Podcasts about cabrillo festival

Send us a Text Message.Can sound transform your everyday life into a symphony? Join us on Speak for Change as we explore the extraordinary creative world of Bora Yoon, an interdisciplinary artist and musician. From her early days with classical instruments to her passion for choral and experimental music, discover how influential artists like Ani DiFranco, Tori Amos, and Björk shaped her journey. Bora opens up about her unique approach to music, the significance of archetypal personas, and how dream language deeply influences her performances.Dive into the captivating interplay between sound, noise, and music as Bora elucidates the concept of perfect pitch and its magical ability to turn mundane sounds into compelling musical compositions. We discuss the fusion of sound design and music composition, drawing parallels to surrealist films and the evocative power of sound memories. This episode brings to light the challenges creative individuals face, from economic hurdles to personal limitations, and how these obstacles can sometimes fuel innovative artistry.Experience the eclectic world of orchestral percussion and experimental notation through Bora's lens, highlighting her piece "Parhelion" created for the Cabrillo Festival. The conversation touches on the intricate process of integrating diverse musical elements, the influence of astrology, and the spiritual impact of natural phenomena on her work. We reflect on the evolving arts landscape, the importance of diverse musical identities, and the need for an inclusive music theory curriculum. This episode is a treasure trove for anyone passionate about the boundless possibilities of creative expression in music.Support the Show.

Send us a Text Message.https://www.theandyhudson.com/Ever wondered how a simple mix-up could change the course of a musician's life? Join us on Speak for Change as Andy Hudson, a talented clarinetist and educator, recounts the amusing story of how he ended up with a clarinet instead of the saxophone he originally desired. Through a blend of humor and passion, Andy shares his remarkable evolution from reluctantly playing the clarinet to discovering his profound love for the bass clarinet, an instrument he now champions for its marimba-like range and versatility in the orchestra.Experience the captivating world of contemporary and experimental music as Andy takes us through a memorable performance of an Alvin Lucier piece in a Chinese restaurant. Discover the power of music in unconventional venues and the importance of connecting with young audiences through new stories and compositions. Through collaborations with composers like Yvonne Rodriguez, whose works explore themes of migration, Andy illustrates how contemporary music can foster empathy and enrich our understanding of classical repertoire, ultimately bridging cultural gaps and enhancing humanity.Explore the significance of play, experimentation, and community engagement in shaping the future of orchestral music. Andy highlights the challenges and triumphs of integrating new voices into traditional orchestra settings, celebrating the Cabrillo Festival's role in promoting innovation. From the transformative power of bringing orchestral music to local communities to the dedication of musicians interpreting contemporary works, this episode emphasizes the importance of inclusivity, accessibility, and the joy of continuous artistic exploration. Tune in for an inspirational journey that underscores how music can drive personal and collective transformation.Everyone's Music School Creating positive and lasting change in people's lives with music!Cabrillo Festival of Contemporary Music Transform the orchestral experience for artists & audiences by building a vibrant community &more Ignite NexusConsulting, life & executive coaching for organizations & individuals. Start the journey today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

Send us a Text Message.https://vivianfung.ca/What if discovering your cultural roots could transform your life's work? Join us for an unforgettable episode of Speak for Change as we sit down with Vivian Fung, a world-renowned, award-winning composer whose incredible journey from Canada to the global stage is steeped in her rich Chinese heritage. Vivian shares her early start at age four with the piano, influenced by her "tiger mom" and a pivotal piano teacher who recognized her extraordinary talent, ultimately becoming a lifelong friend. One of the most touching moments in this episode is Vivian's recounting of her 2023 piece "Parade," illustrating the profound impact that supportive mentors and creativity have had on her career.Vivian also opens up about her 20-year odyssey of self-discovery through music, marked by her deep connection with non-Western compositions, particularly Gamelan music. Her transformative experience creating an award-winning violin concerto, created in collaboration with her former student, Kristen Lee. This profound chapter underscores how personal relationships and cultural exploration have significantly shaped her artistic expression, reflecting the complexities of her identity as a second-generation immigrant in Canada.But that's not all; we delve into Vivian's spiritual connection to her creative process and the disciplined nature of her daily rituals. Learn about how the act of composing serves as her sanctuary, a place for reflection and connection to something greater. Vivian also touches on how becoming a parent has shifted her perspective, influencing her compositions and broader humanistic goals. From the emotional story behind her piece "Parade" to her diverse musical influences, including Metallica and Cambodian hard rock, this episode offers a heartfelt exploration of the challenges and triumphs in Vivian Fung's remarkable musical journey.Cabrillo Festival of Contemporary Music Transform the orchestral experience for artists & audiences by building a vibrant community &more Everyone's Music School Creating positive and lasting change in people's lives with music!Ignite NexusConsulting, life & executive coaching for organizations & individuals. Start the journey today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

Send us a Text Message.https://www.ivanrodriguezmusic.com/What if classical music has always been a subtle yet powerful form of activism? Join us as we explore this fascinating idea with our special guest, Iván Enrique Rodríguez, a talented composer, mental health advocate, and activist from Puerto Rico. Iván shares his incredible journey, starting from the challenges of navigating a colonized education system and cultural identity in Puerto Rico to making his mark in the classical music world in the United States. Listen as he reflects on the resilience required to thrive as a person of color in predominantly white spaces and the continuous struggle for representation and recognition in the arts.Iván's story is one of triumph over adversity. Raised in a strict Pentecostal family while discovering his identity as a gay man, Iván faced profound challenges, including family rejection and homelessness. Despite these obstacles, his passion for music never wavered. A life-changing encounter with Mahler's Third Symphony ignited his commitment to composition, leading to a prolific portfolio and formal studies in music composition. Iván gives us an intimate look into his creative process, from his preferred composition software to the transformative moments that have defined his career.The episode also delves into the diverse influences that shape Iván's music, from Puerto Rican folk traditions to modern genres. We discuss the critical role of empathy in the arts and the importance of genuine outreach by orchestras to black and brown communities. Iván's latest work, "Casting the Dice," commissioned by the Cabrillo Festival, tackles themes of immigration and asylum seeking, drawing from real-life stories to create a powerful narrative. Tune in for an inspiring conversation that highlights music's ability to foster empathy, drive social change, and transform lives.Cabrillo Festival of Contemporary Music Transform the orchestral experience for artists & audiences by building a vibrant community &more Ignite NexusConsulting, life & executive coaching for organizations & individuals. Start the journey today!Everyone's Music School Creating positive and lasting change in people's lives with music!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

Send us a Text Message.https://www.rileynicholson.com/https://cabrillomusic.org/What does it take to be a budding composer and also leader in the world of contemporary music? Riley Nicholson, Executive Director of the Carrillo Festival of Contemporary Music, and Neo classical composer, takes us through his compelling journey from his early days in percussion and piano to his present role in arts administration. Hear about the mentors who shaped his path, the unique challenges of focusing on composition during his college and graduate years, and his personal evolution in finding his own voice within the vast landscape of contemporary neoclassical music.Curious about the balance between artistic vision and executive leadership? Riley shares his experiences moving from the creative sphere into the world of arts administration, emphasizing the fulfillment that comes from supporting the broader arts community. Learn about the essential qualities that make an effective arts administrator, from understanding diverse musical styles to translating artistic visions into reality. Discover how Riley's leadership is making impactful contributions within the arts sector, driven by a mission that marries creativity with executive acumen.Riley also offers insight into the complexities of orchestral funding models, audience engagement, and the need for inclusivity in the arts. From inspiring encounters with renowned composers like John Adams to the profound influence of genre-bending artists such as Tim Hecker and Arca, this episode is a treasure trove of musical inspiration. Everyone's Music School Creating positive and lasting change in people's lives with music!Cabrillo Festival of Contemporary Music Transform the orchestral experience for artists & audiences by building a vibrant community &more Ignite NexusConsulting, life & executive coaching for organizations & individuals. Start the journey today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

Send us a Text Message.What if achieving your ideal physical self still leaves you feeling unworthy? In this heartfelt episode of Speak for Change, I uncover the transformative power of self-love through personal anecdotes and meaningful discussions. Join me, Thomas Sage Pedersen, as I share my journey from struggling with body weight to realizing that societal pressures often promote self-hatred as a catalyst for change. We'll explore how practicing self-love and acceptance can lead to a truly fulfilling life while diving into the concept of manifestation and the necessity of feeling worthy from within to achieve our goals.We'll also delve into the balance of critique and acceptance, drawing lessons from the civil rights movement to inform modern activism. Learn why love, empathy, and strategic action are more powerful than immediate confrontation. We discuss pressing issues like affordable housing, urging activists to ground their movements in genuine values rather than capitalist self-interest. Finally, I'll encourage you to release rigid narratives and embrace gratitude, love, respect, and decency, allowing new insights and creative solutions to flourish. Tune in and uncover the magic of self-love and transformative conversations.Everyone's Music School Creating positive and lasting change in people's lives with music!Cabrillo Festival of Contemporary Music Transform the orchestral experience for artists & audiences by building a vibrant community &more Ignite NexusConsulting, life & executive coaching for organizations & individuals. Start the journey today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the Show.

About EpisodeAs the sun sets on Ellen Primack's storied career at the Cabrillo Festival of Contemporary Music, she graces us with her profound insights into the festival's tapestry, woven with innovation and community spirit. Reflecting on her 32-year tenure, Ellen opens up about the festival's metamorphosis from its bohemian inception to a bastion of contemporary composition; a journey marked by the birth of new music and the nurturing of artistic careers. Our conversation traverses the festival's pivotal moments, understanding its heartbeat through the shared passions and collective efforts that have solidified its place in Santa Cruz's cultural landscape.Ellen and I cast a light on the transformative power of music, especially poignant during times of adversity like the recent pandemic. The festival's ability to reconnect and reinvigorate not only musicians but also the community at large stands as a testament to its foundational role within the arts. As Ellen speaks of the festival's impact, it's clear that it transcends the stage, embedding itself in the personal narratives of those it touches, inspiring growth, and defining careers.The finale of our dialogue with Ellen unveils a vision for the future, one where the baton of leadership is passed to invigorate the next wave of artistic directors and community leaders. Support the show

FInd Teaganhttps://persephonephoenix.com/https://www.teaganfaran.comhttp://www.instagram.com/teagbbyAbout TeaganA native of Buffalo, NY, Teagan Faran is a multidisciplinary musician focused on enacting social change through the arts. Faran has collaborated with the International Contemporary Ensemble, Alarm Will Sound, Palaver Strings, and the Cabrillo Festival Orchestra. Recent recording features include albums with Carlos Simon, La Martino Orquesta Típica, and loadbang. She has had compositions featured at the NYSSMA Conference and the Persis Vehar Competition for Excellence. Also active in the world of tango music, she has performed with Victor Lavallén and the Orquesta Escuela de Emilio Balcarce, as well as at festivals across the United States. As a soloist, Faran has performed throughout the United States, Italy, Argentina, Germany, México, and Canada, including appearances with the Buffalo Philharmonic, the Uptown Philharmonic, the Greater Buffalo Youth Orchestra the Ann Arbor Camerata, the Williamsville East Symphonic Orchestra, and the University of Vermont Symphony. Administratively, she has held internship positions in the Marketing and Education Departments of the Buffalo Philharmonic, and Education and Concerts/Touring with Jazz at Lincoln Center. She founded Ann Arbor arts collective Red Shoe Company and worked as a teaching artist with the Kennedy Center, the University Musical Society  and the Sphinx Organization.After graduating from the University of Michigan, Faran moved to Buenos Aires on a Fulbright grant. Faran was also a Turn The Spotlight Fellow, receiving their inaugural Hedwig Holbrook Prize. Faran participated in OneBeat, a fellowship in musical diplomacy, DeeDee Bridgewater's Woodshed Network, and recently graduated from the Manhattan School of Music, where she studied Contemporary Performance. She performs in the electroacoustic duo Persephone & the Phoenix as well as being a certified personal trainer, with a focus on career longevity for performers. Faran currently teaches violin and runs the Electronic Experimentation Lab at DePauw University.Support the show

Find Adam!Instagram: http://www.instagram.com/adamhappyberryAbout Adam Sadberry Named one of The Washington Post's 23 for ‘23, flutist and educator Adam W. Sadberry is paving a distinctive career with his citizenry, creativity, and vibrancy both on and off stage. As a winner of Concert Artists Guild's 2021 Victor Elmaleh Competition, he is making debuts in the 22/23 season with Chamber Music Detroit, Newport Classical, Scottsdale Performing Arts, Macon Concert Series, Strings Music Festival, Pro Musica: San Miguel de Allende, Northeast Kingdom Classical, Glema Mahr Performing Arts Center, Dumbarton Concerts, and more. Adam is tremendously excited to make his Merkin Hall debut in NYC during March 2023 where he will premiere a composition by Dameun Strange that is inspired by Adam's late grandfather and unsung hero of the Civil Rights Movement, L. Alex Wilson. Adam's commitment to citizenry is reflected through his collegiate work. He is on faculty at the University of Minnesota (Twin Cities) for the spring 2023 semester, and he has given residencies at Lawrence University, Northern Michigan University, South Carolina Governor's School for the Arts and Humanities, and Wesleyan College (GA). Adam has had performance engagements at Indiana University (Bloomington), Pepperdine University, and Georgia Southwestern State University, and he has given masterclasses at New York University, Oakland University, University of Memphis, Rhodes College, and the Harmony Project (Los Angeles). Adam's work revolves around identity, his grandfather's legacy, and mindfulness that is informed by Alexander Technique. His most popular lectures are Using Your Identity to Create a Relevant Voice in Music and Musical Journalism: Continuing a Legacy Through the Flute.Along with his solo and educational work, Adam has a strong foundation in orchestral playing. He is the principal flutist of the Cabrillo Festival of Contemporary Music in Santa Cruz, CA, he has played principal flute with the St. Louis and Detroit Symphony Orchestras, and he has previously held positions with orchestras including acting principal flute with Memphis Symphony Orchestra, flute and piccolo with the Des Moines Metro Opera, and orchestra fellow with the Detroit Symphony Orchestra. He has also performed with the Minnesota Orchestra, Seattle Symphony Orchestra, Sphinx Symphony Orchestra, and the New World Symphony. Adam can be heard playing on the soundtrack of Disney's The Lion King (2019) and in the Hollywood Bowl's Juneteenth Celebration (2022) that included artists such as Chaka Khan, Ne-Yo, Billy Porter, Questlove, and Earth, Wind, and Fire.Adam is currently enrolled in the Training Course at the Minnesota Center for The Alexander Technique as a 2023 Judith Leibowitz Scholar, and he holds a Bachelor of Music and Performer's Certificate from the Eastman School of Music. Outside of music, Adam finds joy in rollerskating, listening to podcasts, reading, playing video games, and spending time outdoors. Everyone's Music School Creating positive and lasting change in people's lives with music!Twdcc's Black health Matters Initiative Promotes equity to improve the quality of life for Black residents in Santa Cruz CountyDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

This week's episode features Jarrett McCourt. Jarrett has been named one of Canada's “hottest 30 classical musicians under 30”, and currently serves on faculty at Vanderbilt University, and performs as Principal Tuba with the Ann Arbor Symphony Orchestra and the Cabrillo Festival of Contemporary Music, and has appeared with some of the world's top ensembles including the Chicago Symphony Orchestra, the Utah Symphony Orchestra, the Detroit Symphony Orchestra, the Milwaukee Symphony Orchestra, l'Orchestre Symphonique de Montreal, the National Arts Centre Orchestra and the Canadian Brass. Passionate about mental health and suicide prevention, Jarrett has been a guest on popular music-themed podcasts including The Brass Junkie, That's Not Spit It's Condensation and Sound Mind Musician, speaking largely about ways to stabilize and improve one's mental health as a musician in the 21st century. In his spare time, Jarrett works as a supervisor with the Crisis Text Line, a global not-for-profit organization providing free crisis intervention and suicide prevention via SMS message.  Jarrett has also visited several colleges, universities and summer festivals to speak, including Northwestern University, the University of Michigan, DePaul University, the New World Symphony, and the Pokorny Low Brass Seminar. Moreover, Jarrett is a certified yoga instructor, and is a firm believer in the positive effects of mindfulness on one's happiness. In this interview we discuss the importance of mental health for all musicians at every level, how Jarrett keeps himself calm through the demanding work of audition preparation, and some suggestions about how to monitor your own mental health and offer support to others as well. Not only is Jarret a performer at the highest level, but his experience with helping others with mental health makes his advise truly special. Contact information and links Website: www.jarrettmccourt.comInstagram: www.instagram.com/jarrettmccourtFacebook: www.facebook.com/jarrett.mccourt

"Woman Suffrage is coming - you know it." Carrie Chapman CattThe FCS performs Battle for the Ballot on November 5th, 2022 at the Lincoln Center. Tickets and more information are available at https://fcsymphony.org/events/escape-to-new-realms-signature-concert-2/Stacy Garrop's The Battle for the Ballot features the voices of seven Suffragists: Carrie W. Clifford, Frances Ellen Watkins Harper, Adella Hunt Logan, Mary Church Terrell, Jane Addams, Susan B. Anthony, and Carrie Chapman Catt.The 70-year fight for Women's Suffrage ended in 1920 with the passage of the 19th amendment. In 2020, the Cabrillo Festival of Contemporary Music commissioned Stacy Garrop to compose a piece celebrating the 100th anniversary.The Battle for the Ballot took the shape of a dramatic narration, focused on a single speech by Susan B. Anthony. But it became clear to Garrop and the Cabrillo Festival's Music Director Cristian Măcelaru that Anthony's support of anti-black politics meant that a new avenue would have to be explored.With only a week to work, Stacy Garrop found the texts of six additional Suffragists (four of whom were black, two white) and changed the focus of the piece, replacing the texts within the same music and timings. Because it was to be premiered virtually, the orchestra had already recorded their parts for the video preparation. What resulted is a work of depth and inspiration, commemorating the bravery and endurance of generations of women fighting for their rights.Support the show

Guitarist and composer DJ Sparr joins us to chat about the central role that the relationships built in school play in securing future work. He shares about his experience performing Kenneth Fuch's Electric Guitar Concerto with JoAnn Falletta and the London Symphony Orchestra and the difference between performing his vs. others' works. We also talk about the typical day-to-day schedule of a performer-composer, and working this into family life. Electric guitarist and composer D. J. Sparr, who Gramophone recently hailed as “exemplary,” is one of America's preeminent composer-performers. He has caught the attention of critics with his eclectic style, described as “pop-Romantic…iridescent and wondrous” (The Mercury News) and “suits the boundary erasing spirit of today's new-music world” (The New York Times). The Los Angeles Times praises him as “an excellent soloist,” and the Santa Cruz Sentinel says that he “wowed an enthusiastic audience…Sparr's guitar sang in a near-human voice.” He was the electric guitar concerto soloist on the 2018 GRAMMY-Award winning, all-Kenneth Fuchs recording with JoAnn Falletta and the London Symphony Orchestra. In 2011, Sparr was named one of NPR listener's favorite 100 composers under the age 40. He has composed for and performed with renowned ensembles such as the Houston Grand Opera, Cabrillo Festival, New World Symphony, Washington National Opera, and Eighth Blackbird. His music has received awards from BMI, New Music USA, and the League of Composers/ISCM. Sparr is a faculty member at the famed Walden School's Creative Musicians Retreat in Dublin, New Hampshire. His works and guitar performances appear on Naxos, Innova Recordings, & Centaur Records. D. J. lives in Baton Rouge, Louisiana with his wife Kimberly, son Harris, Nannette the hound dog, and Bundini the boxer. D. J. Sparr's music is published by Bill Holab Music. The transcript for this episode can be found here. For more information about DJ Sparr, please visit his website.

Marc-André Hamelin – William Bolcom: The Complete Rags (Hyperion) Jump to giveaway form New Classical Tracks - Marc-André Hamelin by “In 1985, I won the Carnegie Hall competition for American Music. One of the prizes was an invitation to the Cabrillo Festival in California, which is still going on, I think. And the two composers in residence that year happened to be Arvo Pärt and William Bolcom. So, I got to meet him.” Pianist Marc-André Hamelin not only got to meet Bolcom, the American composer whom he'd been admiring since he was 16, but he also got to make music with him. For his latest release, Hamelin has recorded a two-disc set of The Complete Rags of William Bolcom.   There's a lot of diversity in Bolcom's rags. Can you talk about the many moods that we experience throughout this two-disc set? “I think his first rags were a little more Joplin influenced, even though he was adding some touches of his own. “There is one of them, which is a kind of a joke, actually, it's called Brass Knuckles. And it was written in collaboration with the late William Albright. They decided to write that together one day as sort of an antidote to the overdelicate rags that they'd each been writing. It's just a joke, of course, but it's full of clusters and very violent piano writing. And that's why I put it at the very end of the two-disc set. “One of the rags from the Garden of Eden Suite, which is called the Serpent's Kiss and is actually one of the ones that's more often performed, asks for the same kind of percussive sound on the piano. And I couldn't do it fast enough. So I just developed a system of tongue clicks. And Bill was so amused by this during the recording session that he allowed me to keep that.” The opening rag, Eubie's Lucky Day, is dedicated to American pianist Eubie Blake, whom Bolcom considers to be his last great teacher. Can you tell us more about that correspondence? “The fact that he [Bolcom] connected with Eubie Blake is really extraordinary for him, because Bill knew so much about the history of American popular music, and, of course, performing with his wife, Joan Morris, during all these years. So, it was wonderful to be in contact with someone who was there from pretty much the very beginning. The first track of the album is called Tabby Cat Walk. Bolcom makes use of silence effectively in the piece, kind of catches us off guard, maybe the way a cat would. Can you tell us more about that? “They called it stopped time. The music would stop for a bar or two and then it would start again. But the rhythm would always be going on behind, regardless, you know? Just recently I got an early LP of his, which is just his own rags, and Tabby Cat Walk is on there. And of course, you know, I couldn't say it was a CD player because it was vinyl. But I asked myself the same thing. There's something going on here. But no, it's just written like that, and it's quite an effective little thing.” Is there another rag on this two-disc set you'd like to talk about? “Well, there's a couple, actually, that sort of distinguish themselves from the others because rather than having straight ragtime rhythm, they have more of a dotted rhythm. So, a ragtime would be ‘Da Doo doo doo doo doo doo doo doo.' But a dotted rhythm would be more jagged. So, there's one called Knight Hubert, as in Eubie Blake, [also known as] Hubert Blake, and [an]other one is called the Brooklyn Dodge, and they're both wonderful and very swingy.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Twelve New Etudes-Book III: Rag infernal (Syncopes apocalyptiques) More on Marc-André Hamelin and William Bolcom Pianist Marc-André Hamelin Composer William Bolcom at 80: A varied career of 'musical illuminations' Marc-Andre Hamelin Giveaway Marc-Andre Hamelin New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Marc-André Hamelin — William Bolcom: The Complete Rags (Hamelin store) Marc-André Hamelin — William Bolcom: The Complete Rags (Hyperion store) Marc-André Hamelin — William Bolcom: The Complete Rags (Amazon) Marc-André Hamelin (official site) William Bolcom (official site)

Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russian masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. As Music Director of Chicago Opera Theater, Ms. Yankovskaya has led the Chicago premieres of Jake Heggie's Moby-Dick, Rachmaninov's Aleko, Joby Talbot's Everest, Tchaikovsky's Iolanta, and the world premiere of Dan Shore's Freedom Ride. Her daring performances before and amid the pandemic earned recognition from the Chicago Tribune, which praised her as “the very model of how to survive adversity, and also how to thrive in it,” while naming her 2020 Chicagoan of the Year. In the 2021/22 season, Ms. Yankovskaya makes a trio of Texan debuts, leading performances of Carmen at Houston Grand Opera, a tribute to Ruth Bader Ginsburg at Dallas Symphony Orchestra, and concerts featuring works by Gershwin and Dawson at Fort Worth Symphony. Elsewhere, she debuts with Chicago Symphony Orchestra in Prokofiev's Peter and the Wolf, leads a program of Brahms and Wagner at Elgin Symphony, conducts Boulanger, Debussy, and Ravel at Omaha Symphony, and makes her Pasadena Symphony debut conducting works by Tchaikovsky, Rimsky-Korsakov, and Gabriela Lena Frank. At Chicago Opera Theater, she conducts the Chicago premiere of Mark Adamo's Becoming Santa Claus and a concert version of Carmen, starring Jamie Barton opposite Stephanie Blythe. Ms. Yankovskaya has recently conducted Don Giovanni at Seattle Opera, Pia de' Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York's Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera. On the concert stage, she has been recently engaged with Chicago Philharmonic, Rhode Island Philharmonic, and the symphony orchestras of Hawaii and Oviedo, Spain. Ms. Yankovskaya is Founder and Artistic Director of the Refugee Orchestra Project, which proclaims the cultural and societal relevance of refugees through music, and has brought that message to hundreds of thousands of listeners around the world. In addition to a National Sawdust residency in Brooklyn, ROP has performed in London, Boston, Washington, D.C., and the United Nations. She has also served as Artistic Director of the Boston New Music Festival and Juventas New Music Ensemble, which was the recipient of multiple NEA grants and National Opera Association Awards under her leadership. As Music Director of Harvard's Lowell House Opera, Ms. Yankovskaya conducted sold-out performances of repertoire rarely heard in Boston, including Tchaikovsky's The Queen of Spades, Britten's A Midsummer Night's Dream, and the U.S. Russian-language premiere of Rimsky-Korsakov's The Snow Maiden. Her commitment to exploring the breadth of symphonic and operatic repertoire has also been demonstrated in performances of Rachmaninoff's Aleko and the American premieres of Donizetti's Pia de' Tolomei, Rubinshteyn's The Demon, and Rimsky-Korsakov's Kashchej The Immortal and Symphony No. 1. An alumna of the Dallas Opera's Hart Institute for Women Conductors and the Taki Alsop Conducting Fellowship, Ms. Yankovskaya has also served as assistant conductor to Lorin Maazel, chorus master of Boston Symphony Orchestra, and conductor of Boston Youth Symphony Orchestra. She has been featured in the League of American Orchestras Bruno Walter National Conductor Preview and Cabrillo Festival for Contemporary Music, and assisted Vladimir Jurowski via a London Philharmonic fellowship. Ms. Yankovskaya holds a B.A. in Music and Philosophy from Vassar College, with a focus on piano, voice, and conducting, and earned an M.M. in Conducting from Boston University. Her conducting teachers and mentors have included Lorin Maazel, Marin Alsop, Kenneth Kiesler, and Ann Howard Jones. Ms. Yankovskaya's belief in the importance of mentorship has fueled the establishment of Chicago Opera Theater's Vanguard Initiative, an investment in new opera that includes a two-year residency for emerging opera composers. Committed to developing the next generation of artistic leaders, she also volunteers with Turn The Spotlight, a foundation dedicated to identifying, nurturing, and empowering leaders – and in turn, to illuminating the path to a more equitable future in the arts. Recipient of Solti Foundation U.S. Career Assistance Awards in 2018 and 2021, Ms. Yankovskaya has been a featured speaker at the League of American Orchestras and Opera America conferences, and served as U.S. Representative to the 2018 World Opera Forum in Madrid.

Article from the Wall Street Journal on the turn-around of the Cabrillo Festival.

Arctic Ice, Extreme Weather, the Reckoning at Standing Rock—a journey into the deep rich world of photographer Camille Seaman. Born to a Native American father and African-American mother, Camille Seaman has been bearing witness and sounding the alarm through her powerful, other worldly photographs for more than 20 years. Her photographs and vivid stories document her journeys to the Arctic and Antarctic over the past two decades, her work as a storm chaser in the midwest, her documentation of the Standing Rock water protectors, and her ongoing project “We Are Still Here,” photographing Indigenous people around the country, in all walks of life, along with messages to their future ancestors. Camille was raised by her Shinnecock grandparents in Long Island and inspired by her grandfather's teachings about our interrelatedness with nature. She attended the “Fame” High School of Music and Performing Arts in New York City, living from couch to couch, working as a bicycle message and a one-hour photo lab operator.  Her award winning photographs have been published in National Geographic, Time, Newsweek and the New York Times Sunday Magazine. She is a TED Senior Fellow and a Stanford Knight Fellow, and she was honored with a one person exhibition, "The Last Iceberg" at the National Academy of Sciences in Washington D.C. The Kitchen Sisters interviewed Camille Seaman as part of the Cabrillo Festival of Contemporary Music's 2021 Season. Her imagery was featured at the Festival as part of a piece entitled MELT, a lament on climate change with music composed by Sean Shepherd.

Have you ever been so absorbed in an activity that you lost track of time? Experiencing moments of intense focus is something most of us can relate to; but did you know you can train for it? Kim Chakanetsa discusses tips and best practice with two women whose careers demand their absolute concentration. Lorraine Huber is a Freeride World Champion and a mental strength coach. Freeriding is a discipline that involves skiing off-piste and performing acrobatic jumps on natural terrains. For Lorraine, being able to shut-out the world around her and perform at her best is a matter of life or death. Kalena Bovell is the assistant conductor of the Memphis Symphony Orchestra and the only African-American/Hispanic orchestra conductor in the United States. When she is on the podium, she needs to be able to focus for hours, while working with a big group of musicians in front of a public. To excel in her job, she had to learn to master the art of intense focus. Produced by Alice Gioia. MUSIC DETAILS: Extract from Kalena Bovell's international debut with Chineke! Orchestra. The performance was recorded at Southbank Centre's Royal Festival Hall in London, UK. IMAGE DETAILS L: Lorraine Huber R: Kalena Bovell [credit Cabrillo Festival]

Ep. 137: Joseph Young, conductor. "Don't wait for people to open doors for you." Let's Talk Off The Podium with Tigran Arakelyan. In this episode Joseph talks about his early career as a high school band conductor, studying with Marin Alsop at the the Cabrillo Festival, attending the Peabody Conservatory and working as an assistant at the Baltimore Symphony. He also speaks about New Music USA, Amplifying Voices, conducting competitions, running, yoga, working with Robert Spano, stepping in to conduct at last minute, life changing moments (one of which is becoming an uncle) and much more. Praised for his suavely adventurous programing, Joseph Young is increasingly recognized as “one of the most gifted conductors of his generation.” Joseph is Music Director of the Berkeley Symphony, Artistic Director of Ensembles for the Peabody Conservatory, and Resident Conductor of the National Youth Orchestra–USA at Carnegie Hall. In recent years, he has made appearances with the Saint Louis Symphony, Buffalo Philharmonic, Colorado Symphony, Detroit Symphony, Phoenix Symphony, Bamberger Symphoniker, New World Symphony Orchestra, Spoleto Festival Orchestra, Orquestra Sinfónica do Porto Casa da Música, and the Orquesta Sinfonica y Coro de RTVE (Madrid); among others in the U.S. and Europe. © Let's Talk Off The Podium, 2020

An interview with Bharat Chandra, principal clarinetist of the Sarasota Orchestra, the Nordic Symphony in Estonia, and the Cabrillo Festival of Contemporary Music in California. We discuss the state of the music business during COVID-19, its impact on artists and institutions, and the potential for a rejuvenation going forward.   Highlights His experience in the Sarasota Orchestra - 9:52 The Orchestra’s project - 12:21 A broadcasting Orchestra - 14:53 Creating a safe environment - 18:18 The goal of connecting with audiences - 25:45 The Covid situation for orchestras - 29:16 Talking about post-COVID - 32:51 Streaming as a tool - 37:33 Examples to younger people - 53:28 It is all about communication - 55:48 A recommendation for listeners - 1:13:52   Episode Resources Connect with Robert Hunt Simonds: roberthuntsimonds@gmail.com  http://roberthuntsimonds.com/ http://craigwagnermusic.blogspot.com  Connect with Bharat Chandra: Bharat's bio: http://www.bharatchandra.info  Bharat's recommendation: "Caste" by Isabel Wilkerson: https://www.amazon.com/Caste-Origins-Discontents-Isabel-Wilkerson/dp/0593230256/ref=sr_1_2?dchild=1&keywords=caste&qid=1602864856&sr=8-2 Public Value by Mark H. Moore: https://www.amazon.com/Creating-Public-Value-Management-Government/dp/0674175581/ref=sr_1_1?dchild=1&keywords=public+value+moore&qid=1602864951&s=books&sr=1-1

Get Micah's new book! (Don't forget to enter SPIT2020 at checkout to receive 10% off) - https://www.micahwilkinson.com/bookofsolosSign up for Micah's fundamentals workshop! - https://www.micahwilkinson.com/registerMicah Wilkinson has enjoyed a varied career as an orchestral musician, soloist, chamber artist, and teacher. He was appointed Principal Trumpet of the Pittsburgh Symphony Orchestra by Manfred Honeck in September 2017. Wilkinson came to the Pittsburgh Symphony from the San Diego Symphony, where he served as Principal Trumpet for three years. He previously held positions with the Houston Symphony, the San Francisco Symphony, the Oregon Symphony, and the Tucson Symphony. He performed recently in subscription programs as Guest Principal Trumpet with the Chicago Symphony Orchestra and the Seoul Philharmonic. Professional summer festival appearances have included the Aspen Music Festival, Chautauqua Institute, Sun Valley Festival, Cabrillo Festival, Brevard Music Center, and Astoria Music Festival, where he was a soloist in Bach’s Brandenburg Concerto No. 2. He performed to rave reviews as a featured soloist with the San Diego Symphony, recognized for his “complete confidence and refreshing catalogue of contrasting colors” (San Diego Story).He is an accomplished teacher, clinician, and chamber music coach. In the summers, he has taught at the Aspen Music Festival and Round Top Festival Hill Institute in Round Top, TX. He also has served on the faculties of the University of Houston and Portland State University, and has presented master classes all over the world.Wilkinson grew up in Norcross, Georgia. A proud graduate of St. Olaf College in Northfield, MN, he pursued additional studies at Arizona State University and the Staatliche Hochschule für Musik in Freiburg, Germany. His primary teachers include Martin Hodel, David Hickman, Larry Black, and Anthony Plog. He lives in the South Hills of Pittsburgh with his wife Stefani, a professional oboist; their beautiful daughters Eleanor and Amelia; and their goofy Basset Hound Barber.Support the show (https://thatsnotspit.com/support/)

Robert and Matt talk about Matt’s career in Eighth Blackbird, the Cabrillo Festival, teaching at the University of Michigan, and preparing the next generation of musicians.   Highlights Knowing each other for a long time - 6:33 The actual situation - 8:48 Going online - 9:45 Coming to consensus - 10:12 How they help their students - 12:58 The importance of decisions - 15:33 People recording themselves - 20:27 An amazing opportunity for musicians to engage more - 25:06 Offering a limited number of programs for a year - 38:22 How the industry has changed - 39:40 Music and audiences - 1:04:20 Different types of audiences - 1:06:00 Matt’s recommendations - 1:10:00   Episode Resources Connect with Robert Hunt Simonds: roberthuntsimonds@gmail.com  http://roberthuntsimonds.com/ Connect with Matt Albert: https://www.instagram.com/ganzmatt/?hl=en https://twitter.com/ganzmatt?lang=en Matt’s recommendations: Emily King: https://www.emilykingmusic.com  Ellen Reid “Prism”: https://ellenreidmusic.com/work/p-r-i-s-m/  Doric Quartet: Britten and Purcell: https://www.amazon.com/Britten-Purcell-Chamber-Works-Strings/dp/B07PN77KPK  Attaca Quartet/Caroline Shaw: Orange: http://www.attaccaquartet.com/shawattacca-quartet-orange  Trilogy: https://trilogypodcast.podbean.com Unlocking Us | Brené Brown: https://brenebrown.com/podcast/introducing-unlocking-us/

David Biedenbender is an Assistant Professor of Composition at Michigan State and a member of the Blue Dot Collective. He joins the show to talk about his music and share his thoughts about composing for band. Topics: David’s background growing up in Michigan and learning music by watching his mother play organ, and how a high school band director gave him his first big break that led to him studying music. Studying at Central Michigan University and how he didn’t write a single band piece while studying with David Gillingham The story of how he wrote Melodius Thunk and bringing in popular elements such as jazz and rock and roll into the concert band medium. Influences on his compositional style, a conversation about development in band music, and why he self-publishes his music and distributes it through Murphy Music Press. Links: David Biedenbender Murphy Music Press Biedenbender: Melodious Thunk Beidenbender: Cyclotron Abide With Me Biography: David Biedenbender (b. 1984, Waukesha, Wisconsin) is a composer, conductor, performer, educator, and interdisciplinary collaborator. David’s music has been described as “simply beautiful” [twincities.com], “striking” and “brilliantly crafted” [Times Argus] and is noted for its “rhythmic intensity” [NewMusicBox] and “stirring harmonies” [Boston Classical Review]. “Modern, venturesome, and inexorable…The excitement, intensity, and freshness that characterizes Biedenbender’s music hung in the [air] long after the last note was played” [Examiner.com]. He has written music for the concert stage as well as for dance and multimedia collaborations, and his work is often influenced by his diverse musical experiences in rock and jazz bands as an electric bassist, in wind, jazz, and New Orleans-style brass bands as a euphonium, bass trombone, and tuba player, and by his study of Indian Carnatic music. His present creative interests include working with everyone from classically trained musicians to improvisers, acoustic chamber music to large ensembles, and interactive electronic interfaces to live brain data. David has had the privilege of collaborating with many renowned performers and ensembles, including Alarm Will Sound, the PRISM Saxophone Quartet, the Stenhammar String Quartet (Sweden), the New Jersey Symphony Orchestra, the Aspen Contemporary Ensemble, the United States Navy Band, the Philharmonie Baden-Baden (Germany), VocalEssence, the Eastman Wind Ensemble, the Music from Copland House Ensemble, Detroit Symphony Orchestra bass trombonist Randall Hawes and pianist Kathryn Goodson, the Juventas New Music Ensemble, the Washington Kantorei, the Atlantic Chamber Ensemble, the Boston New Music Initiative, Ann Arbor Dance Works, Composer’s Inc. (San Francisco), and the Grand Valley State New Music Ensemble. dsc_3680Recent recognition for his work includes two ASCAP Morton Gould Young Composer Awards (2011, 2012) and the 2012 Suzanne and Lee Ettelson Composers Award. His music has been heard in many diverse venues, including Carnegie Hall, Gaudeamus Muziekweek/TivoliVredenberg (Netherlands), Symphony Space (New YorkCity), the Smithsonian Museum, the German Embassy (Washington, DC), the Antonín Dvořák Museum (Prague), the Old First Church (San Francisco), Harris Hall (Aspen Music Festival), the Interlochen Center for the Arts, Hill Auditorium (Ann Arbor, MI), the University of Michigan Museum of Art, as well as at numerous universities and conservatories, and it has been broadcast on NPR stations around the country, including on WNYC’s Soundcheck with John Schaefer and on Center Stage from Wolf Trap. David’s music can also be heard on many commercially available recordings, including recent albums by the U.S. Navy Band, Akropolis Reed Quintet, H2 Saxophone Quartet, Khemia Ensemble, PUBLIQuartet, and the North Texas Wind Symphony. Recent and upcoming commissions and projects include works for yMusic, the New York Virtuoso Singers, the Cabrillo Festival of Contemporary Music, San Francisco Symphony principal trombonist Tim Higgins, the Albany (NY) Symphony Orchestra, the Edge Ensemble, the Donald Sinta Saxophone Quartet, the Akropolis Reed Quintet, Kevin Sedatole and the Michigan State University Wind Symphony, and pianist Jeannette Fang. In addition to composing, David is a dedicated teacher. He is Assistant Professor of Composition in the College of Music at Michigan State University, and he previously taught composition and theory at Boise State University, Eastern Michigan University, Oakland University, Madonna University, the Music in the Mountains Conservatory, and the Interlochen Arts Camp. He has also taught an interdisciplinary course in creativity and collaboration in the Living Arts program at the University of Michigan. His composition students have achieved regional and national recognition for their creative work, including numerous awards and acceptance into renowned summer music festivals and undergraduate and graduate composition programs. He received the Doctor of Musical Arts and Master of Music degrees in composition from the University of Michigan, Ann Arbor and the Bachelor of Music degree in composition and theory from Central Michigan University. He has also studied at the Swedish Collegium for Advanced Study in Uppsala, Sweden with Anders Hillborg and Steven Stucky, the Aspen Music Festival and School with Syd Hodkinson, and in Mysore, India where he studied South Indian Carnatic music. His primary musical mentors include Stephen Rush, Evan Chambers, Kristin Kuster, Michael Daugherty, Bright Sheng, Erik Santos, Christopher Lees, David R. Gillingham, José Luis-Maurtúa, John Williamson, and Mark Cox.

“The possibility for you as a listener is to open yourself up enough be taken somewhere that seems far from you.” Nicola Benedetti tells us how as a 10-year-old she first heard the second movement of Beethoven's Violin Concerto, and without knowing what “this thing from heaven” was, the sound resonated with her in a way she couldn't quite yet understand.  Over 20 years later, having played it in concert halls around the world, she reflects on the concerto's ability to capture the full range of human emotion that can connect to any listener. Nicola Benedetti is a violinist and music educator. She recently appeared as a soloist at the BBC Proms and with at the Cabrillo Festival of Contemporary Music performing Wynton Marsalis' first Violin Concerto. Did you like the track Nicola chose? Listen to the music in full: Violin Concerto, second movement - Beethoven

To start Season 2, I'm really honored to bring you a conversation with the incredible Marin Alsop, who's someone I've admired so much for so many years! In this episode, we discuss Making things happen for yourself, finding balance between pushing yourself to grow and not becoming overly self-critical, bringing a score to life, how she nurtures focus in her work by planning carefully, and the importance of becoming our own best teacher!   ALL ABOUT MARIN ALSOP: Website: https://www.marinalsop.com/ Baltimore Symphony Orchestra: https://www.bsomusic.org/ Instagram: https://www.instagram.com/marinalsop.conductor/ Facebook: https://www.facebook.com/marin.alsop.conductor/   Marin Alsop is one of the world's great orchestral conductors. She's described as an inspiring and powerful voice in the international music scene, and a Music Director of vision and distinction who passionately believes that “music has the power to change lives”. She is recognized across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages. Upon her appointment as Music Director of the Baltimore Symphony Orchestra in 2007, Maestro Alsop became the first woman to head a major American orchestra, and was the first woman to conduct last night of the Prom in its 100 year history. Among her many awards and academic positions, Marin Alsop is the only conductor to receive the prestigious MacArthur Fellowship, she's an Honorary Member of the Royal Academy of Music and Royal Philharmonic Society, and was recently appointed Director of Graduate Conducting at the Johns Hopkins Peabody Institute. She attended the Juilliard School and Yale University, who awarded her an Honorary Doctorate in 2017. Her conducting career was launched in 1989, when she was the first woman to be awarded the Koussevitzky Conducting Prize from the Tanglewood Music Center. As part of her artistic leadership in Baltimore, Mastro Alsop has created several bold initiatives: including ‘OrchKids', for the city's most deprived young people, and the BSO Academy and Rusty Musicians for adult amateur musicians. Maestro Alsop conducts all of the world's major orchestras, and in addition to her position with the Baltimore Symphony, she is Principal Conductor and Music Director of the São Paulo Symphony Orchestra, Chief Conductor of the ORF Vienna Radio Symphony Orchestra, and Music Director of California's Cabrillo Festival of Contemporary Music. Her extensive discography has led to multiple Gramophone awards and includes highly praised recordings with all of the major labels, including Naxos, Decca Classics, Harmonia Mundi and Sony Classical. If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Acclaimed young composer Viet Cuong joins the show to share his thoughts about band music, his work as a composer, and how growing up in the Lassiter band helped him fit in and find his place in the world. Topics: 
Viet’s background and how he got his start as a musician, percussionist, and composer. How band and music helped Viet “find his place” in the world and the importance of band as a place where kids who are struggling to feel accepted have a place where they can fit in and grow. Growing up in the legendary Lassiter Band Program under the baton of Alfred Watkins. Thought about what band directors can do to support young musicians who are writing music or want to become composers. Thoughts about academic music, new music for band, and some insights into building design at Princeton. The Blue Dot Collective Links: Viet Cuong, Composer The Blue Dot Collective Cuong: Diamond Tide Cuong: Moth Stravinsky: Rite of Spring Biography: Called “alluring” and “wildly inventive” by The New York Times, the “ingenious” and “knockout” (Times Union) music of Viet Cuong (b. 1990) has been performed on six continents by musicians and ensembles such as Sō Percussion, Eighth Blackbird, Alarm Will Sound, Sandbox Percussion, the PRISM Quartet, JACK Quartet, Gregory Oakes, Kaleidoscope Chamber Orchestra, Albany Symphony, Jacksonville Symphony, and Cabrillo Festival Orchestra, among many others. Viet’s music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, Library of Congress, Cabrillo Festival of Contemporary Music, Aspen Music Festival, New Music Gathering, Boston GuitarFest, International Double Reed Society Conference, US Navy Band International Saxophone Symposium, and on American Public Radio’s Performance Today. He also enjoys composing for the wind ensemble medium, and his works for winds have amassed over one hundred performances by conservatory and university ensembles worldwide, including at Midwest, WASBE, and CBDNA conferences. Viet holds the Curtis Institute of Music’s Daniel W. Dietrich II Composition Fellowship as an Artist Diploma student of David Ludwig and Jennifer Higdon. Viet received his MFA from Princeton University as a Naumburg and Roger Sessions Fellow, and he is currently finishing his PhD there. At Princeton he studied with Steve Mackey, Donnacha Dennehy, Dan Trueman, Dmitri Tymoczko, Paul Lansky, and Louis Andriessen. Viet holds Bachelor and Master of Music degrees from the Peabody Conservatory of the Johns Hopkins University, where he studied with Pulitzer Prize-winner Kevin Puts and Oscar Bettison. While at Peabody, he received the Peabody Alumni Award (the Valedictorian honor) and the Gustav Klemm Award for excellence in composition. Viet has been a fellow at the Mizzou International Composers Festival, Eighth Blackbird Creative Lab, Cabrillo Festival’s Young Composer Workshop, Copland House’s CULTIVATE emerging composers workshop, and was also a scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals. Additionally, he has received artist residencies from Yaddo, Copland House, Ucross Foundation, and Atlantic Center for the Arts (under Melinda Wagner, 2012 and Christopher Theofanidis, 2014). Viet is a recipient of the Barlow Endowment Commission, Copland House Residency Award, ASCAP Morton Gould Composers Award, Suzanne and Lee Ettelson Composers Award, Theodore Presser Foundation Music Award, Kaleidoscope Chamber Orchestra Call for Scores, Cortona Prize, New York Youth Symphony First Music Commission, Boston GuitarFest Composition Competition, and Walter Beeler Memorial Prize, among others. In addition, he received honorable mentions in the Harvey Gaul Composition Competition and two consecutive ASCAP/CBDNA Frederick Fennell Prizes. Scholarships include the Evergreen House Foundation scholarship at Peabody, a 2010 Susan and Ford Schumann Merit Scholarship from the Aspen Music Festival and School, and the 2011 Bachrach Memorial Gift from the Bowdoin International Music Festival.

While at the Florida Music Educator's Conference in early January I had a chance to sit down with composer Jim Stephenson and talk about his career, his thoughts about composing, and winning the 2017 Revelli Prize.  Topics: Jim’s background as a trumpet player with the Naples Philharmonic and the decision he and his wife made to quit playing professionally and take the leap to become a professional composer. The opportunity to write for both band and orchestra and the connections that have helped Jim find success in both communities. Commissioning a work from Jim and how the personality of the performer and the needs of ensemble influence the final result. Jim’s advice for young composers and the early success that went mostly unnoticed but had a profound influence on his career. The story of Symphony No. 2 “Voices” that was written for and premiered the United States Marine Band and which won the National Band Association’s 2017 William D. Revelli Award. Links: Stephenson Music 2017 William D. Revelli Composition Contest Chicago Symphony Orchestra Commission Stephenson: Symphony No. 2 “Voices” Bernstein: Symphonic Dances from West Side Story Prokofiev: Romeo and Juliet Biography: Leading American orchestras, instrumentalists and wind ensembles around the world have performed the music of Chicago-based composer James M. Stephenson, both to critical acclaim and the delight of audiences.. Stephenson came late to his full-time composing career, having performed 17 seasons as a trumpeter in the Naples Philharmonic in Florida. As such, the composer is largely self-taught, making his voice truly individual and his life’s work all the more remarkable. Recent and upcoming premieres include the St. Louis and Chicago Symphony, Minnesota Orchestra, and Cabrillo Festival, as well as the US “President’s Own” Marine Band. Over 150 orchestras and bands play his music annually. In his own words: "Since becoming a full-time composer in 2007, I have been fortunate to have had a steady stream of commissions and projects, keeping me always on task and, luckily, in demand. Stemming from my days as a professional trumpeter in the Naples (FL) Philharmonic, I have endeavored to be a “performer’s composer” – always remaining sensitive to the needs of those who are on stage making the music happen. Chicago Symphony clarinetist John Yeh has playfully called me “The Concerto King”, and I am happy to admit that my catalog does include a concerto, and sonata, for nearly every symphonic instrument, with more being added every year. A notable characteristic I try to infuse in my music is rhythmic momentum, as well as colorful scoring and orchestration, whether for instruments of the same timbre, or in mixed chamber settings. For me, this is the playground, and I absolutely love this part of the process. I will always cherish and hold in high esteem the musical giants of the past, in addition to adding my own modern sensitivities, so as to try to give my music a blend of familiarity and new discovery all at once. With this, I hope to lead audiences and performers on a journey of both anticipation and reward."

Greetings listeners! We’re rerunning this episode of the podcast in honor of Karim Al-Zand’s recent premiere of the new work, “The Prisoner,” at the Cabrillo Festival of Contemporary Music in Santa Cruz, California. The piece was inspired by the writings of a Guantanamo Bay prisoner.  This episode is about something else: pattern preludes. Pattern preludes are enigmas inside of conundrums wrapped in a warm flour tortilla. No – wait. That’s not right… Pattern preludes, according to composer Karim Al-Zand’s website, are, “…pieces constrained by a single idea (usually a rhythmic or textural ostinato) through which a composer expresses a narrowly focused thought. Patterning is especially well-suited to preludes, which are by convention short, concise and introductory.” Bach, Chopin, Debussy, and others wrote pattern preludes. These little pieces function as a tool by which classical music newbies can get to know a composer’s style. Learn aaall about them in this episode! Music in this episode: Bach’s Well Tempered Clavier C major prelude book 1 Chopin’s C major Etude, Op 10, No.1, played by Vladimir Ashkenazy Chopin/Bach, played by Kana Mimaki Al-Zand Pattern Prelude No. 1 (after Bach), played by DiLiberto Schumann Album Leaves Op. 124, No. 17, played by Denes Varjon Audio production by Todd “Titters” Hulslander with alliteration from Dacia Clay.

An inspiring and powerful voice in the music scene, Marin Alsop, talks about her journey to become a conductor and violinist on the worlds stage. Marin Alsop is recognised across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages. Marin Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra (BSO). With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra. Her success as the BSO’s music director has garnered national and international attention for her innovative programming and artistry. Her success was recognised when, in 2013, her tenure was extended to the 2020–2021 season. Alsop took up the post of principal conductor of the São Paulo Symphony Orchestra in 2012, and became music director in July 2013. She also holds the title of conductor emeritus at the Bournemouth Symphony in the United Kingdom, where she served as the principal conductor from 2002 to 2008. In the summer of 2016, she served her 25th and final season as music director of the acclaimed Cabrillo Festival of Contemporary Music in California. Alsop is often making history; in 2005 she was the first conductor to be awarded a MacArthur Genius award and in September 2013 as the first female conductor of the BBC’s Last Night of the Proms in London.

Huang Ruo's career wasn't his to choose. His fortune-teller grandfather and composer father did that for him, and at the age of 12 he was bundled off to a distant music conservatory in Shanghai as his mother wept. Sad as that may sound, it all worked out remarkably well. Huang Ruo's path eventually took him from China to the U.S., to Oberlin and Julliard, and today it's hard to imagine him as anything other than the prolific and exuberant composer he's become. His work draws on all the music he heard growing up in China and in the years since – from ancient ritual chants and folk songs to classical, rock and pop (both Chinese and western) – to create something that feels integral, vibrant and new. He's also a wonderful singer, as you'll hear in this very musical interview. I met Huang Ruo when he was in town for the Cabrillo Festival of Contemporary Music, and getting to know him and his work was a highlight of the festival for me. Here are some of the things we talked about as we listened to a selection of his incredibly varied oeuvre.

The Cabrillo Festival of Contemporary Music brings together some of the best and brightest composers working today. I spoke to three from this year's lineup as we listened to some of their pieces. Harpist/composer Hannah Lash confided her love of tuned percussion and hidden structure. Missy Mazzoli discussed her "River Rouge Transfiguration" – inspired by the iconic Ford auto plant–and "Vespers for a New Dark Age": secular music with sacred sources. Nico Muhly reflected on cartoon travelogues and Disneyfied gamelan in his piece "Wish You Were Here" and his "technical exercise with a heart of gold," "Étude #3" featuring violist Nadia Sirota.

Banjo phenom Béla Fleck discusses his nerve-racking foray into orchestral composition, the influence of Earl Scruggs and more. Then Dylan Mattingly, lauded by his mentor John Adams as “a hugely talented young composer who writes music of wild imagination and vigorous energy” discusses his emotionally-driven approach to music.

Composer Kevin Puts returns to this year's Cabrillo Festival of Contemporary Music with his new Flute Concerto and a Pulitzer Prize on his credit. Kevin and I talked about the new work and its charming backstory; about his love of heartfelt music, whatever proponents of modernist abstraction may say; and about his choice of a contemplative composing career over the athletic rigors of concert piano. In the second part of the show, globe-trotting composer/clarinetist Derek Bermel describes Dust Dances, an orchestral piece based on his studies of the West African xylophone known as the gyil. Both Dust Dances and the Flute Concerto will be performed on opening night of the Cabrillo Festival.

An hour-long interview wasn't enough to cover but a fraction of Lou Harrison's many accomplishments, but Eva Soltes and I did our best to hit some of the high points. Her new documentary, "Lou Harrison: A World of Music," uses footage she shot during her decades-long friendship with the eminent American composer, musical innovator and political activist, who died in 1982. The film was recently screened as part of the Cabrillo Festival of Contemporary Music, which Harrison helped found and which is honoring him this year with a performance of his Third Symphony.

As an Emmy-winning soundtrack composer for TV and film and as a session/backing musician (piano, violin, viola), John Wineglass can write or play just about anything. Gospel, classical, R

Like so many other radiophiles, I was inspired to get into the medium by the work of great independent producers like the Kitchen Sisters—Nikki Silva and Davia Nelson. So it was really nice to finally sit down with Nikki and learn about her own radio beginnings. We listened to some of the earliest and still-cool Kitchen Sisters recordings ("Rattlesnakes," "The Road Ranger" and "Ernie Morgan, World Champion One-Handed Pool Player") and discussed the latest evolution of their work: "The Hidden World of Girls, Stories For Orchestra." Adapted from their "Hidden World of Girls" radio series, the new orchestral/multimedia production premieres at the Cabrillo Festival of Contemporary Music on July 28 and 29. Listening to Nikki talk, you can hear one of the essential ingredients in the Kitchen Sisters' success: a lot of passion and a lot of heart.

Pulitzer Prize-winning American composer John Adams will read from his autobiography, "Hallelujah Junction." Speaker Biography: As a composer, conductor, and creative thinker, Adams occupies a unique position in the world of classical music. His works, both operatic and symphonic, stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes. Notable works include the milestone operas "Nixon in China" and "The Death of Klinghoffer." Adams has also received critical acclaim for his creative programming, founding the "In Your Ear" festival at Carnegie Hall, curating festivals and concerts for such prominent musical institutions as the Los Angeles Philharmonic, the Cabrillo Festival, and the BBC Proms concerts, and the Saint Paul Chamber Orchestra. In 2003 Adams was awarded the Pulitzer Prize in Music for his piece "On the Transmigration of Souls," which commemorated the first anniversary of the terrorist attacks on the World Trade Center in New York. He has been widely honored by leading arts institutions, receiving the Harvard Arts Medal, honorary doctorates by the University of Cambridge and Northwestern University, and more recently, the National Endowment for the Arts Opera Honors Award.

“Classically trained to rock your *#!@ socks off,” to quote Tenacious D. The very tenacious guitarist D.J. Sparr was in town to perform at the Cabrillo Festival of Contemporary Music, and he swung by our studio with instrument (Taylor T5 hollowbody) in hand. We talked about his many musical loves (country, rock, classical), his career from toddlerhood on, the folly of aesthetic snobbery and the moment he realized it's OK to play a G major chord. We also listened to a selection of his wide-ranging performances and compositions, and he demonstrated some wicked picking and finger tapping.

We talk to members of two ensembles who've helped change the sound of classical music. Violinist David Harrington is the founder of the Kronos Quartet, which has revolutionized the string quartet repertoire. Matt Albert is violinist and violist with Eighth Blackbird, a talented and inventive sextet who've further extended the range of classical expression. Both Kronos and eighth blackbird are performing at this year's Cabrillo Festival of Contemporary Music. David and Matt joined us to share their passion for music, reflect on their work and talk about their Cabrillo Festival performances.

As the Cabrillo Festival of Contemporary Music begins its 2010 season, we speak to two of this year's featured artists about their upcoming performances. Kevin Puts, best known for his composing, talks about the challenges of performing his own piano concerto "Night" for the first time. In part 2, percussion virtuoso Colin Currie describes his rendition of Jennifer Higdon's "Percussion Concerto." We listened to Colin's Grammy-winning performance of the concerto with the London Philharmonic as we discussed the piece.

Orchestral percussionist Galen Lemmon shares some of the sounds of this year's Cabrillo Festival of Contemporary Music. Featuring marimba, vibes, steel drums, timpani, even a tuned anvil. Then, sacred drums: a visit with Afro-Cuban Batá drummer Michael Spiro.

More than the sum of the parts. Nobel prizewinning physicist Robert Laughlin says nature can't always be reduced to its individual components. Plus, Maestra Marin Alsop of the Cabrillo Festival of Contemporary Music