Podcasts about Chamber Music Society

Eleni Katz is a world class bassoonist. She's a prominent soloist, chamber musician and orchestral player. She's performed with the Chamber Music Society of Lincoln Center, and the Milwaukee, Fort Worth and New World Symphonies. She's a winner of the Concert Artist Guild Competition and the Woolsey Hall Concerto Competition. Her approach to playing the bassoon has been described as “uncannily human”.My featured song is “Rough Rider” from the album East Side Sessions by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Eleni:www.elenikatzbassoon.com—----------------------------------------ROBERT'S RECENT SINGLES:“ROUGH RIDER” is Robert's latest single. It's got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

The Chamber Music Society of Lincoln Center (CMS) will be in performance Saturday, March 22 at Camelback Bible Church in Paradise Valley. The co-...

Where would we be without music? Without the arts? Imagine a world without the rush of a live performance, the thrill of harmony, or the power of a single note to move you. Music fuels our imagination, sparks emotions, and connects us across generations and cultures. Chamber music, in particular, is storytelling at its most intimate—a soul-stirring conversation between instruments that transcends words.And thanks to the Cleveland Chamber Music Society, we don't have to travel to the great concert halls of Europe to experience it. Joining Speaking of Travel is Steve Somach, Program Committee Chair of the Cleveland Chamber Music Society, and Gabe Pollack, the Director of Performing Arts at the Cleveland Museum of Art. As the Cleveland Chamber Music Society celebrates its milestone 75th anniversary, the organization is expanding its reach, collaborating with the Cleveland Museum of Art to make chamber music more accessible than ever. This partnership brings performances into one of the city's most treasured cultural spaces, ensuring that audiences can experience the magic of live chamber music. Don't miss this unforgettable, and exceptional, season! Tune in for a fabulous conversation. Only on Speaking of Travel! Thanks for listening to Speaking of Travel! Visit speakingoftravel.net for travel tips, travel stories, and ways you can become a more savvy traveler.

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Playlist: Thomas Metcalf, NYCGB Fellowship - H(Ai)kuFlorence Price, The Chamber Music Society of Lincoln Centre - Piano Quintet in A MinorMary Howe, Juliana Soltis, Ruoting Li - Ballade FantasqueBryce Dessner, Nadia Sirota - DelphicaChristopher Tyler Nickel, Vancouver Contemporary Orchestra - Concerto for Four Wagner TubasCaroline Shaw, The Crossing & Donald Nally - OchreArthur Bachmann, Luminous Voices - Weepe You No More

Today we're spotlighting the Chamber Music Society of Logan, and we're joined by CMSL Chair Charlie Huenemann and Programming Director Cahill Smith.

SCOTT LOGSDON has written the book/lyrics for STICKS & STONES (with composer John McDaniel) which had a premiere concert starred Audra McDonald, Javier Muñoz, and George Salazar for Lady Gaga's Born This Way Foundation/BC/EFA; 12 DAYS TILL CHRISTMAS (with composer Dana P. Rowe, currently in development as a film with Jerry Mitchell attached); JOYCE JACKSON'S GUIDE TO DATING, (with composer Steve Marzullo) which premiered in Orlando and was seen in concert at 54 Below; AN AMERICAN COUNTRY CHRISTMAS CAROL (with various CMA winning and nominated composers) THE CRINOLYNNS and LOVE (r)EVOLUTION, a song cycle covering 120 years of LGBTQIA+ history, both written with Aaron Gandy. Both STICKS & STONES and JOYCE JACKSON won the Florida Theatrical Association's New Musical Discovery Competition. JOYCE was featured in the NAMT Composer's Concert Series and was a finalist for Richard Rodgers/ Jonathan Larson Awards. Scott has written Broadway specialty lyrics for Roundabout Theater Company's Tribute to Alec Baldwin (directed by Scott Ellis) and the GYPSY OF THE YEAR Competition for the LES MISERABLES company, as well as for notable performers including Jason Alexander. Logsdon was vetted by the Cole Porter estate to rewrite lyrics for the documentary, Fabulously Fake: The Real Life of Kenneth Jay Lane. With Dana P. Rowe, he wrote the theme song for the series Stars In the House. His non-musical plays include THE BOIS (an all-male, contemporary take on the classic play THE WOMEN), which received a staged reading at the Abbey in Orlando, and THE MOURNING AFTER (a dark comedy.) As an actor, he was an originating cast member in the LES MISÉRABLES national company. He's been seen in such roles as Thenardier, Sweeney Todd, Billy Bigelow, Che, El Gallo, and King Herod. He has performed across North America as a soloist with symphonies and as a guest star in the award-winning Sondheim Unplugged at 54 Below in New York City. His many directing credits include CHESS, THE FANTASTICKS, DRIVING MISS DAISY, THE GLASS MENAGERIE, and the southeastern premiere of SECRETS EVERY SMART TRAVELER SHOULD KNOW. He holds a degree in musical theatre from Shenandoah Conservatory and received a Distinguished Alumni Award for work in the field of musical theatre.   Aaron Gandy A specialist in American musical theater and American popular song, Aaron Gandy's concerts and recordings embrace the best of Broadway from Kern to Lloyd-Webber, while encompassing Swing, Jazz and the golden age of Hollywood. Recent recordings include the all-star Jule Styne In Hollywood (PS Classics) and the upcoming Busker Alley (Jay Records). In 2004 he conducted the premiere recording of Kay Swift's Fine & Dandy on PS Classics featuring Broadway's Carolee Carmello and HBO's Mario Cantone. Upcoming recordings include Alec Wilder's Miss Chicken Little (originally broadcast on CBS television in 1953) and a restoration of Walter Donaldson's jazz-age romp Whoopee! Regarded as a leading authority on composer Vincent Youmans, Mr. Gandy restored and conducted the premiere recording of Youmans' final Broadway score Through the Years starring Metropolitan Opera Soprano Heidi Grant Murphy. Mr. Gandy restored the original film orchestrations for Rodgers & Hammerstein's The King and I, and Irving Berlin's White Christmas. His restoration of the original film orchestrations for Rodgers & Hammerstein's Oklahoma! was performed by the Hollywood Bowl Orchestra in 1997. Mr. Gandy's Broadway credits include Disney's The Lion King, Urinetown, and Dora the Explorer Live! at Radio City Music Hall. He has concertized with The Chamber Music Society of Lincoln Center, The Chicago Humanities Festival, 42nd Street Moon, Cami Hall, San Francisco's 42nd Street Moon, The Museum of Television and Radio, Symphony Space, Tribeca Performing Arts Center and solo appearances with Davis Gaines, Leslie Uggams, Christianne Noll, Jerry Hadley, Jim Dale, Dick Hyman, Lainie Kazan and Glenn Close.

Janet Green has been attending Phoenix Chamber Music Society concerts since she was a teenager, and is now Executive Director of the society. She...

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Travel expert Rick Steves stops by for the latest ATL Up and Away installment. Emory Chamber Music Society of Atlanta's artistic director, Will Ransom, shares what's in store for their new season. Plus, Muralist Nicole Merizalde, writer, poet, and artist Constance Collier-Mercado, and information on the first annual East Lake Music Fest.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Support Breaking Walls at https://www.patreon.com/thewallbreakers By November of 1944 Suspense was pulling a rating of 10.4. There were now more than eight million people tuning in. Roma wines was satisfied as Suspense was providing stiff competition to The Frank Morgan Show running opposite on NBC Thursday nights at 8PM eastern time. On November 9th Lena Horne guest-starred in a Robert L. Richards script called “You Were Wonderful” about the murder of a nightclub singer in South America. Horne is the visiting American singer intent on solving the crime. Lena Horne was born on June 30th, 1917 in Brooklyn, New York. Both sides of her family were multi-racial with both African and Native American heritage. Her father Teddy was a one-time owner of a restaurant and hotel while her mother Edna was an actress with a traveling theater troupe. As a young girl Lena's father left the family to move to Pittsburgh, while Lena traveled with her mother around the country before returning to New York City when she was twelve. Lena dropped out of high school at sixteen and joined the chorus line at the Cotton Club. In 1935 she made her first screen appearance as a dancer in Cab Calloway's musical short Jitterbug Party. She got married in 1937, but soon separated from her husband, first touring with bandleader Charlie Barnet in 1940 before returning to New York to work at Cafe Society in Greenwich Village. She soon replaced Dinah Shore as vocalist on NBC's The Chamber Music Society of Lower Basin Street and recorded with Henry Levine and Paul Laval, in June 1941 for RCA Victor. Horne then left New York City for Hollywood, being hired to perform in a Cotton Club-style revue for Cafe Trocadero on the Sunset Strip. In 1942, when she became the first African-American with a major studio contract, it was with the understanding that she wouldn't be obligated to portray servants—a condition that handicapped her entrée into mainstream Hollywood movies. She soon appeared in the films Panama Hattie, Cabin in the Sky, Stormy Weather, Thousands Cheer, Swing Feever, Broadway Rhythm, and Two Girls and a Sailor. With the exceptions of Cabin in the Sky and Stormy Weather, Lena's early screen appearances were often designed as standalone musical numbers that could easily be cut out in prejudice Southern markets unaccepting of African American performers. Horne's Suspense appearance was big news. Both Spier and his wife Kay Thompson, a friend who worked with her at MGM, pressed the movie studio to allow her to headline the show. Network executives at CBS were concerned that Roma might pull its contract if Southern stations didn't want to air the program. Thompson agreed to appear as Horne's uncredited backup singer in three musical numbers, which Thompson arranged. MGM's publicity department got to work and given the unfortunate day's climate, Horne's appearance was heralded as one of the more daring and successful half hours of network drama at the time. She is the first and only African American to headline Suspense. “It was an event of terrific importance to Lena,” noted Movieland magazine, “for the first time a performance of hers was judged on merit alone; she was announced only as the star of the play, without reference to her race.” Spier noted that in the studio, Lena “seemed so poised, so sure of herself and her every speech, so business-like in her approach to the role.” However when she grabbed his hand for encouragement, she was ice cold. Part of it was performance nerves, but a lot of it came from the anxiety of getting the chance to publicly justify her talent. Horne later said, “Bill was marvelous and intelligent. Anyone married to Kay would have to be strong.” It was an especially memorable and proud evening for members of the African-American community who were glued to their radios in record numbers.

SynopsisIn the summer of 1764, eight-year-old child prodigy Wolfgang Mozart was in England, accompanied by his 13-year-old sister, Nanerl, and their father, Leopold. The Mozarts had arrived in London wearing what back home in Salzburg would have passed as fashionable French-style clothing back home in Salzburg. But since England had just ended the Seven Years War with France, this faux pas resulted in the Mozarts receiving some rude comments and even ruder gestures from London street urchins, so Papa Leopold quickly acquired more “politically correct” attire for himself and the children.On August 5, 1764, the family settled in at a quiet house in Chelsea, as Papa Leopold had taken ill. While his father recovered, Wolfgang was temporarily forbidden to practice piano or make any noise, so he decided to try his hand at writing his first symphony. Perhaps as compensation for having to keep so quiet, Mozart suddenly was keen on writing for as many instruments as possible. As Nanerl later recalled, “While he composed and I copied, he said to me, ‘Remind me to give the horn something worthwhile to do!'”And so, Mozart's first symphony is scored for two oboes, two horns and strings.Music Played in Today's ProgramWolfgang Amadeus Mozart (1756-1791): Symphony No. 1; Prague Chamber Orchestra; Charles Mackerras, conductor; Telarc 80256The “bad news” relates to Bach's previous employer, namely the Duke of Weimar, who was not exactly pleased that Bach had accepted the new job. Court intrigue complicated the matter, and the Prince's “poaching” of Bach might have been perceived as just another indirect slap at the Duke maneuvered by a long-standing feud between the two noblemen. The upshot was that Bach was put on the Prince's payroll effective in August of 1717, but the Duke didn't accept Bach's resignation until five months later, and then only after throwing Bach in jail for almost a month to teach him a lesson, as the court secretary put it, “for too stubbornly forcing the issue of his dismissal.”In an age when Dukes and Princes could do as they pleased, it seems giving two weeks notice was a tad more complicated than it is today!Music Played in Today's ProgramJ. S. Bach (1685 - 1750) — Brandenburg Concerto No. 1 (Chamber Music Society of Lincoln Center; David Shifrin, cond.) Delos 3185

Esperanza Spalding Interview Esperanza Spalding, a Portland-born jazz musician, rose to prominence with her versatile talent as a bassist, singer, and composer. Trained in classical music from childhood, she explored various genres, leading to groundbreaking albums like "Esperanza" and "Chamber Music Society." Her Grammy win for Best New Artist in 2011 propelled her to international recognition despite competition from mainstream pop acts. Spalding's commitment to artistic integrity is evident in her experimental projects, such as writing and recording an album in 77 hours and exploring spirituality through music on "Songwrights Apothecary Lab." Collaborations with renowned artists like Wayne Shorter and Fred Hersch further cement her status as a jazz luminary. Now, as she embarks on a tour, she continues to captivate audiences with her innovative compositions and virtuosic performances.

Jazz88's Peter Solomon spoke with pianist Aaron Diehl about his recent recording of Mary Lou Williams' "Zodiac Suite," the influence of pianist and composer John Lewis, and his upcoming performance of music by Lewis, Gunther Schuller and others with members of the Chamber Music Society of Minnesota Sunday, April 7th at Sundin Hall on the campus of Hamline University in St. Paul..

Jazz88's Peter Solomon spoke with pianist Aaron Diehl about his recent recording of Mary Lou Williams' "Zodiac Suite," the influence of pianist and composer John Lewis, and his upcoming performance of music by Lewis, Gunther Schuller and others with members of the Chamber Music Society of Minnesota Sunday, April 7th at Sundin Hall on the campus of Hamline University in St. Paul..

The Saratoga Performing Arts Center (SPAC) will welcome back its resident companies -- New York City Ballet and The Philadelphia Orchestra -- to their summer home in Saratoga for a celebratory season that will feature masterworks from the classical cannon, alongside SPAC premieres and debuts. Before they arrive, SPAC will host the Freihofers Saratoga Jazz Festival, the Chamber Music Society of Lincoln Center will continue their residency, there educational programs and CulinaryArts@SPAC events. President and CEO of SPAC Elizabeth Sobol, and Vice President of Artistic Planning at SPAC Christopher Shiley join us to tell us more.

Der Ehrbar Saal in der Mühlgasse 30 im vierten Bezirk wird von C. Bechstein Wien betrieben. Die wunderbare Akustik und die besondere Aura werden stets als Markenzeichen genannt.

SynopsisOn today's date in 1973, the Chamber Music Society of Lincoln Center premiered a new work by Pierre Boulez for solo flute and seven instruments, plus interaction with an electronic computer program, which generated sounds that reacted to (and interacted with) the solo flute. The piece was titled explosante-fixe, which translates as “exploding-fixed.”At the time, however, Boulez was frustrated by the still primitive computer technology. “You still had connections with wires and so on,” he recalled. “It was clumsy and unreliable.”Twenty years later, Boulez presented a new version of explosante-fixe, employing updated computer technology and midi-flute, controlled by a computer. This version was recorded, in effect “fixing the explosion.”Boulez once quoted with approval French dramatist Antonin Artaud, who described music as “collective hysteria and spells.” Yet Boulez carefully plotted out his compositions in obsessively meticulous detail.And, speaking of explosions, Boulez once suggested that as a radical break with the past, all opera houses should be blown up. Yet, as a conductor, Boulez was a devoted interpreter of some past composers, such as Debussy and Stravinsky — and, if you listen closely, echoes of their music can be heard in his own.Music Played in Today's ProgramPierre Boulez (1925-2016) explosante-fixe; Sophie Cherrier, solo midi flute; Ensemble Intercontemporain; Pierre Boulez, cond. DG 445 833

Composer, author, lecturer, and performer Bruce Adolphe is a multifaceted artist. He's known by millions of listeners for his ingenious Piano Puzzlers on public radio's Performance Today and his concert pieces are played worldwide by Itzhak Perlman, Yo-Yo Ma, and Joshua Bell. Bruce shares how he was inspired by Leonard Bernstein to educate and compose, his love of collaborating with scientists, and the importance of letting your mind wander. He reminisces about the first piece he composed at the age of ten and how his father nearly stole the applause, recounts hearing the shot that killed John Lennon, and discusses his opera-singing parrot Polly Rhythm. David asks about Inspector Pulse, a character Bruce created for the Chamber Music Society of Lincoln Center, and how the clever Piano Puzzlers came to be. At the end, we leave you with a holiday puzzle—see how many operatic melodies and classic holiday tunes you can hear. Listen to Santa and Isolde, A Holiday Opera Fantasy by Bruce Adolphe as performed by The Metropolitan Opera Brass on Apple Music or Spotify.Check out Bruce Adolphe on Instagram, Facebook, Spotify, or the web.Don't miss Bruce's latest books Visions and Decisions and The Mind's Ear.You can find more Piano Puzzlers on the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Bruce by The Chamber Music Society of Lincoln Center.Santa and Isolde, A Holiday Opera Fantasy used with permission from 5th Show LLCThe Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

From 1940, this is a show called The Chamber Music Society of Lower Basin Street. It Was a popular a musical variety radio program, which was a satire of the high brow classical music programs on network radio at the time, and featured jazz and blues performers. Appearing on this episode are singer Dinah Shore, who would go on to have a 3 decade career on television. And Jelly Roll Morton, the legendary African-American ragtime and jazz pianist, bandleader, and composer, who claimed to be the inventor of jazz. Morton would die one year after appearing on this show. Her never fully recovered from being stabbed multiple times in 1938. Jelly Roll Morton was inducted into the Rock-N-Roll Hall of Fame in 2008. For more visit http://krobcollection.com

SynopsisOn today's date in 1970, a new chamber work by American composer John Corigliano received its premiere performance at a concert given by the Chamber Music Society of Lincoln Center, the group that had commissioned it.The new piece, Poem in October, was scored for tenor voice and eight instruments and was a setting of poetry by Dylan Thomas, the great Welsh poet who died in 1953.“The thing that most appeals to me is the sound of his words,” Corigliano explained. “Phrases from Poem in October like ‘a springful of larks in a rolling cloud' and ‘the blue altered sky streamed again a wonder of summer' are in themselves musical.”“The music itself,” Corigliano says, “is unabashedly lyrical. I sought to convey a pastoral feeling that would match the directness and simplicity of the text, to deal in understatement and succinctness rather than in complexity and theatrical effect.”Corigliano's chamber scoring includes three “pastoral” wind instruments — flute, oboe and clarinet — plus strings, and, perhaps to give the work a slightly archaic feel, a harpsichord.Music Played in Today's ProgramJohn Corigliano (b. 1938) Poem in October - Robert White, tenor; Thomas Nyfenger, f.; Humbert Lucarelli, ob.; Joseph Rabbai, cl.; American String Quartet; Maurice Peress, cond. and hc. RCA 60395

The St. Cecilia Chamber Music Society presents music by Poulenc, Mozart, and Fauré

On Saturday, May 13 at 7 p.m., Chamber Music Society of Lincoln Center Artistic Directors Wu Han and David Finckel and violinist Arnaud Sussman perform Beethoven and Dvořák to close the CMS spring season at The Spa Little Theatre at SPAC. Wu Han joins us.

David Ludwig is an American composer, teacher, and Dean of Music at The Juilliard School. His work has been commissioned and performed by artists and ensembles including the Philadelphia Orchestra, Pittsburgh Symphony, Minnesota Orchestra, National Symphony, Chamber Music Society of Lincoln Center, and Carnegie Hall. He is a committed advocate for diversity and inclusion in new music and programming, and serves on the national program committee of New Music USA and is a member of the distinguished mentors council of Composers Now.  Grab your favorite instrument and the first chair…let's talk about life, MUSIC, and learning.  Please leave a review and visit us at www.teacherpeprally.com  Join the Facebook community to collaborate and celebrate with us and fellow educators. If you are enjoying the podcast, we would greatly appreciate it if you rate the show and then leave a review on Apple Podcasts. Reviews helps other educators to find the Teacher's Pep Rally.  ARE YOU LOOKING FOR INSPIRATION AND TO BUILD A NETWORK OF FUN AND INNOVATIVE TEACHERS?  Join us at the most MAGICAL PLACE for a 4-DAY PROFESSIONAL DEVELOPMENT.  EdMagineering Education Conference in Orlando, FL  

Taiwanese-American pianist Wu Han visits Phoenix again in collaboration with Phoenix Chamber Music Society for a program of Delights and Drama with...

The celebrated pianist offers not only beauty but context and insight, like this observation: “If you go to any concert and you hear a Dvořák piece, look for the pigeon and the train; they're always in there.” Pigeons and trains, presented with the Chamber Music Society of Lincoln Center.

Our guest in this episode is violist Matthew Lipman, one of his generation's great talents! After sufficient fan-girling, we got to ask Matt all of our burning questions about life in the most high-profile of freelancing careers: as a soloist and professional chamber musician. If there's anything universal about a career in music, it's how we stitch our identities into how we perceive success. We talk with Matt about what success means to him, as well as the important yet restrictive practices that are preventing us from exposing our art to a broader audience, and maybe even a little astrology - yes, we may be getting a little ‘woo-woo' today…Enjoy getting to know Matt, a beautiful musician with an important voice in the future of ‘classical' music!**If you enjoyed this episode, please consider rating and writing a quick review for our podcast! 10% discount on The ArcRest! Just mention the code “VIOLACENTRIC” at checkout!www.thearcrest.comWe have a Patreon site! Support us and get perks and bonus content!www.patreon.com/violacentricMentioned in this episode:Matthew Lipman's official site: https://matthewlipman.com/Matthew at the Chamber Music Society of Lincoln Center: https://www.chambermusicsociety.org/about/artists/strings/matthew-lipman/************************Our website: www.violacentric.com, for merch, joining our email list, and contacting us with stories and feedback!Episode edited by: Emily MacMahon and Liz O'Hara StahrViolaCentric Theme by: JP Wogaman, www.wogamusic.comOur Sponsors:Aria Lights: www.arialights.comThe Arc Rest: www.thearcrest.comPotter Violins: www.potterviolins.comSupport the show

Synopsis For most of the 18th and 19th centuries, commissioning new musical works was the exclusive prerogative of the Church, royalty, and the wealthy nobility. More recently, Foundations and big corporations have gotten into the act. But even today, individuals can make a difference. In 1991, six couples in Minneapolis and St. Paul decided to form a Commissioning Club, modeled along the lines of an Investment Club, to spark the creation of new works in a variety of genres and promote the work of composers they admired. On today's date in 1996, one of their commissions, the Dramatic Suite by American composer Stephen Paulus was premiered by flutist Ransom Wilson and the Chamber Music Society of Lincoln Center. It was played first in Minnesota, and subsequently at Lincoln Center in New York City. Later that same year, the Club arranged for another Paulus commission: a new Christmas Carol, titled Pilgrim Jesus, that was premiered on the BBC radio broadcast of the Festival of Nine Lessons and Carols from King's College, Cambridge. That 1996 broadcast, heard by millions of radio listeners worldwide, marked the first time that an American composer had been chosen to contribute a new carol for that famous Christmas Eve service—not a bad return for the Commissioning Club's investment! Music Played in Today's Program Stephen Paulus (1949 - 2014) Dramatic Suite Judith Ranheim, flute; Chouhei Min, violin; Korey Konkol, viola; Mina Fisher, cello; Thelma Hunter, piano innova 539

Few careers in classical music read as illustriously as that of pianist Wu Han. For more than 50 years, her life has centered around the concert stage, delivering performances of the highest caliber in nearly every corner of the globe. She once viewed that jet-setting lifestyle as a symbol of success earlier in her career. But these days, in her work as artistic director of the Chamber Music Society of Lincoln Center, Music@Menlo, La Musica Chamber Music Festival, and the Society of the Four Arts, Wu Han's mission is to develop the next generation of classical musicians. "Every time I hear young people with a new idea they're trying to explore, it reminds me of myself when I was their age," Wu Han says on the latest episode of the Classical Post podcast. "It really makes me feel the responsibility and the inspiration to want to move this art form forward. The next generation, their devotion and love for classical music, is where I find a lot of inspiration." That drive to create incredible performance opportunities for young musicians is clear when looking at the artist roster for the Chamber Music Society of Lincoln Center's Winter Festival. Over the course of five concerts exploring the music and profound legacy of Franz Schubert, a mix of seasoned performers and rising stars will share the stage — including pianist Gilbert Kalish, violist Paul Neubauer, singers Joélle Harvey and Nikolay Borchev, and the Escher String Quartet. In this episode, Wu Han and I talk more about the Winter Festival and her unique approach to programming and artist curation. Plus, she shares how ballet and the art of Renaissance Italy inspire her creativity, her favorite place in New York City's Chinatown for Cantonese fried crab, and the very important role bacon plays in her household. — Classical Post® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by Gold Sound Media® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

Called the “Yo-Yo Ma of the harp,” by Vogue Senior Editor Corey Seymour, Bridget Kibbey is in demand for her innovative, virtuosic performances that expand the expressive range of the harp. Kibbey has received a prestigious Avery Fisher Career Grant and a Salon de Virtuosi SONY Recording Grant. She is the winner of the Premiere Prix at the Journées de les Harpes Competition in Arles, France, the Concert Artists Guild competition, and the Juilliard School's Peter Mennin Prize for Artistic Excellence and Leadership. She is a graduate of the Chamber Music Society of Lincoln Center's Bowers Program and is annually featured with the company. She made her NPR TinyDesk debut in 2020, and her debut album “Love is Come Again,” was listed as a top ten debut by TimeOut, NY. Bridgett has been featured as soloist on Front Row Washington, A&E's Breakfast with the Arts, WQXR, WRTI, among others. In addition, she is also curating a new classical music concert series at Our Savior's Atonement in Washington Heights. For a schedule check out www.mosaconcerts.org

Gramophone Magazine called the Calidore String Quartet “a miracle of unified thought.”  This vibrant, young ensemble won the 2016 Borletti-Buitoni Trust Fellowship, the first North Americans to be so honored.  The ensemble continues to earn high praise, including a place on the prestigious roster of the Chamber Music Society of Lincoln Center Two. Catch this extraordinary ensemble in performance tonight at Northwestern University's Winter Chamber ... The post Calidore String Quartet appeared first on WFMT.

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I'm joined in the backyard this week by Violympian and VMC participant Travis Maril, as well as his fellow USC alum and my Director of Operations, Kate Reddish. Our wide-ranging conversation includes no small measure of pedagogical geekery, as well as such diverse topics as Tae Kwon Do bribery and Michael Jordan's private Space Jam gym. Violist Travis Maril is String Coordinator and Viola Faculty at San Diego State University (SDSU), where he has taught since 2007. At SDSU he also serves as Co-Director of the Community Music School's String Academy, a pre-college program for young musicians, which he co-founded in 2012.  As violist with the Hyperion Quartet, Travis was a prizewinner at the Fischoff National Chamber Music Competition. Over the years he has collaborated in chamber music projects with principal players of the LA Philharmonic, Cleveland Orchestra, Cincinnati Symphony, San Diego Symphony, and members of the Chamber Music Society of Lincoln Center, Miró Quartet, and Brooklyn Rider, among others.  Locally he performs frequently with Camarada, Art of Elan, and with the San Diego Symphony. Inspired by the Violympics in 2021, Travis started String Gym, his own online program for violinists and violists. Through String Gym, Travis works with players across the US, Australia, Germany and Taiwan.  From time to time he also writes about music-related topics on his blog, String Theory. You can also follow Travis on Instagram. If you're interested in joining us for the fifth iteration of VMC, starting in 2023, you can find out more information here, and apply here.

I'm joined in the backyard this week by Violympian and VMC participant Travis Maril, as well as his fellow USC alum and my Director of Operations, Kate Reddish. Our wide-ranging conversation includes no small measure of pedagogical geekery, as well as such diverse topics as Tae Kwon Do bribery and Michael Jordan's private Space Jam gym. Violist Travis Maril is String Coordinator and Viola Faculty at San Diego State University (SDSU), where he has taught since 2007. At SDSU he also serves as Co-Director of the Community Music School's String Academy, a pre-college program for young musicians, which he co-founded in 2012.  As violist with the Hyperion Quartet, Travis was a prizewinner at the Fischoff National Chamber Music Competition. Over the years he has collaborated in chamber music projects with principal players of the LA Philharmonic, Cleveland Orchestra, Cincinnati Symphony, San Diego Symphony, and members of the Chamber Music Society of Lincoln Center, Miró Quartet, and Brooklyn Rider, among others.  Locally he performs frequently with Camarada, Art of Elan, and with the San Diego Symphony. Inspired by the Violympics in 2021, Travis started String Gym, his own online program for violinists and violists. Through String Gym, Travis works with players across the US, Australia, Germany and Taiwan.  From time to time he also writes about music-related topics on his blog, String Theory. You can also follow Travis on Instagram. If you're interested in joining us for the fifth iteration of VMC, starting in 2023, you can find out more information here, and apply here.

Synopsis On today's date in 1919, a concert suite from Igor Stravinsky's The Soldier's Tale had its premiere in Lausanne, Switzerland—the same city in which the original theatrical version of Stravinsky's score was first presented in 1918. In that original form, The Soldier's Tale was a kind of musical morality play scored for narrator and small chamber ensemble. Stravinsky incorporated elements of American jazz, although what he knew of jazz was derived entirely from looking at sheet music rather than any firsthand experience of actually hearing American jazz. Eighty years later, for the Chamber Music Society of Lincoln Center, the American jazz trumpeter Wynton Marsalis composed A Fiddler's Tale—a companion piece to Stravinsky's work, scored for the same configuration of instruments. Wynton Marsalis said, ''No matter what I do, I'm not going to compare myself to Stravinsky. That would be ridiculous. You have to accept who he is and do what you can do, and hope that what you do is on some level of quality.” Like Stravinsky's piece, A Fiddler's Tale also exists in two versions: as a theater piece with a narrator, and as a purely instrumental suite. Both have been recorded, and both, not surprisingly, feature Wynton Marsalis as the trumpeter. Music Played in Today's Program Igor Stravinsky (1882-1971) L'histoire du soldat Suite Philharmonia Orchestra; Robert Craft, conductor. Koch 7504 Wynton Marsalis (b. 1961) The Fiddler's Tale Wynton Marsalis, trumpet; Chamber Music Society of Lincoln Center Sony 60979

Kicking off a banner season in 2022-23, Inbal Segev releases the fourth and last volume of her “20 for 2020” commissioning project on October 7, comprising world premiere works by Oscar Bettison, Camille El Bacha, Stewart Goodyear, Molly Joyce, and Immanuel Wilkins. All four volumes of the project, plus a bonus track by Segev herself. The cellist performs live this season in concerts around the world celebrating the 20th anniversary of the Taki Alsop Conducting Fellowship, each anchored by Anna Clyne's DANCE, a cello concerto commissioned by Segev and recorded in 2020. She opens the Charlotte Symphony season, performing the Elgar concerto with conductor Andrew Grams; performs multiple concerts with the Chamber Music Society of Lincoln Center, on tour in Bogotá, Colombia, and at home in New York; and gives the world premiere performances of Vijay Iyer's Human Archipelago with the London Philharmonic Orchestra led by Edward Gardner, before performing the work with the co-commissioning Oregon Symphony and Boise Philharmonic. Segev is also pleased to announce her new partnership with Arabella Arts, which will now serve as her worldwide representation.Purchase the music (without talk) at:Inbal Segev IV (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

In this episode, Wu Han discusses the journey that got her where she is today, her approach to learning and practicing the repertoire, how she makes the most of a practice session, how she handles the vast quantity of repertoire she has to perform, her advice to young artists thinking of building a career performing chamber music, and much more.   MORE ABOUT WU HAN Website: https://davidfinckelandwuhan.com/ YouTube channel: https://www.youtube.com/user/davidfinckelandwuhan Facebook: https://www.facebook.com/chambermusicsociety Chamber Music Society of Lincoln Center: https://www.chambermusicsociety.org/ Music at Menlo: https://musicatmenlo.org/ Wolf Trap Chamber Music at the Barn: https://www.wolftrap.org/calendar.aspx?genre=symphony%2fchamber&venue=the+barns+at+wolf+trap     Sign up for the FREE Mind Over Finger Fall Workshop here: The Confident Musician – Everything you need to prepare for an optimal performance to FEEL CONFIDENT, PLAY YOUR BEST, and ENJOY YOURSELF!   >> DOWNLOAD THE TRANSCRIPT FROM THIS EPISODE HERE

Mixing New Orleans Jazz with High Society from New York City on Sunday afternoons at 4:30 PM is what the The Chamber Music Society of Lower Basin St. did from 1940-44, returned in 1950... and had a summer series on Saturday nights in the summer of 1952... all on NBC. Guests included Benny Goodman, Count Basie, W.C. Handy, Bobby Hackett, Lead Belly, Lionel Hampton, Jelly Roll Morton (on this track), Sidney Bechet and Alec Templeton among man other famous names in the jazz world. This was an extremely popular show. This track and other tracks of the Chamber Music Society are living in the Jazz / Big Band Playlist.

Co-Artistic Director of The Chamber Music Society of Lincoln Center, Wu Han is one of the most influential and accomplished classical musicians in the world today. In this episode, Wu Han reflects on her rigorous training as a child, the illusion of building mastery, how to become the ultimate teammate, and examining your why. Wu Han & David Finkel's website Sign up for Erik's weekly newsletter - Adaptation ______________________________________________________________ ABOUT THE BLUEPRINT PODCAST: The BluePrint Podcast is for busy professionals and Household CEOs who care deeply about their families, career, and health. Host Dr. Erik Korem distills cutting edge-science, leadership, and life skills into simple tactics optimized for your busy lifestyle and goals.   Dr. Korem interviews scientists, coaches, elite athletes, entrepreneurs, entertainers, and exceptional people to discuss science and practical skills you can implement in your life to become the most healthy, resilient, impactful version of yourself.   On a mission to equip people to pursue audacious goals, thrive in uncertainty, and live a healthy and fulfilled life, Dr. Erik Korem is a High Performance pioneer. He introduced sports science and athlete tracking technologies to collegiate and professional (NFL) football over a decade ago and has worked with the National Football League, Power-5 NCAA programs, gold-medal Olympians, Nike, and the United States Department of Defense.   Erik is an expert in sleep and stress resilience, and he is the Founder and CEO of AIM7, a wellness app that provides custom exercise recommendations to improve the outcomes of programs and workouts you already love. It unlocks existing data from wearables and other apps to provide empathetic and scientific guidance that's perfectly in tune with your mind and body.   SUPPORT & CONNECT   Instagram - https://www.instagram.com/erikkorem/ Twitter - https://twitter.com/ErikKorem LinkedIn - https://www.linkedin.com/in/erik-korem-phd-19991734/ Facebook - https://www.facebook.com/erikkorem Website - https://www.erikkorem.com/ Newsletter - https://erikkoremhpcoach.activehosted.com/f/  ______________________________________________________________ QUOTES   “The key is using stress and adapting to it and improving. That's what high performance is to me, the ability to adapt rapidly so you can achieve your potential. There are five key pillars to creating the conditions for adaptability: sleep, exercise, mental resilience, nutrition, and community/relationships.” - Dr. Erik Korem   “I maybe have a different concept on leadership. To me, leading is a verb. If you're leading, you're a leader. If you're swimming you're a swimmer, if you're driving you're a driver. If you're leading you're by definition a leader. I define leading as being looked to in a particular moment to make a decision or perform an action based on your unique gifts and abilities. So by that definition, everybody is a leader. All rank and role really describe is how many people are hoping you get it right when it's your turn to wear the weight.” - Clint Bruce "Attention is the currency of performance." - Dr. Peter Haberl “That's what I've discovered in the lives of brilliant, prolific, healthy creatives, is that they have networks of people they leverage in the course of their work. That they learn from, that they were challenged by, that they gave great insight and purview into their own life and work, in such a way that they were able to receive feedback that helped them get better at what they do.” - Todd Henry "Restful and fulfilling sleep enables you to grow, adapt, and thrive. It creates the conditions for adaptation, so you can pursue audacious goals and thrive in uncertainty." - Dr. Erik Korem "Most exercise programs fail, not because the reps and sets are poorly designed, but because the program doesn't adjust for how much stress your body can adapt to that day!. That's why Dr. Chris Morris' research and practical application of fluid periodization is the key for unlocking your performance potential." - Dr. Erik KoremSee omnystudio.com/listener for privacy information.

The St. Cecilia Chamber Music Society performs works by Bach, Bartok, and Prokofiev.

For Video Edition, Please Click and Subscribe Here: https://youtu.be/DTiQGl9tPoM Peabody Award winning broadcaster, director, designer, filmmaker and producer. Afternoon host on New York's Classical Radio Station 105.9FM, WQXR, host of the national radio concerts of The Chamber Music Society of Lincoln Center and has hosted more than 60 concerts on-stage at Carnegie Hall, where his film FACE TO FACE premiered. Founding Executive Artistic Director of ArtsRock.org of Rockland County, NY. For 20 years he's been bringing professional concerts, theater and conversations to his upstate community. Co-Creator and Producer of the National Tour of AN EVENING WITH ITZHAK PERLMAN and MICHAEL FEINSTEIN CELEBRATES JUDY GARLAND. Co-Director and Projection Designer of the live national tour and PBS TV Special of CONSIDERING MATTHEW SHEPARD by Craig Hella Johnson. Executive Producer of The Public Theater's Shakespeare in the Park on the Radio of RICHARD II. Elliott has directed several versions of A CHRISTMAS CAROL with such Scrooges as David Hyde Pierce, F. Murray Abraham, Brian Cox, Tony Roberts and Kathleen Turner. He regularly produces, directs and designs symphony concerts: LA Philharmonic, The NY Philharmonic, Houston Symphony, Philadelphia Orchestra, Atlanta Symphony, New Haven Symphony Pasadena Pops and the Little Orchestra Society in venues including the Kennedy Center, Hollywood Bowl and Lincoln Center. Orchestra narrator: Saint-Saens' Carnival of the Animals, Peter and the Wolf, Stravinsky's Soldier's Tale and Britten's Young Person's Guide. For 12 years, Host for A&E Television's Breakfast with the Arts. BA in Theater from the University of Texas, Austin. www.ElliottForrest.com  

Composer Nina Shekhar joins us to chat about her work exploring identity, vulnerability, love, and laughter in her work and her process for exploring such complex aspects of humanity in seemingly mundane experiences, such as the car horns on the streets of India. We talk about how she approaches the business side of a professional career in composition, and how her work as a flutist, saxophonist, and pianist has informed her comfort with a wide array of compositional styles. And we speak about how we can all be more mindful to empower and promote the agency of composers and performers from marginalized communities and avoid the risks of exploiting any individual's otherness. Nina Shekhar is a composer who explores the intersection of identity, vulnerability, love, and laughter to create bold and intensely personal works. Described as “tart and compelling” (New York Times), “vivid” (Washington Post), and “surprises and delights aplenty” (LA Times), her music has been commissioned and performed by leading artists including LA Philharmonic, Albany Symphony, Los Angeles Chamber Orchestra, New World Symphony, Civic Orchestra of Chicago, Eighth Blackbird, International Contemporary Ensemble, JACK Quartet, New York Youth Symphony, Alarm Will Sound, The Crossing, Chamber Music Society of Lincoln Center, ETHEL, violinist Jennifer Koh, saxophonist Timothy McAllister, Ensemble Échappé, Music from Copland House, soprano Tony Arnold, Third Angle New Music, The New York Virtuoso Singers, Left Coast Chamber Ensemble, Lyris Quartet, Ray-Kallay Duo, New Music Detroit, and Kaleidoscope Chamber Orchestra. Her work has been featured by Carnegie Hall, Metropolitan Museum of Art, Walt Disney Concert Hall (LA Phil's Noon to Midnight), Library of Congress, National Gallery of Art, National Sawdust, National Flute Association, North American Saxophone Alliance, I Care If You Listen, WNYC/New Sounds (New York), WFMT (Chicago), and KUSC and KPFK (Los Angeles) radio, ScoreFollower, and New Music Detroit's Strange Beautiful Music. Upcoming events include performances by the New York Philharmonic, LA Philharmonic (joined by soloists Nathalie Joachim and Pamela Z), Minnesota Orchestra, Seattle Symphony, and her Hollywood Bowl debut with the LA Philharmonic. Current projects include commissions for the Grand Rapids Symphony, 45th Parallel Universe Chamber Orchestra (sponsored by GLFCAM), and Youth Orchestra Los Angeles (YOLA) (sponsored by LA Phil and New Music USA). Nina is the recipient of the 2021 Rudolf Nissim Prize, two ASCAP Morton Gould Young Composer Awards (2015 and 2019), and the 2018 ASCAP Foundation Leonard Bernstein Award, funded by the Bernstein family. The transcript for this episode can be found here. For more information about Nina Shekhar, please visit her website, Facebook, and Instagram.

In this episode, we talk to a very special guest - Serena's former flute teacher Bart Feller! Serena shares the lessons she learned from Bart in high school, and how some of them have changed meaning or truly begun to click over time. We also discuss what it means to be a compassionate teacher and mentor at various stages of a young person's development. Bart Feller is Principal Flute of the New Jersey Symphony, New York City Opera and Santa Fe Opera Orchestras. He has appeared with the New York Philharmonic, Orpheus Chamber Orchestra, Bargemusic and the Chamber Music Society of Lincoln Center. Mr. Feller has also appeared as concerto soloist with the Philadelphia Orchestra, St. Paul Chamber Orchestra, and the Jupiter Symphony. He is a graduate of the Curtis Institute of Music, where his teachers included Julius Baker and John Krell; he has also worked extensively with Keith Underwood. Among the summer festivals he has participated in are the Marlboro Music Festival, OK Mozart International Festival, Colorado College Chamber Music Festival, Napa Valley Chamber Music Festival, and the Grand Teton Music Festival. Mr. Feller is Professor of Flute at Rutgers University/Mason Gross School of the Arts, and teaches in the Pre-College Division of The Juilliard School. https://www.bartfeller.net --- Support this podcast: https://anchor.fm/creative-baggage/support

Synopsis Today's date marks the anniversary of the first performance of two 20th century chamber works. On April 25, 1931, Russian composer Sergei Prokofiev's String Quartet No. 1 received its premiere performance by the Brosa Quartet at the Library of Congress. Accepting the commission from the Library's Elizabeth Sprague Coolidge Foundation, Prokofiev set about studying pocket scores of the string quartets of Beethoven, which he perused on trains while shuttling between concert engagements. Prokofiev himself described the work's opening as “rather classical,” but when the new quartet was premiered in Moscow, the verdict of the all-powerful Association of Proletarian Musicians was that it was too “cosmopolitan,” a pejorative adjective in Soviet arts criticism in the Stalinist Era that meant something like “unacceptably modern.” Our second chamber music premiere occurred on April 25th in 1980, when the Octet for Winds and Strings by the American composer George Rochberg was performed for the first time at Alice Tully Hall in New York City. The occasion was a concert by the Chamber Music Society of Lincoln Center, who had commissioned the new piece. At the time, Rochberg was a rather controversial figure for shifting from his earlier, strictly atonal style into a more emotionally charged neo-Romantic approach to music making, often referencing earlier composers and musical styles of the past. The music critic of The New York Times thought he heard a touch of Rachmaninoff in Rochberg's new piece – an observation that some at the time would translate as really meaning the work was “unacceptably old-fashioned.” Music Played in Today's Program Sergei Prokofiev (1891-1953) — String Quartet No. 1 (St. Petersburg String Quartet) Delos 3247 George Rochberg (1918-2005) — Octet (A Grand Fantasia) (New York Chamber Ensemble; Stephen Rogers Radcliffe, cond.) New World 80462

I had the pleasure of speaking with violinist Sean Lee and pianist Peter Dugan about their new digital EP featuring nine of the Paganini Caprices, each with accompanying music videos. It's a really fantastic project and I hope you listen to it. For context, here's a bit of background on these two guests. Sean Lee is one of few violinists who dare to perform the complete 24 Caprices of Paganini in concert, but he's just done this in New York at Chamber Music Society of Lincoln Center. It's the first time this happened in that organization's 52-year history. Our other guest on the show today is pianist Peter Dugan. You probably know his voice as the radio host on NPR's From the Top. Also, he's collaborating with Joshua Bell this month on a recital tour. On this episode of the podcast, we explore how finding energy from past rejection propels you forward, but equally anticipating the future can do the same. We also hear of their mutual interest for bird watching in Central Park, which I really found to be unique. Plus, we discuss their new Paganini X Schumann album and how they created it. There's also a special section of really great products they recommend such as aged gin from Bootlegger in Upstate New York and the benefits of a Screaming Meanie alarm clock. — Classical Post explores the intersection of classical music, style, and wellness, diving into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok.

This week, we start out with a rousing round of Match the Interpreter and then we move on to our three topics:A IS FOR OBOEPenguin House SiteFRANKFURT RADIO SYMPHONY CONCERTWagner, Prelude to LohengrinNote: we mistakenly referred to the Parsifal preludeGubaidulina, Dialog: ich und du (violin concerto No. 3) Westhoff, Sonata No. 3Mahler, Symphony No. 1CHAMBER MUSIC SOCIETY OF LINCOLN CENTER IN THE NYTOctober 20: “Chamber Music Society Returns, Unchanged” (NYT)November 9: “Chamber Music Society's Leaders on Balancing Old and New” (NYT)December 20: Chamber Music Society's Leadership Renewed (Twitter)CLASSICAL MIXTAPEThe full playlistWillLera Auerbach, Dreams and Whispers of PoseidonKenshoSofia Gubaidulina, Dancer on a TightropeTiffanyProkofiev, Sinfonia ConcertanteTHINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

Wedding and event planner/coordinator Amy Thunell and Kalero Vineyard owner Ann Fortin join the Utterly Moderate Podcastto discuss the ins and outs of the wedding industry.  Episode music/audio clips: “Please Listen Carefully” by Jahzzar (creative commons) “Make Your Dreams Reality” by Scott Holmes Music (creative commons) "Canon in D Major” by Chamber Music Society of Lincoln Center (creative commons) “Happy Trails (To You)” by the Riders in the Sky (used with artist's permission) See omnystudio.com/listener for privacy information.

Project: Music Heals Us was not founded in a musical moment. It was founded in a moment of silence and human connection. They have performed 1000 free concerts in hospitals, hospices, prisons, homeless shelters, nursing homes, and refugee camps. Project: Music Heals Us is a non-profit organization whose mission is to provide encouragement, education, and healing through bringing high-quality live music performances and interactive programming to marginalized communities with limited ability to access it themselves, with a focus on elderly, disabled, rehabilitating, hospitalized, incarcerated, and homeless populations. During this episode, we'll hear about: The differences between the efficacy of live art, and the feelings community it creates, as opposed to pre-recorded content? What research is happening to study the effects of live digital art intervention on populations that don't have access to in-person live arts? How we can make sure that these types of programs can be perpetually funded, be it through payments from hospitals, insurers, foundations, governmental funding, etc? PLUS MORE! About the guests: The New York Times has hailed cellist Andrew Janss for his "glowing tone", "insightful musicianship", and "sumptuous elegance”. Janss has collaborated onstage with iconic artists such as Itzhak Perlman and Bruce Springstein, and has performed for the Chamber Music Society of Lincoln Center and the Marlboro Music Festival. He serves as Executive Director of Project: Music Heals Us, a nationwide non-profit organization that brings healing and inspiration through music to people and communities with little or no access to live performing arts. For this work, he was recognized as a 2020-21 Emerson Collective Fellow. Molly Carr is a violist, teacher, nonprofit executive, skier, soccer fan, amateur mountain-biker, chronic introvert, mother of five plants and an adopted sharpull named Billie Jean (that's a Shar Pei + Pitbull in case you're wondering...), and wife to an amazing partner named Oded. She is a member of the Carr-Petrova Duo and the Iris Trio, teacher on faculty at the Juilliard School, Bard College Conservatory of Music, and Musical Arts Madrid, and the founder and artistic director of the nonprofit Project: Music Heals Us. Over the past three decades, her career path has developed into what many would consider outright “non-traditional.” While she has had the great honor of performing around the globe in such revered venues as Carnegie Hall, Lincoln Center, The Kennedy Center, etc, she says "I have had the even greater honor and privilege of stepping behind prison walls to witness “hardened criminals” soften and weep at the sound of Beethoven's string quartets, of standing at the bedside of hospital ICU patients to hold their hands and offer my best in their final minutes of life, of returning to federal correctional institutions to celebrate the miracle of opposing gang members becoming musical bandmates, of visiting refugee camps to offer the creative space for traumatized children to dance, sing, smile and freely express themselves for the first time in years." Connect with Project: Music Heals Us at https://www.pmhu.org/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artsforthehealthofit/support

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

Co-Artistic Director of The Chamber Music Society of Lincoln Center, Wu Han is one of the most influential and accomplished classical musicians in the world today. In this episode, Wu Han reflects on her rigorous training as a child, her musical career's maturation, and how chamber music changed her life.   ------------------   ABOUT THE BLUEPRINT PODCAST:    Dr. Erik Korem's podcast “The BluePrint" focuses on High Performance - a science-based, holistic process of achieving excellence in every field. He explores the methods and mindsets that build and sustain High-Performing humans through his experience as a sports scientist working with the NFL, Olympians and other elite athletes. In The BluePrint, he invites athletic champions, entertainers, entrepreneurs, and other exceptional people to discuss their resilience through struggles and triumphs while educating and motivating listeners about their High-Performance Journey.    Dr. Erik Korem is a High-Performance pioneer on a mission to help The BluePrint listeners learn how to use stress to perform at their best across a number of fields. He has implemented sports science and athlete tracking technologies with collegiate and professional football teams, working with the NFL, Power-5 NCAA programs, gold medal Olympians, Nike, and the United States Department of Defense. Dr. Erik Korem is also an expert in sleep and stress resilience and the Founder and CEO of AIM7.    ------------------   Follow Erik Korem on social media:   Twitter Instagram Facebook   Hot Pie Media is an on-demand digital audio/video entertainment network with interests primarily in the creation of original, relevant and entertaining podcasts.   ------------------   QUOTES: John Danaher on high performance mindset and resilience:  “Whenever you are sparring, your mind will have a given direction of focus. The most basic division is between self focus and focus on the opponent.” - John Danaher on high performance mindset and resilience   Blue Print host Dr. Erik Korem on high performance mindset and resilience:  “In sport, our goal is to develop the most adaptable athletes with the most resilience who can consistently obtain their high performance mindset and potential.” - Dr. Erik Korem on high performance mindset and resilience, host of The Blue Print   John Danaher on high performance mindset and resilience:  “Philosophy was crucial because it is among the best means of developing a problem solving mindset.” - John Danaher on high performance mindset and resilience   Blue Print host Dr. Erik Korem on high performance, performance mindset, and resilience:  “The key is using that stress and being able to adapt to it to improve. That's what high performance to me is: the ability to adapt rapidly so you can achieve your potential.”  - Dr. Erik Korem on high performance, performance mindset, and resilience, host of The Blue Print   John Danaher on high performance mindset and resilience:  “The greatest determinant of the outcome of your matches over time by a landslide is your training and lifestyle mentality. This is the high performance mindset you carry every day as you train and progress.” - John Danaher on high performance mindset and resilience See omnystudio.com/listener for privacy information.