change is a problem of scale like, like it's so it's so foreign to our kind of everyday human senses of, of what is danger, and what is something we should be concerned about or care about it. And that problem of scale both, both spatially and temporally. It really prevents us from wrapping our heads around what it means and how to respond.John Shoptaw It does. That's our challenge. I take it as my challenge, for the kind of poetry I write. And I think of of poetry as a science of feelings. And one of the feelings I'm thinking about and trying to understand and work through is denial. You know, people usually think of denial as refusal, you refuse to admit, but look at the facts just face the facts. But as you say, climate is on such a different scale. It's often a problem of incomprehension.John Fiege Yeah, and I think this idea of denialism I mean, we tend to talk about it in very narrow terms of, you know, people of particular political persuasions deny the existence of climate change. And that's one like, very narrow view of denialism. But it really pervades everything in our culture, you know, anyone who eats a hamburger, or flies on a plane, or, or even turns on their, their heat in their house, you know, is is in is kind of implicated in some system of denial. That, you know, ultimately, our societies completely unsustainable. And we have to function we have to move forward, even though even if we know how problematic those various things are. And so just living in the world requires, you know, some sense of denialism.John Shoptaw It does, if you think of the word we commonly used today, adaptation, though, it's really another word for denial. If you see what I mean, we're, we're moving into accepting, partially accepting the reality as it is, so we can live into it. And again, if we think of relativity, flying less, not giving up flying, emitting less, not stopping all the way emissions on a dime, right, but moving as fast as we possibly can, these are things we can do and without being incapacitated by despair. And again, I think, you know, hope and despair are two other very fundamental concepts that poets if they're serious about feeling, can think about and think through and help people we understand.John Fiege Yeah, and I love this idea of impurity that you bring in. Not just with poetry, but, you know, I feel like environmentalism in general is, it's really susceptible to this kind of ideology of purity. And it becomes about, you know, checking all the boxes of, of, you know, lifestyle and beliefs and votes and all kinds of things where solutions, solutions don't come with some kind of attainment of purity. They come with it a shift of a huge section of the way the culture works. And that's never going to be perfect or consistent or anything. It's going to be imperfect, and it's going to be partial, but it can still move.John Shoptaw That's right. So when people say net zero, carbon offsets, recycling, this is all greenwashing. I say, listen to the word all. Yes, there is some greenwashing going on there. There is some self promotion and maintenance of one's corporate profile at work. But there's also good being done. You can recycle aluminum, and you get 90% aluminum back. You can recycle plastic, you get 50% back, but you still get 50% back.John Fiege Well, in the poem, you also give life to what we ordinarily see as inanimate objects. So let me let me reread a section of the poem enticed maybe by our planetary pollen as the monarch by my neighbor's slender leaves milkweed unlike it, even when the fragrant Cretaceous atmosphere media rised the airborne rock, flaring it into what might have looked to the horrid Triceratops like a monarch ovipositing. So in your words, the lifeless, inanimate asteroid is given life and a soul really? Why take it in that direction?John Shoptaw To make it real, to make it real for us. And you will see poets, giving a voice to storms to extreme weather events, seeing things from potentially destructive point of view. And that's what I was doing here is seeing things fancifully from the the meteor's point of view, but I wanted to give that personification to make the link that this is personal. What's happening at this scale, is still personal, it still has to do with us and links with us.John Fiege Yeah, and you wrote this great piece for Poetry Magazine called “Why Eco Poetry” and you bring up these these topics a bunch. And there's one line. I really love, you say, to empathize beyond humankind, eco-poets  must be ready to commit the pathetic fallacy and to be charged with anthropomorphism could could you explain this, this concept of John Ruskin's pathetic fallacy and how you've seen these issues play out?John Shoptaw I think Ruskin had certainly the good sense of what the natural world was. And many artists and poets laziness, when it came to the describing the natural world. storms were always raging, winds were always howling, the words were always that's really what he was getting at. And I appreciate that. You want to make these things real, right. But there is there is a place for pathetic fallacy. But on the other hand, strategically, we often need for that monologue of the lyric poem, to be overtaken by this larger voice, almost like a parental voice from on high, speaking to us and saying, Listen to me, this is real. This is happening. I'm out here. Right? So you've forced me to take over your poem and talk to you about anthropomorphism is, is related phenomenon. And it's it's a word that I, I still find useful and making us really consider and experience the outside world, the world, particularly of other creatures, as they actually are. However, it's a belief it's not a scientific idea. And the idea being that we are ascribing qualities or human qualities to animals or plants, or even inanimate objects, like like meteors. When in fact, when it comes to animals, for instance, we're often identifying qualities behaviors, actions, motivations, we share anyone who owns pets knows pet they have a range of feelings that to say, my dog is happy. My dog is bored. My dog is feeling bad because it feels it's disappointed me in some way, you know, these things are real. And you need to act accordingly to keep things going along. In the canine / human cup, you know, partnership that you have going there.John Fiege Yeah, Descartes must not have had any dogs or cats or ever encountered another animal besides a human in his life.John Shoptaw That's right. It's partly, you know, one feels, how can we know that other world? We shouldn't be so arrogant in our knowledge. And so it seems like we're being modest, and it's a good thing. And we have this anthropological attitude toward the relativity of, you know, consciousness. On the other hand, it's a form of denial, right? anthropomorphism is a form of denial of what we share and poets need to overcome that denial.John Fiege You mean, you mean anti-human anti-anthropomorphism?John Shoptaw Yeah, it's what I know. We don't have the language for it. We don't have that word of the problem.John Fiege Anti-anthropomorphism, it just slips right off your tongue.John Shoptaw That's right.John Fiege Well this point you make about anthropomorphism reminds me really strongly of a story. I've heard Jane Goodall tell many times, she was hired to observe chimpanzees in the wild, and she gave them names. But she was reprimanded by by many in the scientific community, who said, a researcher should use numbers to identify chimps or any other animals they're studying, because scientists must be dispassionate to not confuse animal behavior with human behavior. And she identifies one of her most significant contributions to science as recognizing the individuality and personality and really the souls of non human animals. And that recognition fundamentally changed. Our scientific understanding of chimps and other animals in allow these massive breakthroughs in the field. And you seem to be arguing that with poetry, we're in a similar place in relation to the Earth where we need to find a new language that allows us to empathize more profoundly with the other than human residence of the planet. Does that sound? Does that sound right to you?John Shoptaw Very much, and really, with thinking and realizing that I'm an animal, as a human being. brought on a conceptual paradigm shift for me, unlike anything I've experienced, in my adult life, everything changed. And when I think, what are the animals think about this? How are they dealing with climate change? Etc. It's always revelatory for me to ask that kind of question. I'm looking at a book by Jane Goodall right now on my shelf called the Book of Hope. And something I've been thinking about a lot in relation to this, because animals have not given up and they don't give up until they they have to. An animal with say, a song bird in the clutch of a hawk knows it's over, and you shut down in order to minimize the pain and suffering. They know that, but they know not to do that prematurely. And I think, you know, often we met we think of hope and despair, as antonyms, but they're very intertwined with each other. I mean, the word despair, contains hope. It means that the loss of hope and there as there is a sense of false hope, where you, you keep hoping beyond the point of hope, where reality tells you there's no point in hoping there's also what I would call a premature despair. I don't know if you have run across the Stockdale paradox. I find it helpful. There's a writer on Jim Collins, who talked to Admiral Stockdale who was taken prisoner of war in Vietnam. And he, he survived through seven years and several incidents of torture. And he said, he was asked by Jim Collins, well, who didn't survive? And he said, well, the optimists who said the optimists were saying, Oh, we're going to because we're gonna be led out by Christmas. In the winter that didn't happen and say, Oh, well, we'll be released by Easter. When that doesn't happen and Christmas comes around again. They die. They die of a broken heart.John Fiege Oh, wow. I have heard that in broad terms. I don't remember that story, though. That's great.John Shoptaw Yeah, and the paradox is that you have hope, which is resolute. It's not pie in the sky hope, but it's hope that faces reality. And it's hoped that is more like courage. It's more like resoluteness hope. Hope is not easy. And it does not deny despair, and even allows you to relax for a moment and maybe weep. Maybe you say, Oh, my God, it's over. Before you come back and say, No, I'm still here. I can still help I can do what I can.John Fiege Right, right. Yeah, and I love how you say that. Eco poetry can be anthropomorphic, but it cannot be anthropocentric, which which flips both of these assumptions that are so deeply embedded in our culture.John Shoptaw Now, maybe I could say something about anthropocentrism.John Fiege Yeah, for sure.John Shoptaw It's a word that, I think is maybe in the dictionary now, but maybe not so familiar word, but you know, thinking of everything in the world, a revolving around us and and the universe. We're the universe's reason for being right. That would be the kind of the strongest sense of anthropocentrismJohn Fiege Another another form of heliocentrism.John Shoptaw Yes, that's right. That's absolutely right. That's why I one reason why I, at the beginning of Near Earth Objects, see things for the asteroids point of view, right? To give that kind of scale, but also shifting perspective. On the other hand, lyric poetry is inevitably anthropocentric. We as humans are inevitably anthropocentric. So our moving out of anthropocentrism in poetry is always going to be relative and strategic, and rhetorical and persuasive, never absolute.John Fiege Right and totally. Well, another interesting issue you confront in the article is didacticism and the risks of moralism in eco-poetry. And in talking about this, you evoke two poets. The first is Archibald MacLeish, the renowned modernist poet who wrote "a poem should not mean but be." But then you write, poetics wasn't always this way, for Horace, a poem both pleases and instructs. And I feel like this issue of moralism, and didacticism goes way beyond poetry to encompass environmentalism more broadly. How can a poem please instruct without preaching and being didactic?John Shoptaw Yes, that's, that's a question. Where there's no single answer every poem, for me poses the question differently. And part of the excitement part of the experimental nature of poems is you find a new answer every time to that problem, how not to be preachy, but to leave readers in a different place at the end of the poem, than they were at the beginning. my poem to move people from unlike to less like., if I if I can get them there, in a poem, I have moved him in a way and that's enough for me.John Fiege Well, let's look at the end of the poem. You write less like the monarch for all this, the globe clogging asteroid than like me, one of my kind bolting for the bus? It seems in some ways that you might be settling on an analogy in the midst of of all these intersecting parallels, the asteroid is less like the monarch and more like us, us who have killed the monarchs. Where Where do you feel like the poem lands in terms of making a statement like this and and offering up many conflicting ideas that readers have to contemplate themselves?John Shoptaw What would I say? I think when it comes to guilt or responsibility, as I was saying before, we don't want to think in absolute terms, where I'm as guilty as Exxon, I am not. But I still am right. I am still part of this, this world. That monarch butterfly died naturally after it planted its eggs. Its its, its days, her days were numbered. So, that that is part of this. But yet, I do. I do want to say and this is part of, I think, part of the one of the gestures of poetry in the Anthropocene, the era of climate change, a gesture of saying, I take responsibility, I take responsibility. And this is, this is one of the problems of saying, I give up, you know, there's no point in doing any more. We don't have that option. It's irresponsible to give up to ever give up. So I still, though want to say, even something who that has global potential for damage is connected with me good little me, had taking taking the bus because I'm wondering, I'm one of humankind, and we have this destructive potential. And on the other hand, we have this corresponding responsibility.John Fiege Yeah. And looking back on the title of the poem, it feels as if we, as humans, have what you might call like, a dual contradictory existence? As, as both we're both Earth objects. And we're near Earth objects. Oh, what do you what do you think about that?John Shoptaw Yes, I do. I like that ambiguity. I think, one of the, one of the chances, and the happy accidents of the monarch appearing in my poem, as I was writing it, without planning to have a monarch in it, one of the accidents was to take the monarch also, as a Near Earth Object Near Earth Object is one of these scientific concepts of usually a very large object, like a, like a comet, or an asteroid entering the Earth's gravitational pull. With potentially hazardous effects. But, you know, it can be anything near the earth. And if you take object, also in the title as a goal, my object is to bring us near the earth. not have us simply abstract ourselves, how do we do that - we abstract ourselves by saying, we're special.John Fiege I really like that too, because that also ties into this question of scale. You know, you can be near the earth by being, you know, 1000 miles away. Or you can be near the earth by hovering, you know, centimeters over it. And it can be conceptual to, you can be oblivious to the fact that you live on Earth, or you can be extremely aware that you are of in within and near the earth at all times. Yeah, I really like that. That's beautiful. I love how so many meanings come from this tiny little poem?John Shoptaw Well, may I say I was not in a godlike position with this poem. For me. poems are like gardens and that they're less intended and tended, and they they grow of their own and I just tried to be the best collaborator with the poem that I can and not to ignore when it's trying to tell me something like, I need a monarch in here. Not to ignore that.John Fiege Yeah. Well, can you end by reading the poem once again. I can thank you very much.John Shoptaw Poem“Near-Earth Object”Unlike the monarch, thoughthe asteroid also slippedquietly from its colonyon its annular migrationbetween Jupiter and Mars,enticed maybe byour planetary pollenas the monarch by my neighbor'sslender-leaved milkweed.Unlike it even whenthe fragrant Cretaceousatmosphere meteorizedthe airborne rock,flaring it into what mighthave looked to the horridtriceratops like a monarchovipositing (had the butterflybegun before the periodbroke off). Not much likethe monarch I met when Irushed out the door for the 79,though the sulfurous dustfrom the meteoric impactoff the Yucatán took flightfor all corners of the heavensmuch the way the nextgeneration of monarchstook wing from the milkweedfor their annual migrationto the west of the Yucatán,and their unburdened mothertook her final flitup my flagstone walkway,froze and, hurtlingdownward, impactedmy stunned peninsularleft foot. Less likethe monarch for all this,the globe-clogging asteroid,than like me, one of my kind,bolting for the bus.ConversationJohn Fiege John, thank you so much for joining me today. This has been fabulous.John Shoptaw Thank you, John, for the opportunity. And I love conversing with you.---OutroJohn Fiege Thank you so much to John Shoptaw. Go to our website at ChrysalisPodcast.org, where you can read his poem “Near-Earth Object” and also see some of my photographs of him at his house in Berkeley and find our book and media recommendations.This episode was researched by Elena Cebulash and Brodie Mutschler and edited by Brodie Mutschler and Sofia Chang. Music is by Daniel Rodriguez Vivas. Mixing is by Sarah Westrich.If you enjoyed my conversation with John, please rate and review us on your favorite podcast platform. Contact me anytime at ChrysalisPodcast.org, where you can also support the project, subscribe to our newsletter, and join the conversation. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.chrysalispodcast.org

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

The Pixies are an American alternative rock band formed in 1986, in Boston, Massachusetts. Until 2013, the band consisted of Black Francis (vocals, rhythm guitar, songwriter), Joey Santiago (lead guitar), Kim Deal (bass, vocals) and David Lovering (drums). They disbanded acrimoniously in 1993 but reunited in 2004. After Deal left in 2013, the Pixies hired Kim Shattuck as a touring bassist; she was replaced that year by Paz Lenchantin, who became a permanent member in 2016. The Pixies are associated with the 1990s alternative rock boom, and draws on elements including punk rock and surf rock. Their music is known for dynamic 'loud-quiet-loud' shifts and song structures. Francis is the Pixies' primary songwriter; his often surreal lyrics cover offbeat subjects such as extraterrestrials, incest, and biblical violence. The band achieved modest popularity in the US but was more successful in Europe. Their jarring pop sound influenced acts such as Nirvana, Radiohead, The Smashing Pumpkins and Weezer. In this episode a playlist of songs created by the Pixies and published in a popular music streaming platform (that shall remain unnamed) between December 2017 and July 2019. Lineup: Blue Öyster Cult, Fleetwood Mac, The Doors, Black Sabbath, Stevie Ray Vaughan, Dick Dale, Jimi Hendrix, T. Rex, Teenage Fanclub, ACDC, Baxter Dury, The Velvet Underground, The Rolling Stones, Sugar, The Cure, Eels, The Clash, The Psychedelic Furs, Alabama Shakes, Andrew Norman, Boston Modern Orchestra Project, Gil Rose, Ty Segall, Surf Friends, David Bowie, Mose Allison, Throwing Muses, Hüsker Dü, Peter, Paul and Mary, Thelonious Monk, Explosions In The Sky, The Beatles, Buzzcocks, The Fall, Weezer, Moondog, Suicide, Nico

[@ 4 min] We go ‘Inside the Huddle' with conductor Gil Rose, founder of Odyssey Opera and the Boston Modern Orchestra Project. The companies just completed the second run of John Corigliano's “Lord of Cries” and are preparing the East Coast premiere of the Oliver Sacks opera “Awakenings”… [@ 34 min] In the ‘Listener Mailbag'… A field report on the American Opera Initiative… [@ 37 min] In the ‘Two Minute Drill'… Who blinked in the game of opera chicken between English National Opera and Arts Council England…? We're back with an all-new show next week when we go ‘Inside the Huddle' with soprano Kerriann Otaño, Opera Delaware's VP of Engagement… Join us! SHOW NOTES Gil Rose: https://www.gilroseconductor.com/biography Odyssey Opera: http://www.odysseyopera.org/ BMOP: http://www.bmop.org/ AWAKENINGS: https://tobiaspicker.com/opera/awakenings AOI: https://www.kennedy-center.org/education/opportunities-for-artists/competitions-and-commissions/american-opera-initiative/ ENO: https://www.bbc.com/news/entertainment-arts-64305759 GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

In 1986 composer Anthony Davis and librettist Thulani Davis created an opera about the civil rights activist, with a story by Christopher Davis. The revised version comes to Seattle for the first time in winter/spring 2024, in a co-production shared with Detroit Opera, Opera Omaha, the Metropolitan Opera, and Lyric Opera of Chicago. Seattle Opera Dramaturg Jonathan Dean introduces X: THE LIFE AND TIMES OF MALCOLM X 101, with musical examples from from the 2022 Boston Modern Orchestra Project recording of the opera conducted by Gil Rose and starring Davone Tines, Whitney Morrison, Ronnita Miller, Victor Robertson, Joshua Conyers, and Jonathan Harris. Special thanks to Glenn Hare.

Earlier this year, bass-baritone opera singer Davóne Tines performed as Malcolm X for Pulitzer-Prize winning composer Anthony Davis's opera, "X: The Life and Times of Malcolm X," alongside the Boston Modern Orchestra Project. Today, a recording of the performance is being released to the public. Tines joins to discuss the opera, listen to some of the recording, and preview a string of performances he has in New York City in the coming weeks, including his New York Philharmonic debut on October 28 and a recital of his program "Recital No. 1: MASS" at Carnegie Hall on November 3.

Hosted by Johan Serrano, a senior at the Massachusetts College of Liberal Arts, this episode of Thinking Like a Region spotlights Leslie Wu Foley, Director of Education and Community Engagement at the Boston Symphony Orchestra. Foley speaks on the journey she took as a musician, from picking up musical instruments at a young age to her current placement with the renowned orchestra, along with the challenges they face in becoming inclusive and reaching out to the greater Massachusetts community in the midst of a pandemic. This episode focuses on the creative capacities of problem-solving, focus, communication, discipline, persistence, leading by example, creating a shared voice, and finding your sense of purpose. Listen in to hear how Foley and the entire Orchestra work as a team to create music for a region. You can find the transcript for this episode here: https://tinyurl.com/TALR-LWF Thinking Like A Region is a production of the C4 Initiative, Berkshire County's Creative Compact for Collaborative and Collective Impact, based at Massachusetts College of Liberal Arts in North Adams, MA, and grant-funded by the National Endowment for the Arts. This podcast is produced by Leslie Appleget and Lisa Donovan. Technical podcast support by Audrey Perdue. For more information about the show or the C4 Initiative, visit brainworks.mcla.edu/c4. THIS EPISODE'S VOICES: Leslie Wu Foley currently serves as the Helaine B. Allen Director of Education and Community Engagement at Boston Symphony Orchestra. Foley graduated from Princeton University with a degree in art history. She has previously worked with New York Philharmonic, and has served as Director of the Center for Art and Community Partnerships at the Massachusetts College of Art and Design, Associate Director of the Tanglewood Music Center, Executive Director of the Boston Modern Orchestra Project, Director of Admissions at the Longy School of Music, and Assistant Producer of BSO broadcasts at WCRB. Johan Serrano is a senior and arts management major at the Massachusetts College of Liberal Arts.

Boston Modern Orchestra Project is reviving a 1985 opera called “X: The Life and Times of Malcolm X” at the historic Strand Theatre in Boston, just a few blocks from where the Civil Rights leader lived as a teen.

There's a zany book published several years ago by British author and photographer Ben Schott that has “invented words” using the German language. This book — Schottenfreude: German Words for the Human Condition — inspired composer Eric Nathan (who teaches at Brown University) to write an 84-minute magnum opus — Missing Words — that now has its world premiere recording. Released on New Focus Recordings, the album and how it came to be is quite out-of-the-box with a synergistic collaboration between many artists and ensembles such as the Boston Modern Orchestra Project, American Brass Quintet, cellist Parry Karp and pianist Christopher Karp, International Contemporary Ensemble, Neave Trio, and Hub New Music. Both Ben Schott and Eric Nathan join me on the Classical Post podcast to discuss how this project came to be, along with random miscellany that is delivered with witty charm. — Classical Post explores the intersection of classical music, style, and wellness, diving into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

Composer Eric Nathan releases the world premiere recording of Missing Words (2014-2021). Performed by the Boston Modern Orchestra Project, American Brass Quintet, cellist Parry Karp and pianist Christopher Karp, International Contemporary Ensemble, Neave Trio, and Hub New Music, this 84-minute magnum opus is a six-part series inspired by German words invented by writer Ben Schott in his book Schottenfreude (2013) that describe ineffable experiences of contemporary life. The musical works speak to intimate yet shared experiences that range from the tragic and beautiful to the comic and commonplace. With Missing Words, Nathan finds meaning in the phenomena that add color to everyday life. Schott has contributed a foreword for the album and Robert Kirzinger wrote the liner notes.Purchase the music (without talk) at:Eric Nathan: Missing Words (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Cellist and Professor, Jennifer Kloetzel's first appearance on the podcast has garnered her a top episode spot! The inspiring and insightful interview led to a second (this one) and she joins me to continue the conversation.A graduate of The Juilliard School and a Fulbright Scholar, cellist Jennifer Kloetzel has concertized throughout the United States, Europe and Asia as a soloist and chamber musician. A founding member of the San Francisco-based Cypress String Quartet (1996-2016), Ms. Kloetzel has toured the globe and performed at such renowned venues as Lincoln Center, the Kennedy Center for the Performing Arts, the Chautauqua Institute and the Ravinia Festival, the Lobkowicz Palaces in both Vienna and Prague, as well as prominent colleges and conservatories worldwide.Ms. Kloetzel is noted for her elegant playing and her vibrant tone. She is a sought-after recitalist, performing concerts for San Francisco Performances and on WQXR in New York. A fervent champion of new music, she has received the Copland Award for her work with living American composers and has commissioned and premiered over fifty works, including five concertos written specifically for her. In the past few seasons, premieres included a Cello Suite by Daniel Asia, a Cello Concerto, “Cloud Atlas” and unaccompanied cello work “Lift,” which were both written for her by MIT composer Elena Ruehr and a Cello Sonata dedicated to her by Joseph Landers. Ms. Kloetzel has recorded the Ruehr Cello Concerto with the Boston Modern Orchestra Project, which was released to critical acclaim in October 2014. “Lift” is the title track of an all-Ruehr disc, released on the Avie label, and was included on Keith Powers' 13 Best Classical Music Recordings of 2016. Ms. Kloetzel is the featured cellist on a 2019 Albany Records release of music by Richard Aldag, and recently premiered Lee Actor's Cello Concerto, written for her in 2017. In the next few seasons, she will give world premieres of sonatas written for her by Richard Aldag and Elena Ruehr and “Inferno: Double Concerto for Viola, Cello and Chamber Orchestra” by Joel Friedman, as well as six ‘companion' pieces commissioned to go with the six Bach Cello Suites, for a special project entitled “Mission: Bach~ The Road to Inspiration."Ms. Kloetzel has been featured regularly on National Public Radio's “Performance Today” and her performances have been broadcast on radio stations from coast to coast. A passionate recording artist with 36 CD releases to date, recent recordings include the entire cycle of Beethoven Quartets and Brahms Sextets on the Avie label. In 2021, Avie will release her recordings of Beethoven's complete works for cello and piano with Robert Koenig. In 2016, Ms. Kloetzel was invited to join the faculty at University of California Santa Barbara, where she is Professor of Cello and Head of Strings.   To learn more about Jennifer Kloetzel head to her website www.jkcello.comTo listen to more episodes, connect with host, Tammy, or to support the podcast follow these linksWebsite https://tstakaishi.wixsite.com/musicInstagram @creative_peacemeal_podcastFacebook https://www.facebook.com/creativepeacemealpod/

Bos BonesSeason 1Episode 5: Angel SuberoSeason Finale! Really fun show with maestro Angel Subero. Since the early 2000's Angel's become a fixture in Boston subbing with the Boston Symphony Orchestra, a member of Boston Philharmonic, Boston Modern Orchestra Project, Triton Brass, the Brian Thomas/Alex Lee Clark Big band, the John Allmark Big Band, all while leading his own salsa band Latin Logic. That's all while heading the brass department at Boston Conservatory.Hear his inspiring story coming from Venezuela, coming to Boston and studying with Doug Yeo,  Boston's live salsa scene, and how he expertly navigates disparate scenes.Thanks for all of your support, I appreciate every listener! See you soon for season 2-Follow @BosBones on instagram and facebook-Watch on youtube at https://youtu.be/b5ZFXaB1G18-Sign up for the mailing list at www.MichaelPrentky.com/BosBonesSupport the show

I'm joined by cellist, and professor, Jennifer Kloetzel. Jennifer share delightful stories, and wonderful insights from her perspective as a long-time performer and educator.A graduate of The Juilliard School and a Fulbright Scholar, cellist Jennifer Kloetzel has concertized throughout the United States, Europe and Asia as a soloist and chamber musician. A founding member of the San Francisco-based Cypress String Quartet (1996-2016), Ms. Kloetzel has toured the globe and performed at such renowned venues as Lincoln Center, the Kennedy Center for the Performing Arts, the Chautauqua Institute and the Ravinia Festival, the Lobkowicz Palaces in both Vienna and Prague, as well as prominent colleges and conservatories worldwide.Ms. Kloetzel is noted for her elegant playing and her vibrant tone. She is a sought-after recitalist, performing concerts for San Francisco Performances and on WQXR in New York. A fervent champion of new music, she has received the Copland Award for her work with living American composers and has commissioned and premiered over fifty works, including five concertos written specifically for her. In the past few seasons, premieres included a Cello Suite by Daniel Asia, a Cello Concerto, “Cloud Atlas” and unaccompanied cello work “Lift,” which were both written for her by MIT composer Elena Ruehr and a Cello Sonata dedicated to her by Joseph Landers. Ms. Kloetzel has recorded the Ruehr Cello Concerto with the Boston Modern Orchestra Project, which was released to critical acclaim in October 2014. “Lift” is the title track of an all-Ruehr disc, released on the Avie label, and was included on Keith Powers’ 13 Best Classical Music Recordings of 2016. Ms. Kloetzel is the featured cellist on a 2019 Albany Records release of music by Richard Aldag, and recently premiered Lee Actor’s Cello Concerto, written for her in 2017. In the next few seasons, she will give world premieres of sonatas written for her by Richard Aldag and Elena Ruehr and “Inferno: Double Concerto for Viola, Cello and Chamber Orchestra” by Joel Friedman, as well as six ‘companion’ pieces commissioned to go with the six Bach Cello Suites, for a special project entitled “Mission: Bach~ The Road to Inspiration."Ms. Kloetzel has been featured regularly on National Public Radio’s “Performance Today” and her performances have been broadcast on radio stations from coast to coast. A passionate recording artist with 36 CD releases to date, recent recordings include the entire cycle of Beethoven Quartets and Brahms Sextets on the Avie label. In 2021, Avie will release her recordings of Beethoven’s complete works for cello and piano with Robert Koenig. In 2016, Ms. Kloetzel was invited to join the faculty at University of California Santa Barbara, where she is Professor of Cello and Head of Strings.   More information about her can be found her her website, www.jkcello.comThe resource created by cellist Paul Katz, can be found here. More information about host, Tammy Takaishi can be found here.Interested in supporting the show? Now you can with CREATIVE PEACEMEAL merchandise! Snap up your swag here!

Boston Modern Orchestra Project (BMOP) has carved out a considerable reputation for its championing of modern American music, and its latest release is one of its most ambitious, a recording of Charles Wuorinen's 2004 opera, based on Salman Rushdie's novel Haroun and the Sea of Stories, to a libretto by Jame Fenton. James Jolly spoke to Gil Rose, BMOP's Artistic Director about the orchestra and its label, but also about this latest project. And Gil also reveals some of the recording projects awaiting us in 2021.

Kate Kayaian is a professional cellist, teacher, musician’s coach, and the creator and artistic director of the Virtual Summer Cello Festival–the very first full-length summer festival program to be offered online in 2020. As a cellist, Kate has performed as soloist, chamber musician and recitalist in a myriad of venues from art galleries in Seattle to Jordan Hall in Boston, and in some of the top concert halls of Europe.She attended the New England Conservatory of Music in Boston and was subsequently awarded a fellowship at the New World Symphony Orchestra in Miami. She performs and records often with the Grammy award-winning contemporary music ensemble, Boston Modern Orchestra Project, and was embarking on a US tour of her solo recital program: The Voice of the Cello when the current COVID-19 pandemic hit.Drawing from her 5 years of experience as a pioneer in the world of online teaching, she created the 7-week Virtual Summer Cello Festival for highly talented high school and college aged cellists as a response to the cancelation of traditional summer festivals due to the current public health crisis.This fall she is unveiling 2 of her latest projects: The Bridge Online Cello Studio–created for advanced high school and college level– which combines her current online private teaching studio with the group structure of the festival, creating an incredible opportunity for students all over the world to study. And The Profit Pivot–a 10 week long group coaching program for professional musicians who are ready to take the reins on their careers and their bank accounts.She writes about career and life issues for classical musicians on her blog, Tales From The Lane, and coaches musicians and other creatives on career and mindset pivots to ensure financially stable lives for them and their families.Join her Tales From the Lane Facebook Group! https://www.facebook.com/groups/TalesfromthelaneInstagram: https://www.instagram.com/kkayaian/?hl=enWebsite: https://katekayaian.com/Blog (Tales From The Lane): https://talesfromthelane.com/Virtual Summer Cello Festival: https://virtualsummercellofestival.wordpress.com/

My guest today is world class cellist, coach, and creator of “the Profit Pivot for musicians”, Kate Kayaian. Kate talks about how the hustle-culture of freelancing was not sustainable, healthy or fulfilling, and what made her leave behind a thriving career in Boston to live full-time on a tropical island. Kate also explains what it was like to launch a virtual online cello festival during the covid-19 pandemic. You're even going to get a quick Armenian pronunciation lesson, so…your welcome. I've known Kate for a long time, and I hope you enjoy this conversation as much as I did.  You can subscribe right here.  About Kate Kate Kayaian is a professional cellist, teacher, musician's coach, and the creator and artistic director of the Virtual Summer Cello Festival–the very first full-length summer festival program to be offered online in 2020.  As a cellist, Kate has performed as soloist, chamber musician and recitalist in a myriad of venues from art galleries in Seattle to Jordan Hall in Boston, and in some of the top concert halls of Europe.   She attended the New England Conservatory of Music in Boston and was subsequently awarded a fellowship at the New World Symphony Orchestra in Miami. She performs and records often with the Grammy award-winning contemporary music ensemble, Boston Modern Orchestra Project, and was embarking on a US tour of her solo recital program: The Voice of the Cello when the current COVID-19 pandemic hit.   Drawing from her 5 years of experience as a pioneer in the world of online teaching, she created the 7-week Virtual Summer Cello Festival for highly talented high school and college aged cellists as a response to the cancelation of traditional summer festivals due to the current public health crisis.   This fall she is unveiling 2 of her latest projects: The Bridge Online Cello Studio–created for advanced high school and college level– which combines her current online private teaching studio with the group structure of the festival, creating an incredible opportunity for students all over the world to study. And The Profit Pivot–a 10 week long group coaching program for professional musicians who are ready to take the reins on their careers and their bank accounts.   She writes about career and life issues for classical musicians on her blog, Tales From The Lane, and coaches musicians and other creatives on career and mindset pivots to ensure financially stable lives for them and their families.   Links LinkedIn: https://www.linkedin.com/in/kate-kayaian-852147181/ Instagram: https://www.instagram.com/kkayaian/ Facebook: https://www.facebook.com/katekayaiancello Website: https://katekayaian.com/ Honesty Pill Links Free Resource Library Facebook Group SUBSCRIBE HERE Other Links "Atomic Habits" James Clear "High Performance Habits" by Brendon Burchard "Deep Work" Cal Newport

Baritone, Gabriel Preisser, discusses baritone technique for navigating the passaggio. He goes deep into the dangers of muscling the sound as a young baritone, and explaining the voice turning over. Gabe has sung over 40 operatic and musical theatre roles in companies like Minnesota Opera, Cincinnati Opera, Opera Philadelphia, and Michigan Opera Theatre, in roles such as Danillo, Figaro, Billy Bigelow, and Dandini. In 2020 he sang with the Boston Modern Orchestra Project which won the Grammy-Award for best new opera recording. WATCH Gabe in action: https://youtu.be/q1B4WUA6jAU Voice with Julia's #techniquetalks is where we demystify conversations surrounding vocal technique with behind-the-scenes access to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. Use your judgement. Show Notes: 6:20 Gabe discusses how he gets his voice working all-day-everyday – Technique + consistent skills 10:00 Difference between head voice, falsetto, and chest voice 12:30 Turning over the voice (what/how) 15:30 Gabe discusses the vowels that help turn over the passaggio 18:12 Gabe discusses tongue position when turning over 19:50 Gabe discusses exercises to build up breath system 24:30 Gabe discusses body alignment/posture (alexander technique, yoga) 29:50 Gabe discusses how to sing Largo as a baritone (high notes and patter/articulation) 33:23 Gabe discusses high notes and vowels 38:40 Gabe discusses low notes 41:35 Gabe discusses whistle tone vs. Falsetto 43:47 Gabe discusses coloratura 46:50 Gabe discusses contemporary vocal technique Repertoire, and cross-over 50:54 Gabe discusses hooking 52:07 Gabe discuses his most challenging cross-over role 53:30 Gabe discusses his favorite baritone vocally ❤️  JOIN my FB Group: https://www.facebook.com/groups/techniquetalksforsingers/ ❤️  Subscribe to never miss a video: https://www.youtube.com/channel/UCGibxkvaN8KVff0ztzYznMg ❤️  More at https://www.voicewithjulia.com ❤️  To stay in the know, and gain behind-the-scenes access to upcoming guests: https://www.voicewithjulia.com/techniquetalks/ ❤️  More at https://www.voicewithjulia.com  ❤️  Instagram: @voicewithjulia  ❤️  Facebook: Voice With Julia

Ep. 123: Lisa Bielawa, composer and vocalist. Let's Talk Off The Podium with Tigran Arakelyan. In this podcast Bielawa talks about a recent project called Broadcast from Home, work with Philip Glass, time at Yale, various major projects and much more. Composer, producer, and vocalist Lisa Bielawa is a Rome Prize winner in Musical Composition and takes inspiration for her work from literary sources and close artistic collaborations. Her music has been described as “ruminative, pointillistic and harmonically slightly tart,” by The New York Times. She is the recipient of the 2017 Music Award from the American Academy of Arts & Letters and was named a William Randolph Hearst Visiting Artist Fellow at the American Antiquarian Society for 2018.  Bielawa consistently executes work that incorporates community-making as part of her artistic vision. She has created music for public spaces in Lower Manhattan, the banks of the Tiber River in Rome, on the sites of former airfields in Berlin in San Francisco, and to mark the 30th anniversary of the fall of the Berlin Wall. Her music has recently been premiered at the NY PHIL BIENNIAL, Lincoln Center, Carnegie Hall, The Kennedy Center, SHIFT Festival, and Naumburg Orchestral Concerts, among others. She will have her second residency as a performer/composer at John Zorn’s venue The Stone in March 2020. Orchestras that have championed her music include the The Knights, Boston Modern Orchestra Project, American Composers Orchestra, and the Orlando Philharmonic. Premieres of her work have been commissioned and presented by the Chamber Music Society of Lincoln Center, Brooklyn Rider, Seattle Chamber Music Society, American Guild of Organists, and more.  Bielawa began touring as the vocalist with the Philip Glass Ensemble in 1992 and in 2019 she became the inaugural Composer-in-Residence and Chief Curator of the Philip Glass Institute at The New School. In 1997 Bielawa cofounded the MATA Festival, which celebrates the work of young composers, and for five years she was the artistic director of the San Francisco Girls Chorus.  She received a 2018 Los Angeles Area Emmy nomination for her unprecedented, made-for-TV-and-online opera Vireo: The Spiritual Biography of a Witch's Accuser, created with librettist Erik Ehn and director Charles Otte. Vireowas filmed in twelve parts in locations across the country and features over 350 musicians. Vireo was released on CD/DVD in 2019 (Orange Mountain Music) and she is also recorded on the Tzadik, TROY, Innova, BMOP/sound, Supertrain Records, Sono Luminus, and Cedille labels. For more information about Lisa Bielawa please visit: www.lisabielawa.net © Let's Talk Off The Podium, 2020

This week, Ian is joined by Hannah Field from Tempus Partners. Tempus are “investing in the next generation of impossible,” with their long term approach to investment allowing them to delve into tech solutions that convention may say are impossible yet to them, are profoundly possible.Hannah’s road to becoming an investor with Tempus may not fall into the category of ‘conventional’. Hannah got her start as a semi-professional violinist and from there, took a really interesting journey throughout different industries across the globe. Ian and Hannah dive into each terrific position she has held from Boston to California to Dublin to Sydney.In her mid-20s with a “compelling drive to do something different, bigger...raise my ambition levels!” she quit her job at the Boston Modern Orchestra Project, drove cross-country and found herself in California with music provider Pandora. Being the early 2010s, music streaming was still in its initial stages. However, predicting a less than positive trajectory for Pandora, she moved to a position in online revenue operations with file sharing platform, Dropbox. After only one year she was selected to help instigate the company’s international profile with a move to Dublin. In eleven months their initial team of seven grew to seventy - a huge feat! Hannah admits that in achieving this she was “probably working at 200%.”With Ian, Hannah speaks about her time at Canva and the importance of company values, her stint as a recruiter, the interesting hiring process at Tempus, some of the top companies in their portfolio, and ideas for tackling the extraordinarily limited female representation in the investment field. This 75th episode of Open The Pod Bay Doors truly burns through a lot of topics; grab a snack, get comfy and have a listen!

The Boston Modern Orchestra Project is widely known as the leading orchestra in the United States dedicated exclusively to performing the 20th and 21st century music and its signature record label BMOP/sound reflects those standards. In Boston, we're listening to the newest recordings off BMOP/sound label and talking to Creative Director and Conductor, Gil Rose. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Symphony IV: III Scherzo: Vivace by Lukas Foss Boston Modern Orchestra Project; Gil Rose, Conductor Shanti by Peter Child Boston Modern Orchestra Project; Gil Rose, Conductor Toccata Concertante by Irving Fine Boston Modern Orchestra Project; Gil Rose, Conductor The Blizzard Voices by Paul Moravec NEC Concert Choir; Boston Modern Orchestra Project; Gil Rose, conductor

Everyone is familiar with MIT and the university's reputation as a serious force in the world of science, tech, and research, but how many are aware of MIT's legacy in the arts? Did you know that MIT's founder had envisioned incorporating the arts from the very beginning?In this episode we speak with Leila Kinney and Evan Ziporyn of MIT's Center for Art, Science, and Technology (CAST) about MIT's culture of creativity and exploration, the institution's mission to humanize science and tech, and the exciting projects that have emerged from CAST, like Tomás Saraceno's Arachnid Orchestra.-About Leila Kinney-Leila W. Kinney is the Executive Director of Arts Initiatives and of the MIT Center for Art, Science & Technology (CAST), working with Associate Provost Philip S. Khoury, the School of Architecture and Planning (SA+P), the School of Humanities, Arts, and Social Sciences (SHASS), the Creative Arts Council, the Council for the Arts at MIT, the MIT List Visual Arts Center, and the MIT Museum, to advance the arts at MIT in the areas of strategic planning, cross-school collaborations, communications and resource development.Kinney is an art historian with experience in both SA+P, where she was on the faculty in the History, Theory and Criticism section of the Department of Architecture (HTC) and SHASS, where she taught in the Program in Women’s Studies and in Comparative Media Studies. She specializes in modern art, with an emphasis on media in transition, arts institutions and artists’ engagement with mass culture. She is a member of the Executive Committee of a2ru (Alliance for the Arts in Research Universities) and of the Advisory Committees of the Catalyst Collaborative at MIT, the MIT List Visual Arts Center and the MIT Museum.-About Evan Ziporyn-Evan Ziporyn makes music at the crossroads between genres and cultures, and between East and West. He studied at the Eastman School of Music, Yale University, and UC Berkeley with Joseph Schwantner, Martin Bresnick, and Gerard Grisey. He first traveled to Bali in 1981, studying with Madé Lebah, Colin McPhee’s 1930s musical informant. He returned on a Fulbright in 1987.Earlier that year, he performed a clarinet solo at the First Bang on a Can Marathon in New York. His involvement with Bang on a Can continued for twenty five years. In 1992, he co-founded the Bang on a Can All-stars (Musical America’s 2005 Ensemble of the Year), with whom he toured the globe and premiered over one hundred commissioned works, collaborating with Nik Bartsch, Iva Bittova, Don Byron, Ornette Coleman, Brian Eno, Philip Glass, Meredith Monk, Thurston Moore, Terry Riley, and Tan Dun. He co-produced their seminal 1996 recording of Brian Eno’s “Music for Airports,” as well as their most recent CD, “Big Beautiful Dark & Scary” (2012).Ziporyn joined the MIT faculty in 1990, founding Gamelan Galak Tika in 1993, and beginning a series of groundbreaking compositions for gamelan & Western instruments. These include three evening-length works, 2001’s “ShadowBang,” 2004’s “Oedipus Rex” (Robert Woodruff, director), and 2009’s “A House in Bali,” an opera which joins Western singers with Balinese traditional performers, and the Bang on a Can All-stars with a full gamelan. It received its world premiere in Bali that summer and its New York premiere at BAM Next Wave in October 2010.As a clarinetist, Ziporyn recorded the definitive version of Steve Reich’s multi-clarinet “New York Counterpoint” in 1996, sharing in that ensemble’s Grammy in 1998. In 2001, his solo clarinet CD, “This is Not A Clarinet,” made Top Ten lists across the country. His compositions have been commissioned by Yo-Yo Ma’s Silk Road, Kronos Quartet, American Composers Orchestra, Maya Beiser, So Percussion, Wu Man, and the Boston Modern Orchestra Project, with whom he recorded his most recent CD, “Big Grenadilla/Mumbai” (2012). His honors include awards from the Massachusetts Cultural Council (2011); The Herb Alpert Foundation (2011); USA Artists Walker Fellowship (2007); MIT’s Gyorgy Kepes Prize (2006); the American Academy of Arts and Letters Goddard Lieberson Fellowship (2004); as well as commissions from Meet the Composer/Commissioning Music USA and the Rockefeller MAP Fund. Recordings of his works have been been released on Cantaloupe, Sony Classical, New Albion, New World, Koch, Naxos, Innova, and CRI.He is Kenan Sahin Distinguished Professor of Music at MIT. He also serves as Head of Music and Theater Arts, and in 2012 was appointed inaugural Director of MIT’s Center for Art Science & Technology. He lives in Lexington, Massachusetts, with Christine Southworth, and has two children, Leonardo (19) and Ava (12).-About MIT CAST-The MIT Center for Art, Science & Technology (CAST) creates new opportunities for art, science and technology to thrive as interrelated, mutually informing modes of exploration, knowledge and discovery. CAST’s multidisciplinary platform presents performing and visual arts programs, supports research projects for artists working with science and engineering labs, and sponsors symposia, classes, workshops, design studios, lectures and publications. The Center is funded in part by a generous grant from the Andrew W. Mellon Foundation.

Composer Jeremy Gill recently had the opportunity of a lifetime when the Boston Modern Orchestra Project agreed to record not one, not two, but three of his concertos. We'll talk with Jeremy and clarinet soloist Chris Grymes about this fantastic new release and play as much of it as we can. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Before the Wresting Tides Serenada Concertante Notturno Concertante Boston Modern Orchestra Project; Gil Rose, conductor

This week I speak with Evan Ziporyn, composer and clarinetist, who makes music at the crossroads between genres and cultures, east and west. As a clarinetist he performs as a soloist and as a member of the Eviyan Trio (with Iva Bittova and Gyan Riley); he also works regularly with Yo-yo Ma's Silk Road Ensemble, and the Steve Reich Ensemble, with whom he shared a Grammy for Music for 18 Musicians. He is founder and director of Gamelan Galak Tika. His opera A House in Bali was featured at BAM Next Wave in 2010. From 1992-2012 he was a founding member of the Bang on a Can All-stars, finishing his tenure with the group with an appearance on an episode of PBS' Arthur. His compositions have been commissioned and performed by Kronos Quartet, Wu Man, the American Composers Orchestra, Steven Schick, So Percussion, and the Boston Modern Orchestra Project. He has collaborated with – among others - Brian Eno, Paul Simon, Ornette Coleman, Thurston Moore, Meredith Monk, Bryce Dessner, Philip Glass, Terry Riley, Louis Andriessen, Shara Worden, Cecil Taylor, Henry Threadgill, Matthew Shipp, and Ethel. His most recent project is the hour-long In My Mind & In My Car (w/Christine Southworth), for bass clarinet, electronics and video, His recording of Don Byron's Clarinet Concerto, which he commissioned, was named one of Downbeat Magazine's 2015 Albums of the Year. At MIT he is head of Music & Theater Arts and director of the Center for Art, Science & Technology. We discuss Evan's life, influences, career accomplishments and go deep into the recording session for the definitive version of Steve Reich's "New York Counterpoint" in 1996. This is a must listen episode for any new music fans. Links: Website: www.ziporyn.com Social Media: Twitter: @evanziporyn Facebook: EvanZiporynMusic Purchase Music: BandCamp: evanziporyn.bandcamp.com BandCamp: eviyan.bandcamp.com BandCamp: gamelangalaktika.bandcamp.com iTunes: iTunes Artist Page Discussion Topics: Calgary's year round snow Balinese Music Gamelan Fate and Spirituality Realizing the intent of the composer Don't mistake a bad performance for a bad piece What draws you to minimalist music? Bang on a Can All Stars Terry Riley - "In C" Steve Reich - Music For 18 Musicians Steve Reich - New York Counterpoint Recording New York Counterpoint Evan's First CD "This Is Not a Clarinet" The album as an art in itself Extended techniques (multiphonics, singing and playing) Lightning round questions David Bowie Tribute Concert People Mentioned: Josef Schwantner John Lennon Steve Reich Terry Riley Philip Glass La Monte Young John Cage Lightning Round Questions and Answers: If I were to walk over to your music stand right now, what would I find? An iPad (but it depends on which music stand!) What is your all-time piece of music? Rameau - Les Trois Mains and David Byrne - Marching Through The Wilderness If you could meet any musician throughout history would it be? Pythagoras What's your favorite book and why? Blindness by Jose Saramago and Go, Dog Go Is there anything else you'd like to share? Working on a new piece called "In My Mind and In My Car"

With recent commissions and performances from the L.A. Philharmonic, Boston Modern Orchestra Project and the New York Philharmonic, in addition to his work with celebrated collective Sleeping Giant, Andrew Norman has emerged as a major figure in today's classical music world. He stops by the studio to chat with Seth about music, life and everything. Hosted by Seth Boustead Produced by Sarah Zwinklis Play: Level 1 (excerpt) Boston Modern Orchestra Project; Gil Rose conductor Switch Boston Modern Orchestra Project; Gil Rose conductor Play: Level 3 Boston Modern Orchestra Project; Gil Rose conductor

Happy New Year! We want to celebrate the New Year by congratulating our Rightsholder for their Grammy nominations. To view a full listing of Grammy nominee, click here. Below we have what albums received which Grammy nomination. Enjoy the episode! Boston Modern Orchestra Project, Gil Rose, Rinde Eckert, Synergy Vocals, Catch Electric Guitar Quartet "Dreamhouse"from "Steven Mackey: Dreamhouse" (BMOP/sound) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumBest Engineered Album, ClassicalBest Classical AlbumBest Orchestral PerformanceValery Gergiev, Sergei Aleksashkin, Mariinsky Orchestra, Mariinsky Chorus "The Enchanted Wanderer"from "Shchedrin: The Enchanted Wanderer" (Mariinsky) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumBest Contemporary Classical CompositionBest Opera RecordingEliesha Nelson, John McLaughlin Williams"Speed Etude"from "Porter: Complete Viola Works" (Dorian Recordings) Buy at Napster Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This AlbumBest Engineered Album, ClassicalBest Chamber Music PerformanceBest Instrumental Soloist(s) with OrchestraArs Lyrica Houston "Marc Antonio e Cleopatra"from "Hasse: Marc Antonio e Cleopatra" (Dorian Recordings) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumBest Opera RecordingSarah Schuster Ericsson "Sonata per Arpa, Op. 68"from "20th Century Harp Sonatas" (Dorian Recordings) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumBest Instrumental Soloists Performance w/o OrchestraMarc Regnier, Marco Sartor"Suite Retratos for 2 Guitars"from "Gnattali: Solo & Chamber Works for Guitar" (Dorian Recordings) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumBest Instrumental Soloist(s) Performance w/o OrchestraEkaterina Lekhina, Marie-Ange Todorovitch, Deutsches Symphonie-Orchester Berlin, Kent Nagano "Deuxième acte. Deuxième tableau : L'Amour de loin. Le Pèlerin : "Rien ne vous oblige à l'aimer""from "Kaija Saariaho: L'Amour de loin" (Harmonia Mundi) Buy at Napster Buy at Amazon MP3 More On This AlbumBest Opera RecordingJudith Gauthier, Marianne Beate Kielland, Adrian Thompson, Mattijs van de Woerd, Konstantin Wollf, Cappella Amsterdam, Estonian Philharmonic Chamber Choir, Estonian National Symphony Orchestra, Daniel Reuss, Judith Gauthier (soprano), Marianne Beate Kiell "Golgotha "from "Martin: Golgotha" (Harmonia Mundi) Buy at Napster Buy at Amazon MP3 More On This AlbumBest Choral PerformanceMaximilian Schmitt, Freiburger Barockorchester, René Jacobs "I. Teil. 10. Chor "Stimmt an die Saiten""from "Haydn: The Creation" (Harmonia Mundi) Buy at Napster Buy at Amazon MP3 More On This AlbumBest Choral PerformanceEstonian Philharmonic Chamber Choir, Paul Hillier "Three Folksongs"from "Baltic Runes" (harmonia mundi) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This AlbumBest Choral PerformanceIsabelle Faust, Alexander Melnikov"Sonata for piano & violin no.5" from "Beethoven: Complete Sonatas for piano & violin" (Harmonia Mundi) Buy at Napster Buy at Amazon MP3 More On This AlbumBest Chamber Music PerformanceThe Silk Road Ensemble "Ritmos Anchinos"from "Off the Map" (World Village) Buy at Napster Buy at iTunes Music Store Buy at Rhapsody Buy at Amazon MP3 More On This AlbumBest Classical Crossover Album Track 3: Étude No 03 in B minor 'after Paganini-Liszt' from "Hamelin: Etudes" Artist: Marc-André Hamelin Best Instrumental Solo Performance Track 9: Haec dies from "Ceremony & Devotion: Music for the Tudors" Artists: The Sixteen, Harry Christophers Best Small Ensemble PerformanceMichael Stern, Kansas City Symphony"Peter Grimes: Four Sea Interludes & Passacaglia" from "Britten's Orchestra" (Reference Recordings) Buy at Napster Buy at Amazon MP3 More On This AlbumBest Surround Sound