Podcast appearances and mentions of brooklyn philharmonic

International Recorded artist, composer, educator, and bandleader Jonathan Barber was voted the #1 Up-and-Coming Drummer of 2018 in Modern Drummer. Barber has already recorded and toured worldwide with such artists as Pat Metheny, Erykah Badu, Nicholas Payton, Buster Williams, Jimmy Greene, Jeremy Pelt, Wallace Roney, Terrace Martin, Jennifer Holiday, Harold Mabern, Steve Davis, J.D. Allen, The Brooklyn Philharmonic and many more. In addition to his first-call status as a sideman, Barber has recently stepped forth as a composer and leader with his Vision Ahead band. Even with Barber's history of high-profile gigs and recordings taken into consideration, DownBeat magazine gave his latest album “Legacy Holder” 4.5 stars. Jonathan Barber & Vision Ahead is a powerful declaration of intent for a band that's been making waves on the modern jazz scene. Barber's blend of classic, swinging jazz with elements of gospel, rock, soul, and fusion is a compelling showcase of Barber's broad stylistic range as a drummer, performer, and composer. Jonathan Barber & Vision Ahead was featured and headlined the 2018 Rainy Days Jazz Festival held in St. Petersburg and Moscow, Russia, 2019 Hartford Jazz Festival, and the 2020 Clifford Brown Jazz Festival. During Spring 2020, Jonathan Barber & Vision Ahead completed their first national tour performing throughout the West-Coast. Being an independent artist Jonathan Barber just released his third album with Vision Ahead entitled “Live at Jazz Standard” which is exclusively on Bandcamp. Also stepping into the role as a Drum Clinician, Barber toured as a solo clinician in Latin America (Mexico, Guatemala, Ecuador, Colombia, Argentina) and China (Kumming, Loyung, Hefei, Nanjing, Beijing). Barber endorses Ludwig Drums, Istanbul Agop Cymbals, Evans Drumheads, Promark Drumsticks, and Sunhouse Percussion. In this episode, Jonathan shares his background, education, and musical journey.

Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music (U California Press, 2021) explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the “countrypolitan” sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z's hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop's relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music (U California Press, 2021) explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the “countrypolitan” sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z's hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop's relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music (U California Press, 2021) explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the “countrypolitan” sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z's hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop's relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music (U California Press, 2021) explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the “countrypolitan” sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z's hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop's relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Hearing Luxe Pop: Glorification, Glamour, and the Middlebrow in American Popular Music (U California Press, 2021) explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the “countrypolitan” sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z's hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop's relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Lou Burno has worked as a professional bass player since the early 1960s, playing with both commercial and jazz groups. He performed with jazz legends John Mehegan, Dill Jones, Zoot Sims, Carmen Leggio, Toots Thielmans, and Bucky Pizzarelli, among others. He attended the Manhattan School of Music where he received both BMus and MMus degrees. After his training at Manhattan, he was a member of the Buffalo Philharmonic Orchestra for four seasons, and then moved to Vienna, Austria to study with Ludwig Streicher at the Vienna Hochschule für Musik. On returning to NYC in the late 1970s, he became a free-lance player, concentrating on both Broadway and concert work. Since his return he's been a member of the Brooklyn Philharmonic, American Symphony Orchestra, and the New York Pops. Among the many Broadway shows he's performed on are “A Funny Thing Happened on the Way to the Forum,” “End of the Rainbow,” and “Guys and Dolls.” Lou has also performed on the soundtracks to many major Hollywood films. He worked in Elaine Stritch's band for eleven years on her one-woman Broadway show, “Elaine Stritch at Liberty,” and her night club appearances at the Carlyle Hotel. He appears in the 2012 documentary film about her, entitled “Shoot Me.” Check out www.thebridgeportjazztrio.com

Dr. Kendall K Williams, son of Trinidadians, began playing pan at the age of 4 and later performed with large, world-renowned steel bands in Trinidad and Tobago as well as bands in the New York-based scene for years, then after studies in architecture, he graduated from Florida Memorial University with a BA in Music under the direction of Dr. Dawn Batson, with his main instrument being the steel pan. He continued to further his studies at NYU Steinhardt, where he pursued a Master of Music Degree in Music Theory & Composition, studying with Julia Wolfe, Michael Gordon, and Rich Shemaria. There he also actively participated in the NYU Steel band under the leadership of Artist Faculty member Josh Quillen. Kendall was awarded the opportunity to work with the Brooklyn Philharmonic on a project that involved steel pan and contemporary music compositions. From 2013 t0 2014 he was the Van Lier Fellow with the American Composers Orchestra and graduated with his PHD in music composition at Princeton University! One of his goals is establishing steel pan music programs in colleges and universities that will allow musicians to major in steel pan and heads the WIADCA educational/development programs for schools, especially as he teaches in elementary schools to universities. Dr. Williams sits as CEO of Pan in Motion, an organization that he started in 2014, to promote history, education, and sustainability in steel pan. He has played in the Macy's Parade and has won the People's Choice award and placed 4th at the Panorama steelpan competition this past September in his second year of competition. In honor of the steelpan, which is the only new instrument invented in the 20th century in its birthplace of the twin islands of Trinidad and Tobago, Kendall's dream is to own a building dedicated to the steelpan, its culture and history, with a steelpan museum, concert halls, performance spaces for mas and other aspects of carnival, rehearsal space, soundproof rooms for recordings, reading and teaching rooms, board rooms, artwork, storage for steel pans. He dreams of offering his employees: 401K retirement benefits, just like any other Fortune 500 company. He is passionate about raising the view of the steelpan to the level of rock, funk, soca, classical music in the eyes and ears of the world. Follow him at: https://www.paninmotion.com   --- Support this podcast: https://podcasters.spotify.com/pod/show/ozzie-stewart/support

Gregory Landes is a versatile musician, excelling as a drummer, percussionist, composer, educator, and arranger. His impressive orchestral credits include serving as a timpanist and percussionist for esteemed ensembles such as The New Jersey Symphony, Garden State Philharmonic, The New Haven Symphony, The American Symphony Orchestra, New York Chorale Society, The Brooklyn Philharmonic, Princeton Symphony, Albany Symphony, Little Orchestra Society of New York, Greenwich, Stamford, and Westchester Symphonies, Masterwork Chorale Orchestra, Goldman Band, and The New Jersey Wind Symphony.For the past three decades, Gregory has demonstrated his musical prowess as both a drummer and percussionist in over 50 Broadway and Off-Broadway productions. Notable mentions include his involvement in the 2019 Lyrics and Lyricists show "Live and in Living Color" at the 92nd St. Y, with Andy Einhorn and Rob Berman as musical supervisors, as well as his contributions to the 2018 musical "The Beast in the Jungle" by John Kander, directed and choreographed by Susan Stroman. He has also been involved in Director John Doyle's productions of "Pacific Overtures" and John Kander's "Kid Victory." Gregory played a crucial role in creating the drum and percussion book for John Kander's musical "The Landing."Gregory has an extensive list of credits in the world of theater, having performed as the original drummer and percussionist in productions of "How The Grinch Stole Christmas" on Broadway, in Chicago, Boston, and Madison Square Garden. He has also showcased his drumming and percussion skills in various other productions, including "Avenue Q," "Newsies," "In The Heights," "Curtains," "Wicked," "42nd Street," "Play Without Words," "Ragtime," "Les Miserables," "Falsettos," "Putting It Together" (with Julie Andrews), and many more.Additionally, Gregory Landes is a founding member of The Pit Stop Players, a chamber ensemble composed of highly sought-after freelance musicians in New York City. The group is dedicated to performing new works by emerging composers. Gregory's arrangements and pieces written for percussion ensemble can be found in publications by Bachovich Music Publications. He held the position of director of percussion studies at The Calhoun School in New York City and was involved with The Calhoun Percussion Ensemble. Furthermore, he serves as a drum and percussion instructor in the Encore Program at Ridgewood High School in New Jersey and has taught General Music and Percussion at The Pingry School.Gregory's talent has gained recognition from renowned musical instrument manufacturers, as he is endorsed by Paiste cymbals and is an Innovative Percussion artist. Since 1997, he has been performing alongside his brother Garah Landes, a pianist, as the duo Synchronicity. To learn more about their extensive performance history, interested individuals can visit their Facebook page, watch their videos on YouTube, or explore their website at www.synchronicitymusic.com. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Synopsis On today's date in 1873, a new piece by the German composer Johannes Brahms received its first performance by the Vienna Philharmonic. The piece was titled Variations on a Theme by Haydn, and was a big success at its premiere. Brahms must have heaved a great sigh of relief. For the previous 18 years, Brahms had struggled to complete his First Symphony, unconvinced that he had “the right stuff” to pull it off. In the summer of 1873, he wrote his Haydn Variations as a kind of personal test to see how audiences would react—and to bolster his own confidence. Lucky for us, it worked: Brahms returned to work on his First Symphony and went on to write four symphonies in all! On today's date in 1990, the Fourth Symphony of American composer Lou Harrison received its premiere by the Brooklyn Philharmonic. Much of Harrison's music has been influenced by non-Western traditions, especially the Javanese gamelan music, and his Symphony No. 4 is no exception. Harrison was 73 when this symphony premiered, and he dubbed it his “Last Symphony” —apparently agreeing with Brahms that four was enough. When asked what would happen should he decide to write still another, Harrison quipped, “I'll call it the ‘VERY Last Symphony.” Music Played in Today's Program Johannes Brahms (1833-1897) Variations on a theme by Haydn, Op. 56a Cleveland Orchestra; Christoph von Dohnanyi, conductor. Teldec 8.44005 Lou Harrison (1917-2003) Symphony No. 4 (Last Symphony) California Symphony; Barry Jekowsky, conductor. Argo 455 590

Synopsis There are several examples in the catalog of German Romantic composer Johannes Brahms, of works that emerged from his pen in contrasting pairs. The most famous being his two concert overtures: the comic and upbeat “Academic Festival Overture,” and the dark, stoic pessimism of his “Tragic Overture.” While composing the jaunty Academic Festival Overture in 1880, to acknowledge an Honorary Doctorate he had received the previous year from the University of Breslau, Brahms felt compelled to write a more serious companion piece. To his friend the publisher Simrock, he wrote: "I could not refuse my melancholy nature the satisfaction of composing an overture for a tragedy," To another friend, Carl Reinecke, he wrote, "One weeps, the other laughs." Hans Richter conducted the premiere of the “Tragic” Overture in Vienna on today's date in 1880, and the following month Brahms himself led the premiere of his “Academic Festival” Overture in Breslau. And the new works soon came to the New World: On November 12, 1881, the enterprising Theodore Thomas conducted the New York Philharmonic in the American premiere of the “Tragic” Overture, and one week later, the “Academic Festival” Overture as well with the Brooklyn Philharmonic. Music Played in Today's Program Johannes Brahms (1833–1897) — Academic Festival Overture, Op. 80 (New York Philharmonic; Kurt Masur, cond.) Teldec 77291 Johannes Brahms — Tragic Overture, Op. 81 (Vienna Symphony; Wolfgang Sawallisch, cond.) Philips 438 760

Synopsis Today we note the birthday anniversary of the American composer and teacher Wayne Barlow, who was born in Elyria, Ohio, on today's date in 1912, and died in Rochester, New York, in 1996. As a composer, Barlow is mostly remembered for a single work: a rhapsody for oboe and strings entitled “The Winter's Past,” first performed at the Eastman School of Music in 1938 by the Rochester Civic Orchestra under the direction of another noted American composer, Howard Hanson, with Eastman faculty oboist Robert Sprenkle as the soloist. Barlow received his bachelor's, master's and doctorate degrees from Eastman and taught there himself for over 40 years, eventually becoming chairman of the composition department, director of the school's electronic music studio, and dean of graduate studies. Barlow also served as organist and choirmaster at two churches in Rochester, and composed a set of hymn voluntaries for organ, covering the church year. Barlow once said, “While it's impossible to know everything involved in the art of music, it's just as impossible to be a totally successful teacher, or composer, or musicologist, or theorist, or performer, or conductor without knowing something about how ALL these pieces of the art fit together.” Music Played in Today's Program Wayne Barlow (1912 – 1996) – The Winter's Past (Humbert Lucarelli, oboe; Brooklyn Philharmonic; Michael Barrett, cond.) Koch 7187

On this episode of the RAISE Podcast Brent sits down with Maria Watson. Maria joined Pomona College in 2020 as Vice President for Advancement. As an Executive Officer of the College and reporting directly to the President, Watson oversees Pomona's development, principal and major gifts, gift planning, alumni and parent engagement, advancement services and advancement communications and events teams. The team of nearly 60 staff raises over $40 million per year and is currently preparing for the most ambitious campaign in Pomona's history to support the mission of one of the leading liberal arts colleges in the country.About MariaWatson was previously Associate Vice President for Development at the University of Southern California (USC), where she set strategic direction for major gift, regional and school/unit fundraising initiatives to realize the University's historic $7.2 billion campaign, “Fas Regna Trojae.” She was promoted to AVP of Development in 2014 after her successful tenure building philanthropic support for the University throughout the Northeast as the inaugural director of USC's New York Advancement office since 2011.Ms. Watson brings 25 years of experience in the non-profit sector in fundraising, marketing and public relations. Prior to the University of Southern California, she served as the Chief Development Officer for WFUV Public Radio, Fordham University in New York. During the course of her career, Ms. Watson has also held a number of senior positions in management, marketing and fundraising in performing arts organizations, including Lincoln Center, New World Symphony and Brooklyn Philharmonic. She spent seven years in marketing, ultimately as Director of Marketing and Communications for The Chamber Music Society of Lincoln Center. Her career began with the National Endowment for the Arts and Congressional Arts Caucus in Washington, DC.A native New Yorker, Ms. Watson earned a bachelor of musical arts degree from the University of Michigan in Ann Arbor on merit scholarship. She and her husband David live in Claremont, CA. An avid motorcyclist, she is a proud Ducatista on the street and track, and has taken up the futile pursuit of speeding on a race track.

Synopsis Is the customer always right? Apparently Giuseppe Verdi thought so–to a degree, at least. On today’s date in 1872, Verdi sent a note to his publisher with an attached letter he had received from a disgruntled customer, a certain Prospero Bertani, who had attended not one, but two performances of Verdi’s brand-new opera, “Aida.” Bertani said, “I admired the scenery... I listened with pleasure to the excellent singers, and took pains to let nothing escape me. After it was over, I asked myself whether I was satisfied. The answer was ‘no’.” Since everyone else seemed to think “Aida” was terrific, Bertani attended a second performance to make sure he wasn’t mistaken, and concluded: “The opera contains absolutely nothing thrilling or electrifying. If it were not for the magnificent scenery, the audience would not sit through it.” Bertini itemized his expenses for tickets, train fare, and meals, and asked Verdi for reimbursement. Verdi was so amused that he instructed Ricordi to pay Bertani – but not the full amount, since, as Verdi put it: “…to pay for his dinner too? No! He could very well have eaten at home!” COMPOSERS DATEBOOK is produced by APM, American Public Media, in collaboration with the American Composers Forum, reminding you that "all music was once new." Music Played in Today's Program Giuseppe Verdi (1813 - 1901) Aida excerpts On This Day Births 1697 - French violinist and composer Jean Marie Leclair, in Lyons; 1888 - Austrian-born American film composer Max Steiner, in Vienna; 1894 - Russian-born American film composer, Dimitri Tiomkin, in St. Petersburg; 1916 - American composer Milton Babbitt, in Philadelphia; Deaths 1760 - German composer Johann Christoph Graupner, age 77, in Darmstadt; Premieres 1876 - Wagner: "Festival March" (commissioned for the American Centennial), at the opening of the Centennial Exposition in Philadelphia, conducted by Theodore Thomas; 1894 - R. Strauss: opera "Guntram," in Weimar at the Hoftheater, with the composer conducting; 1904 - Alfvén: "Midsommarvaka" (Midsummer Vigil), in Stockholm; 1907 - Dukas: opera "Ariane et Barbe-Blue" (Ariane and Bluebeard),in Paris; 1954 - Rautavaara: "A Requiem in Our Time," in Cincinnati, with Cincinnati Brass Choir, Ernest N, Glover, conducting; This work had won First Prize in the Thor Johnson Composition Contest that year; 1957 - Shostakovich: Piano Concerto No. 2, in Moscow, by the USSR State Symphony, Nikolai Anosov conducting, with the composer's son, Maxim, as the soloist; 1964 - Roy Harris: "Epilogue to ‘Profiles in Courage'" for orchestra, in Los Angeles; 1985 - Peter Maxwell Davies: "An Orkney Wedding, with Sunrise" for orchestra with bagpipe solo, ay Boston's Symphony Hall, by the Boston Pops conducted by John Williams; 1985 - Michael Torke: "Ecstatic Orange," at the Cooper Union in New York, by the Brooklyn Philharmonic, Lukas Foss conducting; 1997 - Philip Glass: opera "The Marriage Between Zones Three, Four and Five" (based on the sci-fi novel by Doris Lessing), at the State Theater in Heidelberg (Germany); Others 1824 - American premiere of Mozart's opera "The Marriage of Figaro" (sung in English ) at the Park Theater in New York.

Synopsis Is the customer always right? Apparently Giuseppe Verdi thought so–to a degree, at least. On today’s date in 1872, Verdi sent a note to his publisher with an attached letter he had received from a disgruntled customer, a certain Prospero Bertani, who had attended not one, but two performances of Verdi’s brand-new opera, “Aida.” Bertani said, “I admired the scenery... I listened with pleasure to the excellent singers, and took pains to let nothing escape me. After it was over, I asked myself whether I was satisfied. The answer was ‘no’.” Since everyone else seemed to think “Aida” was terrific, Bertani attended a second performance to make sure he wasn’t mistaken, and concluded: “The opera contains absolutely nothing thrilling or electrifying. If it were not for the magnificent scenery, the audience would not sit through it.” Bertini itemized his expenses for tickets, train fare, and meals, and asked Verdi for reimbursement. Verdi was so amused that he instructed Ricordi to pay Bertani – but not the full amount, since, as Verdi put it: “…to pay for his dinner too? No! He could very well have eaten at home!” COMPOSERS DATEBOOK is produced by APM, American Public Media, in collaboration with the American Composers Forum, reminding you that "all music was once new." Music Played in Today's Program Giuseppe Verdi (1813 - 1901) Aida excerpts On This Day Births 1697 - French violinist and composer Jean Marie Leclair, in Lyons; 1888 - Austrian-born American film composer Max Steiner, in Vienna; 1894 - Russian-born American film composer, Dimitri Tiomkin, in St. Petersburg; 1916 - American composer Milton Babbitt, in Philadelphia; Deaths 1760 - German composer Johann Christoph Graupner, age 77, in Darmstadt; Premieres 1876 - Wagner: "Festival March" (commissioned for the American Centennial), at the opening of the Centennial Exposition in Philadelphia, conducted by Theodore Thomas; 1894 - R. Strauss: opera "Guntram," in Weimar at the Hoftheater, with the composer conducting; 1904 - Alfvén: "Midsommarvaka" (Midsummer Vigil), in Stockholm; 1907 - Dukas: opera "Ariane et Barbe-Blue" (Ariane and Bluebeard),in Paris; 1954 - Rautavaara: "A Requiem in Our Time," in Cincinnati, with Cincinnati Brass Choir, Ernest N, Glover, conducting; This work had won First Prize in the Thor Johnson Composition Contest that year; 1957 - Shostakovich: Piano Concerto No. 2, in Moscow, by the USSR State Symphony, Nikolai Anosov conducting, with the composer's son, Maxim, as the soloist; 1964 - Roy Harris: "Epilogue to ‘Profiles in Courage'" for orchestra, in Los Angeles; 1985 - Peter Maxwell Davies: "An Orkney Wedding, with Sunrise" for orchestra with bagpipe solo, ay Boston's Symphony Hall, by the Boston Pops conducted by John Williams; 1985 - Michael Torke: "Ecstatic Orange," at the Cooper Union in New York, by the Brooklyn Philharmonic, Lukas Foss conducting; 1997 - Philip Glass: opera "The Marriage Between Zones Three, Four and Five" (based on the sci-fi novel by Doris Lessing), at the State Theater in Heidelberg (Germany); Others 1824 - American premiere of Mozart's opera "The Marriage of Figaro" (sung in English ) at the Park Theater in New York.

International Recorded artist, composer, educator, and bandleader Jonathan Barber was voted the #1 Up-and-Coming Drummer of 2018 in Modern Drummer. Barber has already recorded and toured worldwide with such artists as Pat Metheny, Erykah Badu, Nicholas Payton, Buster Williams, Jimmy Greene, Jeremy Pelt, Wallace Roney, Terrace Martin, Jennifer Holiday, Harold Mabern, Steve Davis, J.D. Allen, The Brooklyn Philharmonic and many more. In addition to his first-call status as a sideman, Barber has recently stepped forth as a composer and leader with his Vision Ahead band. Even with Barber's history of high-profile gigs and recordings taken into consideration, DownBeat magazine gave his latest album “Legacy Holder” 4.5 stars. Jonathan Barber & Vision Ahead is a powerful declaration of intent for a band that's been making waves on the modern jazz scene. Barber's blend of classic, swinging jazz with elements of gospel, rock, soul, and fusion is a compelling showcase of Barber's broad stylistic range as a drummer, performer, and composer. Jonathan Barber & Vision Ahead was featured and headline the 2018 Rainy Days Jazz Festival held in St. Petersburg and Moscow, Russia, 2019 Hartford Jazz Festival, and 2020 Clifford Brown Jazz Festival. In this episode, Jonathan shares his background, education, and musical journey.    If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcasts, Google Podcasts, etc.  Connect with us on all social media platforms and at www.improvexchange.com

CHECK OUT POST-CLASSICAL ENSEMBLE'S NEWEST FILM THAT HE WAS TALKING ABOUT IN THE EPISODE: https://www.youtube.com/watch?v=1gnQakMpj4g Joseph Horowitz is currently the Executive Producer of Washington DC's cutting-edge classical music group, the PostClassical Ensemble. The Ensemble, called “one of the country's most innovative music groups” by The Washington Post, plays music in new and creative spaces, actively working to end the marginalization of the 21st Century listening experience. Horowitz also served as Executive Director of the Brooklyn Philharmonic and music critic for The New York Times. In addition to his work at PostClassical, Horowitz keeps up a busy touring schedule where he produces innovative and out-of-the-box concerts for orchestras around the United States. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thefortepodcast/message Support this podcast: https://anchor.fm/thefortepodcast/support

Jesse Krakow is a multi-instrumentalist who has worked with Nona Hendryx (LaBelle), Kate Pierson (The B-52's), The Shaggs, Shudder To Think, Aaron Freeman (Ween), Gail Ann Dorsey (David Bowie/Kenny Kravitz), Gary Lucas (Captain Beefheart/Jeff Buckley), John Zorn, Julee Cruise ("Twin Peaks"), Jello Biafra (Dead Kennedys), Ruins, Gilbert Gottfried, Paul Rudd, The American Contemporary Music Ensemble, The Losers Lounge, and many more. He has recordings out on Sony, Atlantic, Tzadik, Team Love, New Amsterdam, Cuneiform, Relapse, Crucial Blast, Public Eyesore, among others. From April 2012-September 2013 he was the host of "Minor Music" on WFMU, and in 2013 he was awarded a Fellowship by The Brooklyn Philharmonic. He was a Professor at Bootsy Collins' Funk University and is founder of "J.A.M" - Jesse Academy of Music, which specializes in musical education, composition, production, and live performance for young musicians. Currently he is the musical director of MANDONNA, a 9-piece all-male Madonna tribute band in NYC. His latest album is "The W.A.M Album", a collection of songs from the world of professional wrestling. --- Support this podcast: https://anchor.fm/wrestlingandeverything/support

There are few musical moments more well-worn than the first four notes of Beethoven's Fifth Symphony. But in this short, we find out that Beethoven might have made a last-ditch effort to keep his music from ever feeling familiar, to keep pushing his listeners to a kind of psychological limit. Big thanks to our Brooklyn Philharmonic musicians: Deborah Buck and Suzy Perelman on violin, Arash Amini on cello, and Ah Ling Neu on viola. And check out The First Four Notes, Matthew Guerrieri's book on Beethoven's Fifth. Support Radiolab today at Radiolab.org/donate. 

In today’s episode we’re speaking with drummer and composer Jonathan Barber. We discussed his early musical upbringing, his time at the Jackie McLean Institute, his strategy for joining your dream band, the best mindset for success, working with Pat Metheny, and much more.Support the Podcast: https://berniesbootlegs.com/supportConnect with Jonathan:Website: http://jonathanbarbermusic.com/Instagram: https://www.instagram.com/jonathanb_live/YouTube: https://www.youtube.com/channel/UC-eE3V1WYdHvc5f2MzU6zmAFacebook: https://www.facebook.com/jonathanbarberartistpage/Connect with Bernie's Bootlegs:Website: http://berniesbootlegs.com/Instagram: https://www.instagram.com/berniesbootlegsFacebook: https://www.facebook.com/berniesbootlegsTwitter: https://twitter.com/berniesbootlegsYouTube: https://www.youtube.com/c/berniesbootlegs1Email: berniesbootlegs@gmail.comAppended biography, courtesy of jonathanbarbermusic.com:"Jonathan Barber & Vision Ahead is an ascendant New York jazz quintet led by Modern Drummer’s “#1 Best Up-and-Coming Drummer of 2018,” Jonathan Barber. Only 29 years old, Mr. Barber has already worked with artists such as Pat Metheny, Nicholas Payton, Buster Williams, Kenny Barron, Jeremy Pelt, Jimmy Greene, J.D. Allen, Harold Mabern, Larry Willis, Steve Davis, The Brooklyn Philharmonic, and Erykah Badu. Now, he’s stepping out in full force as a bandleader. DownBeat magazine calls Vision Ahead’s self-titled debut album Barber’s “greatest accomplishment to date,” but make no mistake, this group is more than the Jonathan Barber Quintet; this is unmistakably “Vision Ahead,” a distinctive and close-knit group of musicians who have been working toward this moment for years. Featuring Godwin Louis on saxophone, Andrew Renfroe on guitar, Matt Dwonszyk on bass, and Taber Gable on piano, Vision Ahead offers a fresh blend of classic jazz with elements of gospel, rock, soul, and fusion that’s already attracting listeners across generations. Even when they’re playing hard—and they do reach some thrilling crescendos—this extremely dynamic band always feels impeccably sharp and in control, cool far beyond their years. Barber also shows quite a gift for pacing in his new compositions, with each song boasting a real sense of progression that’s balanced with a proper spotlight on his bandmates’ noteworthy improvisations. Barber is the main composer but each member of the band contributes compositions and arrangements. With strong melodic motifs and almost every extended solo accompanied by new forms or themes, Barber’s music strikes the rare balance of maintaining a clear emotional through-line while still providing each soloist a fresh foundation on which to build. Jonathan Barber & Vision Ahead has performed at The Jazz Standard, BMCC Tribeca Performing Arts Center, Scullers Jazz Club, Smalls Jazz Club, Dizzy’s Club Coca Cola, Rockwood Music Hall, Smoke Jazz Club, The Cell, Minton’s Playhouse, Black Eyed Sally’s, The Side Door and other notable music venues. In August of 2018 this band headlined the Rainy Days Festival held in St. Petersburg and Moscow, Russia. The name “Vision Ahead” holds deep personal significance to Barber..."Support the show (http://berniesbootlegs.com/support)

***We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies!*** Sign up by 10/31 for a chance for you and a friend to chat with The Brass Junkies! TBJ121: Trumpeter Wayne du Maine on working with Bernstein and Prince, but not at the same time. He is one of the busiest and most successful musicians working today and he shares how he balances it all with a smile on his face. From his bio: A native of St. Louis, Wayne J. du Maine currently performs with the Metropolitan Opera Orchestra, Orpheus Chamber Orchestra, American Composers Orchestra, New York City Opera, Rodney Mack Philadelphia Big Brass, Chamber Music Society of Lincoln Center and with contemporary music ensembles such as Speculum Musicae, Sospeso, and ST-X Xenakis. Mr. du Maine is a member of the Manhattan Brass and with Mercury and the Brooklyn Philharmonic Brass Quintets, he is dedicated to performing and introducing live music to thousands of school children in the NYC area, NJ and PA. Wayne has worked with a broad spectrum of artists ranging from Leonard Bernstein and Leonard Slatkin to Hank Jones, Wynton and Branford Marsalis, Patti Lupone and Audra MacDonald. He has been a soloist with the orchestras of St. Louis, Cincinnati and Pittsburgh. He can be heard on recordings with the New York Philharmonic, Met Opera Orchestra, numerous commercials, motion pictures and with Prince on his New Power Soul recording. Mr. du Maine is on the faculty of Columbia and Princeton Universities as well as Bar Harbor Brass Week. At the Juilliard School, Wayne teaches trumpet in the Music Advancement Program and serves as a teaching assistant in the Instrumental Music Program. He is also on the conducting faculty of the Elisabeth Morrow Summer Strings and now is Music Director of the Concert Band and Jazz Ensemble at the Elisabeth Morrow School. Recently, Wayne made his Brooklyn Philharmonic conducting debut to critical acclaim and will make his Westchester Philharmonic debut in Spring, 2011. Mr. du Maine has performed at music festivals in Aspen, Spoleto, Tanglewood, Vermont Mozart, Bowdoin, Marlboro, Berkshire Choral, and the Manchester (VT) Music Festival. Wayne just completed a two year run of Fiddler on the Roof where he was associate conductor. He is currently a member of the show How The Grinch Stole Christmas and has served as associate conductor at the hit revival of South Pacific at Lincoln Center. Highlights of recent performances include the Boys Choir of Harlem, Take 6, Martha's Vineyard Chamber Music Society, Absolute Ensemble, soloist with the Cincinnati Symphony, Peter, Paul and Mary, and the rock band Jesus H. Christ, where he plays keyboards. A member of two softball leagues in Central Park, Wayne resides in New Jersey with his wife, Sharon and daughter Sequoia. In this fun and lively discussion, we cover: Stanley Cup/St. Louis Blues NYU brass program Learning the ropes as an administrator Recruiting and fundraising Negotiating and the art of pricing 1990 Tanglewood performance of Copland's Third Symphony under Bernstein Conducting Scotch and cigarettes Prioritization and scheduling Playing in the stage bands at The Met Mark Gould Portfolio career/freelancing Looking 7-9 months ahead to manage uneven income Playing on Broadway while still in school The importance of sightreading How he guides his students Wayne du Maine's Beer Course With Trumpet Recording with Prince Links: NYU Steinhardt Brass page Manhattan Brass Westchester Philharmonic NY Times article Wayne du Maine's Beer Course With Trumpet Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies! Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Adam Teeter's experience ranges from working for the Consulate General of Israel, the Brooklyn Philharmonic, Tablet Magazine, and creating Vivo in Vino, a wine and music site to name a few. Adam is the Co-founder and CEO of VinePair, a media company about wine, beer and spirits. It's HRN's annual summer fund drive, this is when we turn to our listeners and ask that you make a donation to help ensure a bright future for food radio. Help us keep broadcasting the most thought provoking, entertaining, and educational conversations happening in the world of food and beverage. Become a member today! To celebrate our 10th anniversary, we have brand new member gifts available. So snag your favorite new pizza - themed tee shirt or enamel pin today and show the world how much you love HRN, just go to heritageradionetwork.org/donate The Grape Nation is powered by Simplecast.

Episode 100! John Mackey joins me for a conversation about his hugely successful career, from Commodore 64 through his remarkable "Places We Can No Longer Go" that was recently premiered at CBDNA 2019! Topics: The story of how John went from writing primarily chamber and orchestral music to becoming one of the most celebrated composers of music for wind ensemble and band. John’s background growing up and learning music and how to compose not in a traditional band, choir, or orchestra but instead on his computer through thousands of hours entering music via a joystick and reverse engineering what he was transcribing. The value of self publishing and the story of John’s growth from printing and shipping everything himself to having two employees to handle his current workload. The impact of writing dance music and how it’s influenced his compositional style and then an extended discussion of impostor syndrome, including John’s feelings about his most recent work Places We Can No Longer Go written about his mother’s battle with dementia and premiered at CBDNA just this past weekend. Links: johnmackey.com/ostimusic.com Mackey: Redline Tango Mackey: Wine Dark Sea Ravel: Concerto for the Left Hand Biography: John Mackey has written for orchestras (Brooklyn Philharmonic, New York Youth Symphony), theater (Dallas Theater Center), and extensively for dance (Alvin Ailey American Dance Theater, Parsons Dance Company, New York City Ballet), but the majority of his work for the past decade has been for wind ensembles (the fancy name for concert bands), and his band catalog now receives annual performances numbering in the thousands. Recent commissions include works for the BBC Singers, the Dallas Wind Symphony, military, high school, middle school, and university bands across America and Japan, and concertos for Joseph Alessi (principal trombone, New York Philharmonic) and Christopher Martin (principal trumpet, New York Philharmonic). In 2014, he became the youngest composer ever inducted into the American Bandmasters Association. In 2018, he received the Wladimir & Rhoda Lakond Award from the American Academy of Arts and Letters. He resides in Cambridge, Massachusetts, with his spouse, A.E. Jaques, who titles all of his pieces (and also teaches at MIT). ---- Thanks for listening! If you are finding value from these interviews, please consider becoming a supporter of the podcast by visiting www.patreon.com/markjconnor. For just $2 a month you can help me bring these great interviews to the band community.

This week, we bring you an interview with Indiana University double bass professor Kurt Muroki. Kurt is an outstanding performer, teacher, and artist, and we had a great conversation about teaching, learning, and performing. Enjoy! About Kurt Muroki: Former Artist Member with the Chamber Music Society of Lincoln Center, Professor Kurt Muroki began his musical studies on the violin at the age of six and subsequently performed concerti with the Honolulu Symphony and the Maui Symphony. Mr. Muroki went on to study the Double bass at the age of 13 and entered the Juilliard School of Music at 17 studying with his teacher / mentor Homer R. Mensch.   At the age of 21 Kurt began performing with the internationally renowned Sejong Soloists under ICM Management. Kurt has performed with the The Jupiter Chamber Players, Speculum Musicae, “Great Performers” series at Lincoln Center, Ensemble Sospeso, Sequitur, The Metropolitan Opera Orchestra, Brooklyn Philharmonic, American Composers Orchestra, Tokyo Opera Nomori, New York City Ballet, 92nd St. Y, and Bargemusic. Festivals include Marlboro Music Festival, Festival L’Autonne at IRCAM, and Aspen Music Festival to name a few. Kurt is also active playing movies, commercials, popular, and classical recordings with titles including the Oscar winning film “The Departed”, “Extremely Loud and Incredibly Close”, “Hitch”, “Julie and Julia”, “The Manchurian Candidate”, “Roger Daltrey Sings Pete Townshend” – The Who, Sting, Peter Gabriel, and Itzhak Perlman.   Mr. Muroki has won numerous competitions including 1st prize in the Aspen Music Festival double bass competition, the first bassist to win the New World Symphony concerto competition, and the Honolulu Symphony Young Artists competition. He has collaborated with members of the Guarneri, Juilliard, Tokyo, Orion quartets, Ensemble Wein-Berlin, Jaime Laredo, Lynn Harrell, Maurice Bourgue, Toru Takemitsu, Peter Schickele, John Zorn, and Brian Ferneyhough among others, and has performed concerto tours throughout Asia and the United States. Professor Muroki is currently tenured faculty at the Jacobs School of Music at Indiana University, Artist/Lecturer at Stony Brook University, Distinguished Artist at the McDuffie Center for Strings at Mercer University, faculty/Director of the Kaplan Fellowship program at the Bowdoin International Music Festival, teaches at New York String Orchestra Seminar, and has been a judge at the Yale Gordon Competition at Peabody Conservatory, ASTA, and others. Mr Muroki is a past Board Member of the International Society of Bassists and is a D’Addario Strings Artist.

Conrad is a New York based composer who writes opera, symphonic music, chamber music, and music for his ensemble of amplified instruments and voices. His works have been performed at Carnegie Hall, Brooklyn Academy of Music (BAM), Davies Symphony Hall in San Francisco, and numerous clubs and alternative performance spaces. Groups performing his music include Brandywine Baroque, Avian Orchestra, the Brooklyn Philharmonic, the Louisville, New Jersey, and Indianapolis Symphonies, and the San Francisco Opera Center. You can listen to more of his music at www.conradcummings.com.In our conversation we talk about how he ended up studying at Yale, his experience being in an academic environment at Columbia, and how he works within the opera world.

  Today Laura Theodore, the Jazzy Vegetarian welcomes Vegetarian Nellie McKay who has won a Theatre World Award for her portrayal of Polly Peachum in the Broadway production of The Threepenny Opera and performed onscreen in the film PS I Love You. We’ll chat about her new CD, Home Sweet Mobile Home and we’ll share fun recipes! McKay has written original music for the Rob Reiner film Rumor Has It and has contributed to the New York Times Book Review. Her music has also been heard on the TV shows Weeds, Grey’s Anatomy, NCIS, Privileged and Nurse Jackie.Nellie has appeared on numerous TV shows including Late Show with David Letterman (with the Brooklyn Philharmonic), The View, Late Night with Conan O’Brien, Late Late Show with Craig Ferguson, Live with Regis & Kelly and CBS Saturday Morning. Nellie recently finished contributing to the soundtrack for the HBO series Boardwalk Empire.  A recipient of The Humane Society’s Doris Day Music Award in recognition of her dedication to animal rights, Nellie is known as an outspoken and fierce advocate for feminism, civil rights and other deeply felt progressive ideals.

Jody Oberfelder received a dream commission from the Brooklyn Philharmonic--to choreograph Stravinsky's "A Soldier's Tale" for a May 9th performance at the Brooklyn Academy of Music (BAM). Little did she realize that her project would become a casualty of New York's economic crisis when, like so many other arts institutions, the Philharmonic was forced to slash its budget. Oberfelder joined me today to talk about her re-imagining of "A Soldier's Tale," the ironic relevance of its theme and her renewed efforts to bring this production to life. Web site of Jody Oberfelder Dance Projects: http://www.jodyoberfelder.com Daniel Goode's Critical Mass (U.S. premiere), with choreography by Jody Oberfelder, Thursday, April 30, 8pm at Greenwich House Music School, 46 Barrow St., (near Bleecker and 7th Avenue), Manhattan. For more information, call 212-242-4770 http://www.myspace.com/northrivermusic http://www.danielsgoode.com (c)2009, Eva Yaa Asantewaa, http://infinitebody.blogspot.com

We’re wrapping up our interview with double bassist Peter Seymour this week on Contrabass Conversations. We began this interview on episode 53, so be sure to check this episode out if you missed it! Peter has performed for the New World Symphony and spent a season playing with the Cleveland Orchestra, and he is now involved with an exciting new trio called Project. This group is made up of Peter on bass, Eric Stephenson on cello, and Greg Patillo on flute. Learn more about Project at projecttrio.com. This episode, we discuss:   how Project (which is both a group and a nonprofit organization) came to be playing in the style of today their upcoming Brooklyn Philharmonic presentation how although classical musicians are some of the most creative people out there, we can be very passive professionally how Project for Peter is a full-on business how the wide network of contacts he’s made over the years in professional orchestras across the country are paying off now with Project similarities between the orchestral path and what Peter’s doing with Project in terms of outlook and work ethic balancing the administration of Project with practicing and finding time to continue to grow musically   Although Peter has focused on obtaining a position in a major orchestra for many years, he is now focused on creating new creative outlets with Project, and his decision to strike out on his own with this great trio is an example of musical entrepreneurship at its finest. Be sure to pick up a copy of Winter in June, the new release from this killer trio. Enjoy!   Videos from Project: http://www.youtube.com/watch?v=Cf6tuisazQA http://www.youtube.com/watch?v=MDYPuwZcfdk About Peter: Dallas native Peter Seymour has performed with a multitude of highly acclaimed artists and ensembles. As a member of the Cleveland Orchestra he performed under the baton of Franz Welser-Möst and in the New World Symphony under the direction of Michael Tilson Thomas. He was the recipient of the Downbeat Magazine Award for Best Jazz Soloist in 1996 and has appeared with Wynton Marsalis, Roy Hargrove, and Bobby McFerrin. The son of an educator, Peter has been very active in planning and performing community outreach activities throughout the country and served as events coordinator for the New World Symphony Orchestra from 2001-2004. He received a Bachelor of Music degree from the Cleveland Institute of Music and a Master’s Degree in Bass Performance from Rice University where he was a student of Paul Ellison. Peter is active composing and performing with PROJECT, the ensemble he co-founded with cellist Eric Stephenson. He presently resides in New York City. About Project: PROJECT is a dynamic young group that is exciting audiences with their energy and innovative style. Their sound can only be described as a fusion of jazz, hip-hop, and world music – balanced out by a sincere allegiance to their classical roots. By combining the classical repertoire with original compositions, PROJECT reaches out to new audiences. Through performance and outreach/education concerts, we can provide access for the next generation of music lovers. Tracks played: From ‘Winter in June’ by Project – available at http://cdbaby.com/cd/projectmusic