Podcast appearances and mentions of carol wincenc

Flute 360 | Episode 283: "Duet Decisions – Navigating Relocation & Career Moves with Your Partner" In this heartfelt episode of Flute 360, I'm joined by my husband and partner, Eric Jay Begay, to discuss the deeply personal and often challenging topic of navigating career decisions as a couple within the music industry. Whether you're relocating for school, shifting from a traditional job to building your own studio, or balancing your career with your partner's aspirations, this episode is crafted to guide and inspire you. Episode Highlights: Understanding and Support: Learn how Eric and I have supported each other through various career transitions, emphasizing the importance of mutual understanding and respect for each other's professional goals. Challenges and Solutions: We dive into our own experiences, sharing the struggles and triumphs of making joint decisions about relocation and career changes, offering you real-life solutions that have worked for us. A Community of Empathy: This episode isn't just about us—many flutists and their partners face these issues, and we're here to share that you're not alone. We understand the unique challenges you face and are here to support you. Reaching Out: We encourage you to connect with us if you're seeking advice or need someone to talk to about navigating your professional path alongside your partner. Eric and I are here to help you feel seen and heard. Your Transformation Awaits: This episode is more than just a conversation—it's a catalyst for change. If you and your partner are ready to transform challenges into stepping stones, this discussion will provide you with the understanding and tools to begin making effective decisions together. Join the Flute 360 Accelerator Program: Mark your calendar for May 25th and join our Flute 360 Accelerator program, where transformation and growth happen daily. This month's members will receive an exclusive bonus—a panel discussion featuring luminaries like Carol Wincenc, Sébastian Jacot, Denis Bouriakov, and Patrick Gallois, filmed in Finland. This content is designed to enrich your knowledge and inspire your journey. Click here to register and claim your spot in the Accelerator Program! Join us to not only enhance your flute playing and career but to foster personal growth and a deeper partnership in your musical journey. We can't wait to welcome you and share this incredible journey together! Follow Heidi! Follow Flute 360 via TikTok! Follow Flute 360 via Instagram! Follow Flute 360 via Twitter! Follow Flute 360 via LinkedIn! Follow Flute 360 via Facebook! Join the Flute 360 Newsletter! Join the Flute 360 Family's Facebook Private Group! Join the Flute 360's Accelerator Program Here! Subscribe to the Flute 360's YouTube Channel!

Flute 360 | Episode 258: “A Road Trip to NFA 2023” Come say “hi” to me, Flute 360 guests, Flute 360 listeners, and Carolyn Nussbaum at Booth #509 in Phoenix, Arizona for the NFA 2023 Convention! Are you traveling to NFA and you want to catch-up with some amazing Flute 360 content? Then definitely check-out my guest's shows that are listed below! Whether you are flying or driving, listening to some 360 content can definitely get you even more excited for this convention in Phoenix! We can't wait to see you! *Please note, this schedule was updated on 8/2/23 at 9:30 AM / MT. Thanks!  THURSDAY, 8/3: 11:00 AM MT, Rachel Mellis, E129 1:00 PM MT, Dr. Brielle Frost, Episode Coming Soon! 1:30 PM MT, Professor Michael Lynn, E245 3:00 PM MT, Dr. Rachel Taylor Geier,  E241  4:30 PM MT, Dr. Cobus du Toit, E59 & E73 FRIDAY, 8/4: 10:00 AM MT, Dr. Korinne Smith, E244 10:30 AM MT, Dr. Katherine Emeneth, E183 & E256 2:15 PM MT, Carol Wincenc, E9 2:30 PM MT, Nicole Chamberlain, E33 4:00 PM MT, Amy Taylor, E148 SATURDAY, 8/5: 10:00 AM MT, Dr. Lea Pearson, E168 11:30 AM MT, Dr. Julee Kim Walker, E58 1:00 PM MT, Dr. Nora Lee Garcia, E73 2:30 PM MT, Dr. Chelsea Tanner, E234 3:30 PM MT, Natalia Jarzabek, E159 4:00 PM MT, Viviana Cumplido Wilson, E85 SUNDAY, 8/6: 10:00 AM MT, Tori Lupinek, Bonus Episode 3 11:30 AM MT, Hannah Haefele, E231 3:00 PM MT, Emma Shubin, E87, E91, and E257 Pop-Ins! Daniel Dorff, E35 Kathy Blocki, E43, E90, E91, E118, E119, E179, E180  Molly Shortridge, E179 & E180 Tatiana Thaele, E248 Hilary Abigana, E86 Episode 258 – Resources Mentioned: Join the Flute 360's Accelerator Program Here! Schedule a 15-minute call to chat with Heidi! Episode 144 with Carolyn Nussbaum Additional Resources: Carolyn Nussbaum Music Company – Your One-Stop Flute Shop! Follow Heidi! Follow Flute 360 via TikTok! Follow Flute 360 via Instagram! Follow Flute 360 via Twitter! Follow Flute 360 via LinkedIn! Follow Flute 360 via Facebook! Join the Flute 360 Newsletter! Join the Flute 360 Family's Facebook Private Group! Join the Flute 360's Accelerator Program Here! Subscribe to the Flute 360's YouTube Channel!

Dr. Sixto F. Montesinos Jr. is assistant professor of music and head of instrumental studies at Saint Mary's College of California in the San Francisco Bay Area. He is an active Mexican-American conductor, flutist, music educator, and scholar researching new and effective ways to strengthen Mexican-American relations through the study and performance of music. These include overcoming stereotypes as well as Mexican, LGBTQ+, and LatinX representation in the field of music education, repertoire, and performance He is the artistic director of the Saint Mary's College Jazz Band as well as its Chamber Musicians program. He also oversees the instrumental private lessons faculty at The College.  Dr. Montesinos is a regular guest conductor with the Awesöme Orchestra, a Bay-Area organization that amplifies voices of marginalized folk, forms deeper partnerships with communities and organizations as well as creates more equity and representation at every level. The mission of the Awesome Orchestra is also to make awesome orchestral adventures accessible to musicians and the public. He has also been a guest conductor with the Youth Musical Theater Company, most recently for their spring 2022 production of Stephen Sodnheim's Sweeney Todd.  He presented a clinic in December  2021 at the 75th Annual Midwest Clinic entitled "Surpassing La Cucaracha dn the Mexican Hat Dance" and spoke to the importance of diversifying Mexican-themed repertoire for instrumental ensembles and debunking common musical stereotypes,   Dr. Montesinos earned a Doctorate of Musical Arts in Wind Conducting from the Mason Gross School of the Arts at Rutgers University in New Brunswick, New Jersey where he studied with Professors William Berz, Kraig Alan Williams, and Darryl J. Bott. His terminal research project focused on the evolution and socio-political influence of wind bands in Mexico from the War of Independence to the Mexican Revolution. During his time at Rutgers, Dr. Montesinos also served as a teaching assistant with the Rutgers University Marching Scarlet Knights participating in performances for President Barack Obama and Vice President Joe Biden. During the fall and spring, he worked as a Graduate Assistant Conductor of the Rutgers Wind Ensemble and Symphonic Winds. In 2016, he programmed and conducted with the Rutgers University Concert Band, the United States premiere of two wind pieces by Colombian composer Victoriano Valencia: Chande and Tango from his larger series Ritmos de la Tierra. He also presented and conducted Valencia's music in March of 2018 at the new music reading session during the College Band Directors National Association (CBDNA) Eastern Division Conference at Yale University. Before moving to California, Dr. Montesinos served as Assistant Professor of Music and Director of Bands at Ferrum College in southwest Virginia where he established The Ferrum College Panther Marching Band, Ferrum College Mountain Winds, and Ferrum College Iron Mountain Brass. Enrollment in the band program doubled under his tenure. He also served as music department coordinator and developed the curriculum to create a Bachelor of Arts in Music degree. Dr. Montesinos led an initiative to establish an Appalachian Folk Music Program and started a guest artist recital series designed to bring live music to the Ferrum College community throughout the year. Before his doctoral studies at Rutgers University, he was a public school high school band director at Jersey Village High School, a high school within the Cypress-Fairbanks Independent School District in Northwest Houston. In this capacity, he assisted with the instruction of a 300-member marching band, four concert bands, and conducted the all-school musical. He also taught beginning instrumental classes at the middle school feeder. At Jersey Village, He was the primary conductor of the Symphonic II band. Symphonic II earned division one ratings at the University Interscholastic League (UIL) Concert and Sightreading Contest. Dr. Montesinos completed a Master's Degree in Orchestral Conducting at the University of Texas at Arlington under the tutelage of his long-time mentor and former high school orchestra director, Dr. Clifton Evans. Montesinos also completed additional studies in wind and orchestral conducting at the following programs: The Frederick Fennell Memorial Conducting Masterclass at the Eastman School of Music and the Cincinnati Conservatory, The University of North Texas Conductors Collegium, The Art of Band Conducting at the University of Texas at Austin, The International Conductors Workshop and Competition at Mercer University, and The International Institute for Conductors in Bacau, Romania. Additionally, he worked closely and shared the podium with H. Robert Reynolds as a doctoral conducting student during a week-long residency at Rutgers University. As a flutist, Dr. Montesinos was a featured soloist at the 70th Annual Midwest Clinic International Band and Orchestra Conference performing Gabe Mussella's Cumbia de Xavier with the Ridgeview Middle School Percussion Ensemble. He has also been on the faculty at FlootFire Houston. He completed a Bachelor's Degree in Instrumental Music Education at the University of Houston Moores School of Music where he performed two graduate-level flute recitals and was principal flute of the University of Houston Wind Ensemble and Symphony Orchestra. Upon graduation from the High School for the Performing and Visual Arts in Houston, he was awarded a full-tuition scholarship to study flute performance at Arizona State University in Tempe where he completed two years of flute studies before attending the University of Houston. In high school, he studied flute at the American Festival for the Arts Summer Music Conservatory with Kirsten “Kiki” Larsen and at the Brevard Music Center in North Ca rolina as a pupil of Thomas Robertello. He was a flute student of Judy Dines, second flutist of the Houston Symphony, for two years and performed with the Houston Symphony twice at Jones Hall. He has played for Carol Wincenc at The Juilliard School and Leone Buyse, Christina Jennings, and Robert Langevin in various masterclasses. He is also a proud alumnus and supporter of the Virtuosi of Houston Youth Chamber Orchestra and the Greater Houston Youth Orchestra. In 2004 he toured China extensively as an orchestral flutist with the Northwest Houston Symphony. Dr. Montesinos enjoys working outside of the United States and has established strong ties with high school and middle school band directors in Peru. In March of 2017, he gave a week-long seminar to local high school and middle school band directors in Lima, Peru as part of their required professional development. Most recently he was a featured speaker on marching and concert band techniques in January of 2018 at the PERUBANDAS National Congress in Lima, Peru. Additionally, he held interim teaching positions at Lafayette College in Easton, Pennsylvania as conductor of the concert band and at Lewisville High School in Lewisville, Texas as director of the orchestra program. He has also served as the Associate Dean of Students at the Eastern Music Festival in Greensboro, North Carolina. His writing has been published by the Instrumentalist Magazine and internationally by the WASBE Journal. Montesinos is a native of the town of Coyoacan in Mexico City where he began his musical career at the early age of four studying piano at the prestigious Yamaha Institute.

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

Synopsis London might seem an unlikely venue for the premiere of this quintessentially Spanish music—but it was a decidedly international affair when Manuel de Falla's ballet “The Three-Cornered Hat” received its premiere performance at the Alhambra Theatre in London on today's date in 1919. The ballet was choreographed by the Russian dancer Leonide Massine, who performed in the premiere with the Ballet Russe company headed by Serge Diaghilev, who had commissioned de Falla to write the work in the first place. The conductor for the premiere, Ernest Ansermet, was Swiss, but the scenery, costumes and curtain, at least, were designed by de Falla's countryman, the famous Spanish artist Pablo Piccasso. Andalucian by birth, but living in Paris, de Falla must have found it frustrating that during this time his music was sometimes snubbed in Spain as sounding too cosmopolitan, and then pigeon-holed abroad as sounding too Spanish! The career of Latino-American composer Roberto Sierra has also turned out to be similarly cosmopolitan. Born in Puerto Rico in 1953, Sierra studied in Europe—with the Hungarian composer György Ligeti among others—before returning to the United States where he now lives and works. His music has been performed by leading American ensembles and orchestras—including the Philadelphia Orchestra, where Sierra served as composer-in-residence. This chamber work by Sierra, titled “Eros,” was written for flutist Carol Wincenc. Music Played in Today's Program Manuel de Falla (1876-1946) – The Three-Cornered Hat (Ballet Suisse Romande Orchestra; Ernest Ansermet, cond.) London 414 039 Roberto Sierra (b. 1953) – Eros (Jeani Foster, flute; Stefanie Jacob, piano) Fleur de son Classics 57950

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

Synopsis Deadlines are a fact of life for many of us—and composer are no exception. In 1875, Peter Tchaikovsky agreed to write 12, short solo pieces, one a month, for a St. Petersburg music magazine, beginning with their January 1876 issue. Tchaikovsky dashed the first piece off, but, fearing that he might forget his monthly deadline, took the wise precaution of instructing his servant to remind him: before each month’s deadline, Tchaikovsky’s dutiful servant would say: “Peter Ilytich, isn’t it about time to send something off to St. Petersburg?” Tchaikovksy would drop whatever he was working on and finish the next installment. So, it’s not too far-fetched to imagine Tchaikovsky on this date back in 1876 putting the finishing touches to this little piano piece for the May issue of the St. Petersburg magazine, a sketch he titled “Starlight Nights.” More recently, the contemporary American composer, Judith Lang Zaimont, also composed a set of 12 short piano pieces, one for each month, a suite she titled “Calendar Collection.” An accomplish pianist and composer, Zaimont taught for many years at the University of Minnesota in Minneapolis. This music–which we again offer ahead of schedule–is titled: “The May-fly.” Music Played in Today's Program Peter Tchaikovsky (1840 - 1893) May, fr The Seasons, Op. 37b Lang Lang, piano Sony 11758 Judith Lang Zaimont (b. 1945) The May Fly, fr Calendar Collection Nanette Kaplan Solomon, piano Leonarda 334 On This Day Births 1464 - English composer Robert Fayrfax, in Deeping Gate, Lincolnshire; 1857 - Italian opera composer Ruggiero Leoncavallo, in Naples; 1869 - German composer and conductor Hans Pfitzner (see May 5); 1872 - American composer and music educator Arthur Farwell, in St. Paul, Minn.; 1891 - Russian composer Sergei Prokofiev, in Sontsovka (Bakhmutsk region, Yekaterinoslav district), Ukraine (Julian date: April 11); Deaths 1691 - French composer, harpsichordist and organist Jean Henri d'Angelbert, age 62, in Paris; Premieres 1627 - Heinrich Schütz: opera "Dafne" (now lost), at Hartenfels Castle for the wedding of Princess Sophia of Saxony; This work is supposedly the first German opera; 1776 - Gluck: Alceste (2nd version), in Paris at the Académie Royale; 1881 - Gilbert Sullivan: operetta "Patience," at the Opera-Comique Theatre oinLondon; 1904 - Chadwick: "Euterpe" Overture, by the Boston Symphony; 1911 - Berg: String Quartet, Op.3, in Vienna, by the ad hoc quartet Brunner-Holzer-Buchbinder-Hasa Quartet; A later performance in Salzburg on August 2, 1923, by the Havemann Quartet at the First International Festival for Chamber Music , however, attracted wider attention and established Berg's worldwide reputation in musical circles; 1920 - Janácek: opera "The Excursions of Mr. Broucek," in Prague at the National Theater; 1922 - Varèse: "Offrandes" for voice and small orchestra, in New York City, with Carlos Salzedo conducting; 1948 - Jolivet: Concerto for Ondes Martenot and Orchestra, in Vienna; 1958 - Robert Kurka: opera "The Good Soldier Schweik" (posthumously) at the New York City Opera; 1979 - Rochberg: "The Slow Fires of Autumn," for flute and harp, at Tully Hall in New York, with flutist Carol Wincenc; 1981 - Ezra Laderman: String Quartet No. 6 ("The Audubon"), in New York City, by the Audubon Quartet; 1993 - Morten Lauridsen: "Les Chanson des Roses"(five French poems by Rilke) for mixed chorus and piano, by the Choral Cross-Ties ensemble of Portland, Ore., Bruce Brown conducting; 1994 - Broadway premiere of Sondheim: musical "Passion"; 1998 - James MacMillan: "Why is this night different?" for string quartet, at London's Wigmore Hall by the Maggini Quartet; Others 1738 - Handel is a founding subscriber to the "Fund for the Support of Decayed Musicians" (now the Royal Society of Musicians) at its first meeting at the Crown and Anchor Tavern in London; The fund was started after the widow and children of Handel's oboe soloist, John Kitch, were found impoverished on the streets of London; Other subscribers to the fund included the British composers Boyce, Arne, Green, and Pepusch (Gregorian date: May 4).

Synopsis Deadlines are a fact of life for many of us—and composer are no exception. In 1875, Peter Tchaikovsky agreed to write 12, short solo pieces, one a month, for a St. Petersburg music magazine, beginning with their January 1876 issue. Tchaikovsky dashed the first piece off, but, fearing that he might forget his monthly deadline, took the wise precaution of instructing his servant to remind him: before each month’s deadline, Tchaikovsky’s dutiful servant would say: “Peter Ilytich, isn’t it about time to send something off to St. Petersburg?” Tchaikovksy would drop whatever he was working on and finish the next installment. So, it’s not too far-fetched to imagine Tchaikovsky on this date back in 1876 putting the finishing touches to this little piano piece for the May issue of the St. Petersburg magazine, a sketch he titled “Starlight Nights.” More recently, the contemporary American composer, Judith Lang Zaimont, also composed a set of 12 short piano pieces, one for each month, a suite she titled “Calendar Collection.” An accomplish pianist and composer, Zaimont taught for many years at the University of Minnesota in Minneapolis. This music–which we again offer ahead of schedule–is titled: “The May-fly.” Music Played in Today's Program Peter Tchaikovsky (1840 - 1893) May, fr The Seasons, Op. 37b Lang Lang, piano Sony 11758 Judith Lang Zaimont (b. 1945) The May Fly, fr Calendar Collection Nanette Kaplan Solomon, piano Leonarda 334 On This Day Births 1464 - English composer Robert Fayrfax, in Deeping Gate, Lincolnshire; 1857 - Italian opera composer Ruggiero Leoncavallo, in Naples; 1869 - German composer and conductor Hans Pfitzner (see May 5); 1872 - American composer and music educator Arthur Farwell, in St. Paul, Minn.; 1891 - Russian composer Sergei Prokofiev, in Sontsovka (Bakhmutsk region, Yekaterinoslav district), Ukraine (Julian date: April 11); Deaths 1691 - French composer, harpsichordist and organist Jean Henri d'Angelbert, age 62, in Paris; Premieres 1627 - Heinrich Schütz: opera "Dafne" (now lost), at Hartenfels Castle for the wedding of Princess Sophia of Saxony; This work is supposedly the first German opera; 1776 - Gluck: Alceste (2nd version), in Paris at the Académie Royale; 1881 - Gilbert Sullivan: operetta "Patience," at the Opera-Comique Theatre oinLondon; 1904 - Chadwick: "Euterpe" Overture, by the Boston Symphony; 1911 - Berg: String Quartet, Op.3, in Vienna, by the ad hoc quartet Brunner-Holzer-Buchbinder-Hasa Quartet; A later performance in Salzburg on August 2, 1923, by the Havemann Quartet at the First International Festival for Chamber Music , however, attracted wider attention and established Berg's worldwide reputation in musical circles; 1920 - Janácek: opera "The Excursions of Mr. Broucek," in Prague at the National Theater; 1922 - Varèse: "Offrandes" for voice and small orchestra, in New York City, with Carlos Salzedo conducting; 1948 - Jolivet: Concerto for Ondes Martenot and Orchestra, in Vienna; 1958 - Robert Kurka: opera "The Good Soldier Schweik" (posthumously) at the New York City Opera; 1979 - Rochberg: "The Slow Fires of Autumn," for flute and harp, at Tully Hall in New York, with flutist Carol Wincenc; 1981 - Ezra Laderman: String Quartet No. 6 ("The Audubon"), in New York City, by the Audubon Quartet; 1993 - Morten Lauridsen: "Les Chanson des Roses"(five French poems by Rilke) for mixed chorus and piano, by the Choral Cross-Ties ensemble of Portland, Ore., Bruce Brown conducting; 1994 - Broadway premiere of Sondheim: musical "Passion"; 1998 - James MacMillan: "Why is this night different?" for string quartet, at London's Wigmore Hall by the Maggini Quartet; Others 1738 - Handel is a founding subscriber to the "Fund for the Support of Decayed Musicians" (now the Royal Society of Musicians) at its first meeting at the Crown and Anchor Tavern in London; The fund was started after the widow and children of Handel's oboe soloist, John Kitch, were found impoverished on the streets of London; Other subscribers to the fund included the British composers Boyce, Arne, Green, and Pepusch (Gregorian date: May 4).

Violinist Kelly Hall-Tompkins joins series host, soprano Allison Charney, in the second episode of the series, discussing and performing classical works by Bach, Shostakovich and Strauss along with an original adaptation of “Miracle of Miracles” from Fiddler on the Roof, sharing their un-Google-able insights and exploring the theme of hope – a commodity that feels hard to come by in our current world. MUSICAL SELECTIONS: C Major Sonata, 4th movement/ JS Bach – preformed by Kelly Hall-Tompkins, violin 1st Violin Concerto, cadenza/Shostakovich; preformed by Kelly Hall-Tompkins, violin Morgen/R. Strauss – preformed by Allison Charney, soprano; Kelly Hall-Tompkins, violin; Craig Ketter, piano “Miracle of Miracles” Bock/Eldor/Hall-Tompkins – preformed by Kelly Hall-Tompkins, violin; Craig Ketter piano Zuiegnung/R. Strauss – preformed by Allison Charney, soprano; Craig Ketter, piano In its pre-pandemic live incarnation – the innovative classical concert series PREFORMANCES with Allison Charney invited audiences to experience celebrated classical musicians in anticipation of their upcoming engagements on the world’s most prestigious stages. Now that live classical music has all but stopped, thus curtailing any upcoming engagements, acclaimed opera singer and series founder and host, Allison Charney, asks the existential question: If classical musicians are playing music but there’s no one there to hear it, have they really made music? Her answer: Not without an audience. Enter PREFORMANCES: Season of Hope! In these half-an-hour long episodes, Charney continues the PREFORMANCES mission of blurring the traditional barriers which exist between classical musicians and their audiences by providing an intimate and personal glimpse into top-level artists’ practices along with her signature “un-Google-able” insights – all with a focus on the series’ theme of hope. In addition, Allison and her guests will perform multiple musical selections on each episode. New episodes will air every other Tuesday night and be made available the following morning on the PREFORMANCES website, as well as in podcast form on iTunes and Spotify. Throughout its previous eleven seasons, PREFORMANCES With Allison Charney has presented over 100 of the preeminent musicians of our time. Notable appearances include those by New York Philharmonic Music Director Alan Gilbert, Metropolitan Opera stars William Burden and Maria Zifchak, “Queen of the Flute,” Carol Wincenc, violinist Kelly Hall-Tompkins of Broadway’s “Fiddler on the Roof” fame, and concert pianists Joel Fan and Navah Perlman, just to name a few. In addition, the series has presented new classical works by composers such as Michael Ching, Moshe Knoll, Mary Ellen Childs, Russell Platt and Kim D. Sherman. Live concerts typically run an hour and a half, with no intermission. PREFORMANCES with Allison Charney embraces artists, audiences and music of all backgrounds, ethnicities, orientations and world-views. PREFORMANCES denounces racism and bigotry of any kind. We stand committed to equality, diversity, accessibility and combatting injustice; anything less is unacceptable. Support the show (http://www.preformances.org/support/)

Pianist Benjamin Loeb, joins series host, soprano Allison Charney in this premiere episode of the series, discussing and performing works by Scott Joplin, Harold Arlen, Kurt Weill and Ernesto Nazareth and exploring the theme of hope - a commodity that feels hard to come by in our current world.Episode 1: Allison Charney and Benjamin Loeb Musical Selections:Gladiolus Rag/Joplin - preformed by Benjamin Loeb, pianoOver the Rainbow/Arlen- preformed by Allison Charney, soprano; Benjamin Loeb, pianoMy Ship/Weill - preformed by Allison Charney, soprano; Benjamin Loeb, pianoVem ća, branquinha/Nazareth - preformed by Benjamin Loeb, pianoZuiegnung/R. Strauss - preformed by Allison Charney, soprano; Craig Ketter, pianoIn its pre-pandemic live incarnation - the innovative classical concert series PREFORMANCES with Allison Charney invited audiences to experience celebrated classical musicians in anticipation of their upcoming engagements on the world’s most prestigious stages. Now that live classical music has all but stopped, thus curtailing any upcoming engagements, acclaimed opera singer and series founder and host, Allison Charney, asks the existential question: If classical musicians are playing music but there's no one there to hear it, have they really made music?Her answer: Not without an audience.Enter PREFORMANCES: Season of Hope - the podcast!In these half-an-hour long episodes, Charney continues the PREFORMANCES mission of blurring the traditional barriers which exist between classical musicians and their audiences by providing an intimate and personal glimpse into top-level artists' practices along with her signature "un-Google-able" insights - all with a focus on the series' theme of hope. In addition, Allison and her guests will perform multiple musical selections on each episode.Throughout its previous eleven seasons, PREFORMANCES With Allison Charney has presented over 100 of the preeminent musicians of our time. Notable appearances include those by New York Philharmonic Music Director Alan Gilbert, Metropolitan Opera stars William Burden and Maria Zifchak, “Queen of the Flute,” Carol Wincenc, violinist Kelly Hall-Tompkins of Broadway’s “Fiddler on the Roof” fame, and concert pianists Joel Fan and Navah Perlman, just to name a few. In addition, the series has presented new classical works by composers such as Michael Ching, Moshe Knoll, Mary Ellen Childs, Russell Platt and Kim D. Sherman. Live concerts typically run an hour and a half, with no intermission.PREFORMANCES with Allison Charney embraces artists, audiences and music of all backgrounds, ethnicities, orientations and world-views. PREFORMANCES denounces racism and bigotry of any kind. We stand committed to equality, diversity, accessibility and combatting injustice; anything less is unacceptable.Support the show (http://www.preformances.org/support/)

Flute 360 | Episode 115: “Military Flutists with Staff Sergeant Brittany Primavera” (47:33) In today’s episode, Heidi talks with Brittany Primavera about her time being a Military Flutist in the U.S. Army Band. She goes into detail about the audition process, her experience with basic training, and advises those who are considering this career path. This series runs through the entire month of May 2020 and we hope that it is beneficial for you and, or your students! Episode 115 – Main Points: 0:37 – Contact: J&K Productions & Flute 360 for consultation work! 2:03 – Welcome & Introduction! 3:28 – Heidi: Please share with the listeners who you are and your musical background! 3:35 – Brittany’s Answer 3:42 – The University of North Texas with Dr. Mary Karen Clardy 6:40 – Texas Tech University, Lubbock, TX 7:18 – Sneak Peek into Episode 117 with Claire Workinger! 8:01 – Wayland Baptist University 8:09 – Lubbock Christian University 8:18 – Tumbleweeds! 8:40 – Fife and Drum Corps 9:23 – The U.S. Army’s Pershing’s Own Band 9:33 – Oak Ridge Symphony Orchestra 9:45 – Capital Wind Symphony 10:07 – Mid-Atlantic Flute Convention 10:19 – Rachel Minto, flutist 11:33 – Texas Flute Society 12:04 – Question: What inspired you to take the audition? 12:18 – Brittany’s Answer 12:32 – The HellCats, West Point Band 13:47 – Fife and Drum Corps 14:20 – Sneak Peek into Episode 116 with Sonia Dell’Omo! 16:04 – “It’s fun learning a new skill!” – Brittany 18:22 – Question: What lessons did you learn in the military that have strengthened your musical skills, if any? 19:20 – Brittany’s Answer 20:36 – Question: Can you please share with us what your basic training experience was like? 20:42 – Brittany’s Answer 20:51 – Fort Leonard, Missouri: Fort Lost in the Woods 22:18 – “Hunt the good stuff!” – U.S.A. Army 23:58 – Reference to Episode 113 with Allion Wollam 24:36 – Netflix: The Unbreakable with Kimmy Schmidt 26:19 – Question: After basic training, most musicians attend a 10-week course through the Army School of Music for Advanced Individual Training (or AIT). Were you required to enroll in this course? 27:08 – Brittany’s Answer 28:05 – Allison Wollam, flutist (E113) 31:21 – Carol Wincenc, flutist (E009) 35:58 – Question: For a musician who is considering this career path, what advice do you have for him or her? 36:15 – Brittany’s Answer 39:17 – Sharon Sparrow’s Book: “Six Weeks to Finals...” 40:00 – Rhythmic Integrity 40:28 – Question: Any last sentiments that you’d like to share with the listeners? 40:38 – Brittany’s Answer 42:55 – PICKS! 45:46 – Conclusion 46:19 – Bronze Sponsor: J&K Productions PICKS! Brittany: Baking Sourdough Harry Potter Series Heidi: Hermione Granger Episode 115 – Resources Mentioned: Dr. Heidi Kay Begay’s Website "Battle Cry of Freedom" Album Performed by Brittany Primavera & Mark Beecher Episode 113 with Allison Wollam! Episode 114 with Angela McCuiston! Episode 115 – Sponsors: Gold Level: J&K Productions Bronze Level: J&K Productions

Flute 360 | Episode 98: “Building Your C.V. Through International Experiences with Dr. Nevart Galileas” (34:00) In today’s episode, Heidi talks with Dr. Nevart Galileas about adding international experiences to build your résumé or curriculum vitae. Dr. Galileas gives her advice regarding this area and shares the benefits of traveling abroad to enhance your musical career. Episode 98 – Main Points: 0:26 – Gold Sponsor: J&K Productions 1:21 – Welcome & Introduction 2:54 – Please share with the listeners who you are and your musical background! 2:59 – Nevart’s Answer 3:12 – Studies at Oberlin Conservatory (OH) with Debost 3:33 – Studies at Indiana University (IN) with Robertello and Lukas 4:08 – Studies at Stony Brook University (NY) with Carol Wincenc 4:45 – Neo Conservatory of Music in Thessaloniki, Greece 4:50 – ACT’s Summer Music Program, Greece 5:00 – State Conservatory of Thessaloniki, Greece 5:53 – ACT’s Summer Music Program in July of 2020 6:43 – Straubinger Flute Scholarships 8:45 – Heidi gives an Episode 100 teaser. 10:26 – Nevart Comments 11:11 – Building connections and growing your network. 12:27 – Question: What are the benefits of building international experiences to your C.V. or résumé. 12:43 – Nevart Answers 13:09 – Nevart comments about how the profession is changing throughout the times. 13:46 – Doctor of Musical Arts (D.M.A.) degree 15:24 – “You must be out there. Also, because it is a globalized music world nowadays. We are somehow all connected, even if you are on the other end of the world.” – Nevart 15:57 – Job applications for academic positions. 16:13 – Nevart talks about cultural differences and how this can aid your teaching. 16:46 – Heidi Comments 17:45 – Paris Conservatory in Paris, France 19:43 – Question: Can you please share the lessons you’ve learned from your musical family and your international career? 20:08 – Nevart’s Answer 20:18 – Thessaloniki State Symphony Orchestra & Georgia State University 22:00 – Question: Any last thoughts or suggestions that you’d like to offer the listeners? 22:50 – Teachers can learn from their students, too! 23:54 – Heidi Comments 25:00 – Bucharest, Romania & Sofia, Bulgaria 25:39 – Listen here to bring the episode full circle! 27:16 – The Italian language. 28:33 – “Musicians need to be in touch with the world because it is an international language.” – Nevart 28:47 – Music is a privilege! 30:41 – “Music is our tool to communicate ideas, so if English is not the common ground, well good! Don’t let that hold you back! That’s a benefit because now you have to get creative!” – Heidi 30:58 – Nevart Comments 32:46 – Bronze Sponsor: J&K Productions  Episode 98 – Resources Mentioned: Straubinger Flutes (IN) Stony Brook University (NY) Indiana University (IN) Oberlin Conservatory (OH) Georgia State University (GA) Thessaloniki State Symphony Orchestra, Greece Paris Conservatory (France) ACT’s Summer Music Program in July of 2020, Greece Straubinger Flute Scholarships for ACT, Greece State Conservatory of Thessaloniki, Greece Neo Conservatory of Music in Thessaloniki, Greece Nevart Galileas’s Website Episode 98 – Sponsors: Gold & Bronze Level: J&K Productions

Flute 360 | Episode 80: “The Fundamentals of Extended Techniques with Robert Dick, Part 2 – Video” (1:16:22) Today’s episode is a continuation from Episode 79 where Robert Dick extends his discussion on the fundamentals of extended techniques. He talks in great detail about flutter tonguing, whisper/whistle tones, and much more! We hope you enjoy the viewing of this content, and please listen to the other Series 17 episodes for more information (E79-82)! Episode 80 – Main Points: 0:27 – Gold Sponsor: J&K Productions 1:21 – Welcome and thank you for your support! 1:41 – Topic: Microtones 4:34 – Robert shows his Kingma System flute. 6:57 – Robert’s Book: “The Other Flute” 7:08 – Topic: Micrtonal Segments 10:21 – “Think of your flute technique as the lifting of fingers, not the closing.” – Robert 13:36 – “Practicing should be joyous! You are doing what you are supposed to be doing. The thing that comes from within! There were plenty of times that I would have to grab myself by the collar and go practice.” – Robert 20:02 – Topic: Nose Grease 20:19 – Jean-Pierre Rampal, flutist 20:31 – Prokofiev, Sonata, Op. 94 for Flute and Piano 21:41 – Robert gives his last comments on the topic of glissandi. 22:55 – “Your hand is not a bus depot with five parking spots.” – Robert 30:14 – Topic: Multiphonics 34:00 – Reference made to Episode 79 – Audio & Video Portions 37:29 – “The air is the foundation of the sound!” – Robert 40:29 – “Your First Multiphonic” – YouTube Video with Robert Dick 40:39 – “The Three Types of Multiphonics” – YouTube Video with Robert Dick 50:17 – Topic: Whisper/Whistle Tones 59:27 – Julius Baker, flutist 59:57 – Topic: Flutter Tonguing 1:00:03 – Robert Dick gives an exercise on how to flutter tongue if you cannot roll your “R’s.” 1:12:00 – Carol Wincenc, flutist & The Waco Symphony Orchestra 1:13:20 – Final Comments 1:13:50 – Robert Dick Improvises! 1:15:15 – Bronze Sponsor: J&K Productions Episode 80 – Resources Mentioned: Flute 360 – Dr. Heidi Kay Begay’s Website Financially Support Flute 360! Robert Dick’s Website Flutter Tonguing with Robert Dick on Youtube! The Glissando Headjoint Book: Tone Development Through Extended Techniques by Robert Dick Book: The Other Flute by Robert Dick Follow Robert Dick via Facebook! Robert Dick’s Contemporary Flute Week Episode 80 – Sponsors: Gold/Bronze: J&K Productions’ Website Silver: Contact Heidi for details!

Flute 360 | Episode 65: “Highlights from Series 1-3” (9:44) In today’s episode, Heidi highlights her favorite episodes from Series 1-3, which includes Episodes 0-15! During these next four weeks, Flute 360 is going to “pause” and give listeners a time to re-play their favorite episodes and time to listen to "new" episodes. Listen to today’s episode to hear Heidi’s three favorite topics from Series 1-3! Episode 65 – Main Points: 0:24 – Gold Sponsor: J&K Productions 1:18 – Welcome! 1:23 – Thank you for your Flute 360 support! 2:10 – Series 13 will give us time to catch-up on our podcast listening! 2:54 – Episode 65’s Topic: Highlights from Series 1-3 (Episodes 0-15). 3:13 – Series 1, Episodes 0-4 – Topics include: Flute 360’s Introduction, Interview with Dr. Susan Fain, Anti-Inflammatory Diet, Essential Oils, and Rest. 3:45 – Heidi’s favorite is Episode 2: An Anti-Inflammatory Diet 4:00 – Recipe: Quinoa Salad 5:25 – Series 2, Episodes 5-8 – Topics include: Building Your Flute Studio, Organization Within Your Flute Studio, Tax Information for the Self-Employed Musician, and Student Success. 5:36 – Heidi’s favorite is Episode 8: Student Success! 6:08 – Series 3, Episodes 9-15 – Interviews with Carol Wincenc, Dr. Sam Hood, David Straubinger, Christopher Cox, (A Podcast Update), Dr. Dennette McDermott, and Beatriz Macias. 6:36 – Heidi’s favorite is Episode 14: Q&A with Dr. McDermott 7:22 – E14’s Summary: How to prepare for graduate school, performance anxiety, and flute pedagogy for beginners. 8:00 – Go back and listen to E2, E8, and E14. 8:34 – Bronze Sponsor: J&K Productions Episode 65 – Resources Mentioned: Flute 360 – Dr. Heidi Kay Begay’s Website Zesty Quinoa Salad! Episode 2: Anti-Inflammatory Diet Episode 8: Student Success! Episode 14: A Q&A with Dr. Dennette McDermott Episode 65 – Sponsors: Gold/Bronze: J&K Productions’ Website Silver: Contact Heidi for details!

Flute 360 | Episode 37: “An Interview with Valerie Coleman” (40:37) In today’s episode, Heidi talks with Professor Valerie Coleman who is a flutist, composer, and teacher. In August of 2018, she was appointed as Assistant Professor of Performance, Chamber Music, and Entrepreneurship at Frost School of Music in Miami, Florida! Today, Heidi and Valerie talk about the creative process and Valerie’s past and current projects! Episode 37 – Main Points: 1:00 – Welcome! 1:17 – Frost School of Music, FL 2:12 – Valerie’s Background 2:50 – Valerie’s Compositions 2:59 – Trudy Kane, flutist 3:06 – Flute New Music Consortium 3:18 – Carol Wincenc, flutist 4:00 – NFA: 2018 Convention in Orlando 4:25 – Imani Winds 5:48 – “Taking risks is saying: Make a commitment!” – Valerie 6:45 – Marcel Moyse, flutist 7:34 – Imposter syndrome! 7:58 – “Proper practice prevents piss poor performance!” – Quote 9:06 – Question: How did you get into composing? 9:12 – Valerie’s Answer 12:04 – Valerie’s mother runs a daycare (going strong for 53 years)! 14:16 – Question: What is your writing process like? 14:33 – Valerie’s Answer 14:58 – Reference to Gary Schocker’s Episode 36 – check it out here! 18:20 – Being aware of what you are doing with your body! 19:15 – Improvise! 23:40 – Question: What is your favorite composition? 24:18 – Valerie’s Answer 24:38 – “Everything has its season!” – Valerie 25:57 – Henri Matisse, French artist 27:09 – Question: Any suggestions for the budding new composer? 27:27 – Gary Schocker, flutist 27:45 – “You are already creative!” – Valerie 28:52 – Dutilleux’s Sonatine for flute and piano – purchase here! 29:50 – “Big Magic” by Elizabeth Gilbert 33:00 – Question: Any last comments? 33:13 – Valerie Coleman, Amanda Harberg, and Nicole Chamberlain’s course - Summer of 2020! (University of South Carolina – 1st year!) 34:32 – Dedication to Katherine Hoover! 39:10 – Conclusion Episode 37 – Picks: Heidi Frankincense and Myrrh Essential Oils! Episode 37 – Resources Mentioned: “Big Magic” by Elizabeth Gilbert Frost School of Music at The University of Miami Valerie Coleman’s Website Valerie Coleman’s Compositions Theodore Presser – Valerie Coleman Frost School of Music's News - Valerie Coleman YouTube Video: “Celebrating Women Composers” Valerie Coleman Performs “Fanmi Imèn” at NFA (2018) Imani Winds Imani Winds Perform “Umoja” Heidi Kay Begay’s Website Episode 37 – Sponsors: J&K Productions’ Website

Flute 360 | Episode 9: “An Interview with Carol Wincenc” (25:44) In September of 2017, Carol Wincenc visited the Texas Tech University’s School of Music. During her residency, Heidi interviewed the “Queen of the flute” (New York Magazine) and asked her questions about artistry, flute tone, and much more! Episode 9 – Main Points: Introduction Question 1 (1:07) Carol’s fine arts background: ballet & theater Pursue your dream! (2:23) Family’s musical background (2:54) Giving back to the community (3:21) Finding your niche (3:51) Inner calling (4:07) Carol’s son, Nicola Wincenc (5:28) Carol’s father was a violinist (6:14) Core of the sound (7:34) Flute sonorities (8:41) Visual art (9:54) Performing on stage (10:32) We are always learning! (11:54) Christopher Rouse’s Flute Concerto (12:59) Joan Tower’s Rising (15:16) Lukas Foss’ Renaissance Concerto (16:28) Living in Rome, 1966-1967 (18:16) Final question (21:22) Being of service (22:55) Episode 9 – Resources Mentioned: Carol Wincenc’s Website Christopher Rouse’s Flute Concerto Joan Tower’s Rising Lukas Foss’ Renaissance Concerto Heidi Kay Begay’s Information: Website: https://heidikaybegay.com E-mail: heidikaybegay@gmail.com Flute 360's Sponsor: J&K Productions

Carol Wincenc is an artist that needs no introduction. She is an iconic flutist and her name is synonymous with graceful and powerful musicianship. In addition to her decades of accomplishments, awards, and accolades, Ms. Wincenc has released a number of recordings that are revered as the authority on execution and artistry. Her natural talent and other’s recognition of her gifts launched her from a young flutist in her hometown of Buffalo to an emerging star fresh from her studies in Italy. She studied at Oberlin, Manhattan School of Music, and Juilliard. Quickly after her graduation, Ms. Wincenc secured the Principal Flute position with the St. Paul Chamber Orchestra, won the Naumburg Foundation Solo Flute Competition, and established herself as a sought-after soloist. She passes down her wealth of knowledge and wisdom to her students and it excites her to see them reach accomplishments of their own. Before her recital and masterclass at the Flute Center of New York, Ms. Wincenc revealed what it was like building a career in a male-dominated industry and what morsels of advice she hopes to pass down to the next generation.

ON THE PROGRAM Bach/Hess: Jesu, Joy of Man's Desiring Mozart: Sonata in c-minor, K. 457 Molto Allegro Rachmaninoff: Prelude in g-sharp minor, Op. 32, No. 12 Prelude in b-minor, Op. 32, no.10 Prelude in G Major, Op. 32, No. 5 Prelude in A Major, Op. 32, No. 9 Chopin: Barcarolle, Op. 60 Beach: Soirée de Vienne (Concert Paraphrase on motives from Die Fledermaus) FROM THE PIANOFORTE WEBSITE Hailed for his prodigious technique, and praised by the Washington Post for an “unusually fresh and arresting approach to the piano,” pianist Michael Adcock has cultivated a versatile career as soloist, chamber musician and pre-concert lecturer. Michael Adcock earned the Master’s, Artist Diploma and Doctoral degrees from the Peabody Conservatory in Baltimore, where he studied with Leon Fleisher and Ellen Mack, in addition to being an adjunct member of the theory and chamber music faculties. Mr. Adcock took his Bachelor’s degree from the Oberlin College-Conservatory where he graduated Pi Kappa Lambda. At Oberlin, he was twice awarded the Kaufmann Prize in chamber music and received the Hurlbutt Award as most outstanding graduating senior in the conservatory. Mr. Adcock attended secondary school at the North Carolina School of the Arts, where he received the Irwin Freundlich Memorial Piano Award. Recipient of the 1998 Lili Boulanger Memorial Award, Mr. Adcock was also a prizewinner in the 1996 Washington International Competition, as well as the Kosciusko Foundation Chopin Competitions in Chicago and New York. Mr. Adcock gave his Carnegie Weill Recital Hall debut in 1998. In January 2016, Mr. Adcock was a featured artist on Washington, DC’s WETA-FM “Front Row Washington” and has also been featured on radio broadcasts in New York City (WQXR) and Tampa, FL (WUSF). Recently, Mr. Adcock is a featured soloist in “Samuel Barber: Absolute Beauty”, the first-ever documentary on the composer (2016; H. Paul Moon, director). Michael Adcock’s new solo CD, “Keyboard Transcriptions,” will be available on the Centaur label in early May 2017, and includes Prokofiev’s transcription of his Romeo and Juliet ballet, as well as the Gershwin-Wild Seven Virtuoso Etudes. Mr. Adcock has collaborated with many notable musicians, among them Denyce Graves, Ani Kavafian, Gervase dePeyer, James Buswell, Timothy Eddy, Carol Wincenc and the St. Petersburg String Quartet. A former Artist-in-Residence at the Aspen Institute (MD), Mr. Adcock has been affiliated with many chamber series and summer festivals and was for 17 years a faculty member of the Musicorda Festival. Mr. Adcock is currently associate piano faculty at the Sarasota Music Festival, a faculty member of the Washington Conservatory of Music in Bethesda, MD, and artistic director of the UU Chalice Concert Series in Columbia, MD. A native of Virginia, Mr. Adcock makes his home in Silver Spring, MD. Michael Adcock’s website is: www.michaeladcockpiano.com