Podcast appearances and mentions of charlotte symphony

The School of Music at the UNC School of the Arts is presenting the second annual "Spontaneous Sound" festival celebrating improvisational music at the Millennium Center in downtown Winston-Salem. The festival is the brainchild of Steve Alford, UNCSA Director of Improvised Music and Jazz. He talks about the event on Piedmont Arts podcast. Plus, Charlotte Symphony Orchestra president & CEO David Fisk chats about the newly announced ‘25-‘26 season which will be the first one fully shaped by music director Kwame Ryan.

The School of Music at the UNC School of the Arts is presenting the second annual "Spontaneous Sound" festival celebrating improvisational music at the Millennium Center in downtown Winston-Salem. The festival is the brainchild of Steve Alford, UNCSA Director of Improvised Music and Jazz. He talks about the event on Piedmont Arts podcast. Plus, Charlotte Symphony Orchestra president & CEO David Fisk chats about the newly announced ‘25-‘26 season which will be the first one fully shaped by music director Kwame Ryan.

The Charlotte Symphony is honoring cellist Alan Black who is retiring after 38 years – 35 of them as principal cello. On this Piedmont Arts podcast, he reflects on his career in Charlotte, both as a Symphony musician and as an artistic director who has developed and curated several performance series through the years. Listen to the conversation and hear critic Lawrence Toppman's take on the Charlotte Symphony's performance of “Become Ocean.”

The Charlotte Symphony is honoring cellist Alan Black who is retiring after 38 years -- 35 of them as principal cello. On this Piedmont Arts podcast, he reflects on his career in Charlotte, both as a Symphony musician and as an artistic director who has developed and curated several performance series through the years. Listen to the conversation and hear critic Lawrence Toppman’s take on the Charlotte Symphony’s performance of “Become Ocean.”

World renowned pianist Orion Weiss joins the Charlotte Symphony for concerts in January. He'll be the soloist for two very different works: Stravinsky's Concerto for Piano and Winds and Bach's Harpsichord Concerto No. 6 . On this Piedmont Arts he talks about how much he enjoys learning new Bach works.

Kwame Ryan conducts his first concert as the Charlotte Symphony's Music Director this weekend at Belk Theatre in Charlotte. He and the orchestra, along with the Charlotte Master Chorale, will perform Johannes Brahms' beloved masterwork "A German Requiem." The composition has special significance for Ryan which is one of the reasons he wanted to put it on the program. He talks about why he has a personal connection to this masterpiece and about how much he is looking forward to performing with the CSO musicians on this episode of Piedmont Arts. Listen to the live broadcast of Brahms’ A German Requiem on WDAV

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Loki Karuna chats with Maestro Kwamé Ryan who has been recently appointed as Music Director of the Charlotte Symphony. Loki offers updates on his travels and work, and offers thoughts on the recent drama at the Saint Paul Chamber Orchestra. Kwamé Ryan"Portrait of Trinidad" - National Steel Symphony Orchestra of Trinidad and TobagoHenri Dutilleux : Symphony No. 2 "Le Double" conducted by Kwamé RyanSister Souljah Interview at The Breakfast Club Power 105.1 (11/11/2015) ★ Support this podcast ★

The Charlotte Symphony Orchestra is producing an immersive event called "Merge" that combines modern symphonic music with electronic dance music and synchronized visual projections. Resident Conductor Christopher James Lees talks about the symphony's foray into new territory and the collaboration that brought it to life. Learn more about the MERGE: Symphonic x Electronic event Pictured: Christopher James Lees courtesy of Charlotte Symphony.

After a search that has lasted more than two years, the Charlotte Symphony has announced their next Music Director: Kwamé Ryan. Originally from Trinidad, Ryan has an impressive resume and has worked around the globe. He was General Music Director of the Freiburg Opera from 1999 to 2003 and Musical and Artistic Director of the National Orchestra of Bordeaux Aquitaine between 2007 and 2013. His most recent appointment is Director of the Academy for the Performing Arts at the University of Trinidad and Tobago. Ryan will start his tenure with the Charlotte Symphony in the 2024 - 2025 season. On this edition of Piedmont Arts, we talk with Kwamé Ryan about his new appointment. He talks about why he wanted to come to Charlotte, what to expect in the coming season, and how he approaches life and work in general. Pictured: Kwamé Ryan/courtesy Charlotte Symphony.

André J. Thomas is an Associate Artist with the London Symphony Orchestra.Thomas is Professor Emeritus of Music at Florida State University. He was visiting Professor of Choral Conducting at Yale University from 2020-2022. He also served as faculty member at the University of Texas, Austin.Dr. Thomas received his degrees from Friends University (B.A.), Northwestern University (M. M.), and The University of Illinois (D.M.A). He is in demand as a choral adjudicator, clinician, and director of Honor/All-State Choirs throughout North America, Europe, Asia, New Zealand, Australia, and Africa Dr. Thomas has conducted choirs at the state, division, and national conventions of the Music Educators National Conference (NAFME) and the American Choral Directors Association (ACDA). His international conducting credits are extensive. They include conductor/clinician for the International Federation of Choral Musicians' summer residency of the World Youth Choir in the Republic of China and the Philippines. He was also the conductor of the World Youth Choir's winter residency in Europe and a premier performance by an American choir (Florida State University Singers) in Vietnam.He is a highly respected guest conductor who has led numerous prestigious orchestras and choirs around the world, including the Birmingham Symphony Orchestra in England, the Berlin Radio Choir and the North German Radio Choir in Germany, the Netherlands Radio Choir, The Bulgarian Radio Choir and Orchestra, the Seoul Metropolitan Chorus, Ansan City Choir, Jeju Provincial Seogwipo Chorale in South Korea, the Charlotte Symphony, China's People's Liberation Orchestra, the Czech National Symphony Orchestra, and the London Symphony. He also served as the Artistic Director of the Tallahassee Community Chorus for 31 seasons.Thomas has also distinguished himself as a composer/arranger. Hinshaw Music Company, Mark Foster Music Company, Fitzsimons Music Company, Lawson Gould, Earthsongs, Choristers Guild, and Heritage Music Company publish his compositions and arrangements. Dr. Thomas has produced two instructional videos—What They See Is What You Get on choral conducting, with Rodney Eichenberger, and Body, Mind, Spirit, Voice on adolescent voices, with Anton Armstrong. His recent book, Way Over in Beulah Lan': Understanding and Performing the Negro Spiritual, has quickly become a significant source in this area of study.Various musical organizations have recognized Thomas. The African Diaspora Sacred Music honored Dr. Thomas as a Living Legend. In 2011, Chorus America recognized Thomas' dedication to and accomplishments in the choral arts, presenting him with its Distinguished Service Award. In March 2017, ACDA presented Thomas with its highest honor, the Robert Shaw Award, and in November of 2017, NCCO (National Collegiate Choral Organization) presented Thomas with its Lifetime Achievement Award. In January 2019, he was inducted into the Florida Music Educator's Hall of Fame. In 2022 he was presented with the Award of Excellence from the Southern Region of ACDA. Yale University School of Music presented Thomas with the Samuel Simons Sanford Medal, the most prestigious honor conferred by the Yale School of Music.He is a past president of the Florida ACDA, a past president of the Southern Division of ACDA, and the current  Past President of the National ACDA.To get in touch with André, you can email him at athomas@acda.org or find him on Facebook (@andre.thomas.52).Choir Fam wants to hear from you! Check out the Minisode Intro Part 2 episode from May 22, 2023, to hear how to share your story with us.Email choirfampodcast@gmail.com to contact our

The Rock Hill Symphony welcomes a new music director this season -- Christopher James Lees. Lees is already known to the area's classical audiences through his work as the Charlotte Symphony's Resident Conductor. Now he's poised to lead the region's newest orchestra in its next chapter. Lees talks about the symphony's future aspirations and their first concert of the 2023-2024 season in Rock Hill. Learn more about the Rock Hill Symphony Orchestra's upcoming events

Evolution in the Harmony of Science and Religion – Revised Edition Illustrations by: James G. Martin, Jr. The Author Former U.S. Congressman and Governor for North Carolina. Jim Martin is a Princeton PhD organic chemist who taught at prestigious Davidson College, his alma mater. During that time, he played principal tuba in the Charlotte Symphony […] The post James G. Martin’s Revelation Through Science: appeared first on WebTalkRadio.net.

Kazem Abdullah leads the Charlotte Symphony in their final classics concerts of the season. Abdullah was General Music Director of the City of Aachen in Germany from 2012 to 2017. He has also served as an assistant conductor at the Metropolitan Opera, and has guest conducted around the country for both opera productions and orchestral concerts. He talks about the differences between opera and concert hall conducting and discusses the importance of cultivating diverse audiences for classical music. Learn more about the Charlotte Symphony's Classical Series .

The Charlotte Symphony (CSO) has just announced its 2023-24 season, and it's filled with variety and diversity across all the series: Classics, Pops, Movie, and Family. The season features several big names (like Renee Fleming), puts some Charlotte Symphony musicians in the spotlight, blurs genre boundaries, and provides lots of opportunities for members of our community to access the music. CSO President and CEO David Fisk is the guest on a new Piedmont Arts podcast episode where he talks about many of the exciting concerts that are in store as well as the importance of creating programming that appeals to diverse members of our community. Learn more about the Charlotte Symphony 2023 - 2024 Season Read Why The New Charlotte Symphony Season Matters Next Year More Than Ever Pictured: David Fisk; photo by Keitaro-Harada.

No matter what your station in life, there's a style or genre of music you that speaks to you. Music is a HUGE part of the soundtrack of our lives. I mean, who doesn't recall the songs that remind them of first boyfriends or girlfriends, breakups, spring breaks, weddings… you get the picture. David Fisk has been around music for at least as long as his professional and formative years – and we're guessing longer than that. He's now the President and CEO of the Charlotte Symphony. Today he's first chair with us on the BrandBuilders Podcast.

The Charlotte Symphony welcomes guest conductor Vinay Parameswaran to the podium to lead a program of twentieth and twenty-first century music by Sibelius, Britten, Still, and up-and-coming American composer Gabriella Smith. He shares the story of how he became a conductor instead of a lawyer and gives in depth insights into all the works on the symphony program. Learn more about the Charlotte Symphony's Classical Series . Pictured: Vinay Parameswaran; credit Roger Mastroianni.

The Charlotte Symphony will perform a concert called "Together We Rise" at the Sarah Belk Gambrell Center at Queens University. It will explore themes of freedom, strength, and justice through works by a diverse range of composers. One of the works on the program is by Queens University Composer-in-Residence, Malek Jandali. He talks about his compositions, the responsibility he feels to preserve his Syrian heritage through music, and the unique role music can play in furthering humanitarian and educational objectives. Learn more about Together We Rise

After taking a moment to give thanks for all the blessings of 2023, it's time to give flowers to some of the recent magnificent black artists and works of art including: Jordan Peele and the screening of his Get Out with the Charlotte Symphony as well as his latest film Nope - available on streaming; the long awaited follow up to Ryan Coogler's Black Panther movie - Wakanda Forever as it mourns the loss of its leading man, hear and soul Chadwick Boseman; and finally the recently completed 4 season series of the surreal heartfelt and hilarious Atlanta on FX - written, directed and starring Donald Glover and one of the most insanely talented casts and crews assembled on the medium formally known as television. Kudos to the excellence and power to the culture! I'm thankful! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Guest conductor Erina Yashima leads the Charlotte Symphony in a program that includes Beethoven's Triple Concerto and Berlioz's Symphonie Fantastique . Yashima recently finished her tenure as Assistant Conductor of the Philadelphia Orchestra. And she recently started in her new position as First Kapellmeister at the Komische Oper Berlin. She talks about the works on the orchestra program, the differences between American and European orchestras, and the importance of music education in her native Germany. Pictured: Erina Yashima by Todd Rosenberg Photography/ Askonas Holt .

Conductor Marcelo Lehninger will return to the Charlotte podium to lead the Charlotte Symphony in a program of music by Beethoven, Lili Boulanger, and Manuel da Falla. Lehninger explains how the works on the program relate to one another. Plus, he talks about finding his own interpretation of a familiar work like Beethoven's "Pastoral" Symphony which has been interpreted hundreds of times before. Pictured: Marcelo Lehninger. Photo by Andy Terzes.

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).

The Charlotte Symphony Orchestra (CSO) season opens with concerts featuring Elgar's Cello Concerto, Strauss's symphonic poem Aus Italien , and Anna Clyne's Pivot . Inbal Segev will be the soloist for the Cello Concerto, and the performances will be led by Andrew Grams who has been guest conductor with the CSO on a couple of occasions. Grams talks about the works on the upcoming program which he says are all built around the creators' impressions of a place, time, or life in general. He also talks about how he approaches the role of guest conductor. Learn more about the Charlotte Symphony Orchestra's Classical Series Pictured: Andrew Grams by Masataka Suemitsu/courtesy of Charlotte Symphony.

Everyone's Got A Camera” David Poe is a singer songwriter of dazzling economy; his wit and his sly genius for turning a phrase makes each line of his songs a piece of art. Poe is a cross between Hemingway and John Prine—he tells stories without telling stories about the stories he's telling. He's straightforward and elegant and lets you fill in the blanks with where the humanity might reside and where the heart might end up. Over the course of albums like God and the Girl, Love Is Red, The Late Album and his new one, Everyone's Got A Camera, Poe is one of the greatest and most consistent songwriters out there. The new album is a staggering collection that's masterfully melodic, harmonically brilliant and filled with world weary observations that unflinchingly stare down the modern landscape. A composer fellow of the Sundance Institute, Poe has asserted himself as one of the great songwriters of his generation. Or any generation, for that matter. Poe stays busy—not only has he toured, collaborated, performed and recorded with folks like Bob Dylan, Tori Amos, T-Bone Burnett, The Jayhawks, Beth Orton, Ron Sexsmith,Regina Spektor, They might Be Giants and Marc Ribot, Poe has been heavily involved writing scores for contemporary ballet and modern theatre projects across the world. His new album hits shelves this week but that didn't stop Poe from singing with the Charlotte Symphony this past weekend in the world premiere of the Blackstar Symphony, the first orchestral presentation of David Bowie's final album. www.davidpoe.com www.bombshellradio.com www.alexgreenonline.com Stereo Embers The Podcast Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

Jim Cunningham spoke with two touring members of the Pittsburgh Symphony on this European tour - violinists Boson Mo, who is a member of the Houston Symphony, and Yi Zhao, who is the Assistant Concertmaster of the Colorado Symphony.   Jim also spoke with Robert Rydel, who is a member of the Charlotte Symphony, who has been a guest musician with the Pittsburgh Symphony for more than 30 years!   

The Charlotte Master Chorale was founded in 1951 as the Oratorio Singers of Charlotte, and they are the resident chorus of the Charlotte Symphony. They announced their 2022-23 season which includes a performance of Bach's B Minor Mass and an appearance at Carnegie Hall. Artistic Director Kenney Potter talks about season highlights and reflects on the important role Charlotte Master Chorale plays in our community.

Karen Kamensek is the guest conductor for Charlotte Symphony (CSO) and leads a program with Sibelius' Symphony No. 2 and Shostakovich's Violin Concerto No. 1 featuring CSO concertmaster Calin Lupanu. Kamensek is in demand around the world as a guest conductor for both opera productions and symphonic concerts. Her recording of Philip Glass's Akhnaten with the Metropolitan Opera Orchestra and Chorus recently won the Grammy for Best Opera Recording. She talks about what she's learned from Philip Glass, what it's like to work with a brand-new orchestra, and how conducting operas and concerts are different. Pictured: Conductor Karen Kamensek by Denise Biffar.

After 35 years, Alan Black is retiring as principal cello of the Charlotte Symphony. Before he transitions to his new role as cello section player, he’ll be in the spotlight at the Charlotte Symphony’s “Music and Healing” concert at Queens University. He’ll be the soloist for the premiere of a work written for him by South Carolina composer Leonard Mark Lewis called “I Will Wade Out.” Black talks about his collaboration with Lewis. And he reflects on his long career in Charlotte explaining why this is a good time for him to pass the baton to new leadership in the cello section.

Joshua Gerson, guest conductor for a series of Charlotte Symphony concerts, talks about his work with youth orchestras as well as his approach to conducting an unfamiliar orchestra. He also shares why he’s interested in conducting new compositions.

Guest conductor Paolo Bortolameolli will lead the Charlotte Symphony Orchestra (CSO) in Kabalevsky's Cello Concerto No. 1 , featuring cellist Christine Lamprea plus works by Corigliano and Gabriela Ortiz. Bortolameolli is a strong advocate for bringing new compositions and new audiences to classical music. He describes some of his novel approaches to this challenge. He also talks about the music on the program for the upcoming CSO concerts. Pictured: Paolo Bortolameolli photo by Michiko Tierney. Paolo Bortolameolli , conductor

Jessica Cottis will be the guest conductor for concerts by the Charlotte Symphony. The program will feature Kurt Weill's The Seven Deadly Sins with soprano Lindsay Kesselman, Ravel's Piano Concerto in G with pianist Stewart Goodyear, and works by Stravinsky and Jessie Montgomery. Cottis talks about how this program of 20th and 21st century works came together and why they make a compelling grouping. She also talks about her passion for sharing classical music with young listeners and mentoring the next generation of women conductors. Learn more about the Charlotte Symphony's Ravel Piano Concerto Concert Pictured: Jessica Cottis by Kaupo Kikkas/courtesy of jessicacottis.com Jessica Cottis, conductor

Guest conductor Roderick Cox talks about how he chose the music for his program with the Charlotte Symphony, and why the Brahms Serenade No. 2 is particularly close to his heart. He also describes the Roderick Cox Music Initiative, a project that provides scholarships for young musicians of color from underrepresented communities. In only two years, the Initiative has been able to award thousands of dollars to help young artists pursue their dreams. Pictured: Roderick Cox; photo by Susie Knoll. Roderick Cox , conductor

The NoteWorthy concert series   is presented by WDAV in partnership with the   FAIR PLAY Music Equity Alliance . The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community building music. Singer, songwriter, guitarist and community organizer, Quisol and Charlotte Symphony musicians Kari Giles (violin) and Jeremy Lamb (cello) speak about the pleasures of collaborating across genres, and how creativity is linked to activism. Quisol Kari Giles Jeremy Lamb

The NoteWorthy concert series is presented by WDAV in partnership with the FAIR PLAY Music Equity Alliance . The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community building music. Grammy Award winner Greg Cox, who blends hip-hop, R&B and Gospel in his music is joined by two veteran classical musicians from our area, violinist Jane Hart Brendle and violist Matt Darsey to talk about being a part of the concert series. Greg Cox Jane Hart Brendle Matt Darsey Transcript: Frank Dominguez : This is Frank Dominguez for WDAV’s Piedmont Arts. On Wednesday, May 26th at 7:30 p.m., WDAV continues the NoteWorthy virtual concert series presented in partnership with the FAIR PLAY Music Equity [Initiative]. The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community-building music. Next up, we’re thrilled to offer a concert headlined by a GRAMMY Award winner and overall renaissance man. Greg Cox blends hip-hop, R&B, and gospel in his music and infuses it with his own Southern soul. He’ll have recording artist A$H. as his special guest, and they'll be joined by two veteran classical musicians from our area, violinist Jane Hart Brendle and violist Matthew Darsey. Greg, Jane, and Matthew are joining me now via Zoom to talk about their NoteWorthy program. Welcome, everybody! Greg Cox : Hey, Frank! Frank : Greg, I’ll start with you. We often distinguish classical musicians from artists in popular music like you by talking about the rigorous training classical musicians get in conservatories and the like, but then looking at your background, it strikes me that you came up in a fairly rigorous family conservatory of sorts and learned a lot from touring with some pretty top-notch gospel musicians. So, tell us a bit about your musical journey. Greg : Yeah, so starting in church is definitely something that I was fortunate to experience. Not much lesson - they just throw you in the fire there. When you’ve got musicians who are top notch since age 12, you're going into some proteges, some child legends. In Black church, you learn! You learn how to literally score what the preacher is preaching. It’s like scoring a movie as he’s going. And then touring with my dad, and touring with a few other artists, you bump into some of the best musicians in the world.  So I wouldn't say I'm up there with them, but what I would say is we can eat lunch at the same table and hang out. If there was anyone who - you don’t have the money to throw your kids into phenomenal teaching (or) rigorous training, just drop them off at church. They’ll be fine. Frank : And when you consider how many wonderful musicians have come from the Black church tradition in this country and the influence its had on all sorts of genres, there’s definitely something there. Greg : There’s something the water, man. There’s something in the atmosphere. Blends of jazz, blends of blues, blends of old Negro Spiritual songs - it’s very, very unique music to learn how to play, and I’m very, very fortunate. Some of the best ever, right? Aretha Franklin, Sam Cooke, Jennifer Hudson, the best vocalists ever come from the church. So it’s just something in the water and something in that community. Every week, it’s growing. So even if it's not as formal, you definitely learn things you can’t learn anywhere else. Frank : Jane, I've had the pleasure of hearing you play in a variety of concerts, including a Klezmer-infused program the Charlotte Symphony presented about music of the Holocaust, so I know you’re versatile, but I'm not sure I ever imagined you collaborating with a hip-hop artist like Greg Cox. What was that like? Jane Hart Brendle : It was so much fun! It was really way beyond what I imagined. I had so much fun, and Greg was so easy to work with. He just made it - it felt so natural to play. He just told us what he needed, and he had the parts written out, and it just felt great. Frank : And Matthew, even though you're a trained classical musician, I sort of expect you to be adventurous because I know you have a passion for contemporary music - and did that focus help you in any way for approaching this collaboration with Greg? Matthew Darsey : I think it does. You know, when you play a lot of contemporary classical music, your ears have to adjust to a different way of hearing music. And when you're playing in a genre that you're not really used to, your ears have to work fairly differently as well.  The harmonic language isn't necessarily the same as it is in Brahms. So, in a certain sense, I’ve even trained my ears out of the classical years because I'm used to playing atonal music or music that doesn't really fit in with what we’re used to from Western classical music. So, when you're coming to someone like Greg, who’s so intuitively exacting in what he wants, it was just incredible.  You sort of just - you almost lose control, or not lose control, but you let go of that really analytical part of your brain and just ride the wave that he gives to you, because it's such a powerful wave that if you just give in to it, then it sort of lays itself out there for you. Frank : Greg, talk about that a little bit. What was it like for you knowing the background of these musicians and coming together with them to work with them? Greg : Ah, man. Absolutely magical. So, classical musicians are literally like ninjas to me. Where do they hang out? Where do they, like... what do they eat?  It's like when you go to a Broadway show and you try to go down and talk to (the orchestra), they just disappear. Like it’s a smoke bomb, and they’re just gone, or they’re in the lobby in the hotel. So, I've always wanted to have friends who were in that world.  So, to be thrown into this environment, and to see that, “Oh, crap! They're human, they're just in different pockets.” It’s a different pocket. You figure out where they hang out at. “Oh, they’re at the Panera Bread!” “Oh, I need to go over to this side of town to see where they’re hanging out at.” So, it was beautiful to kind of pull back the curtain on that cultural demographic, and I was very fortunate to have the introduction that I did have through this organization. And they got it! I was very nervous going into it because I was like, “I hope I can speak their language.”   (I had to) be overprepared. We had a little funny story of - the printer didn’t work. And sheet music without a printer, forget that. But thankfully, they had iPads, and they understood my chicken scratch and my little notations of what I was trying to communicate to them. They weren’t hard to work with at all. They didn’t use their knowledge to puff up, to make me feel inferior. They welcomed me. They spoke my language, and it was a humbling, humbling experience that I wish more musicians would get to experience. Frank : You mentioned that you were a GRAMMY winner. How did that accolade come about? What were you involved with that resulted in that? Greg : There’s this icon by the name of Kirk Franklin who just decided - woke up one day with his team and decided to have me be a part of this amazing, phenomenal album Long Live Love. I’m on a song called “Strong God” that he wrote and produced and had me feature as a vocalist in 2020. That album won for Gospel Album of the Year; therefore, I'm a part of that album and contributed to it, so anyone who is a part of the album gets a GRAMMY. It’s like going to the NBA and playing with LeBron (James). You gotta know that if you’re on LeBron’s team, you’re going to get a ring. You know what I mean? So I got a ring because LeBron was in the game. And I might have shot a few 3’s, I might have passed LeBron the ball a couple times, but it definitely was, on the back, carried by the LeBron James, Kirk Franklin. Frank : Jane and Matthew, when we were talking about the attitude you you brought to this project, I couldn't help but think back, because I've been in this classical music radio business for so long, to times when classical musicians in orchestras were perhaps a little more unbending - you know, who weren’t quite as open to collaborations like this in the past - and that seems to have really changed in recent years, I guess because there's new generations of classical musicians in orchestras. Am I right about that? Would you confirm that perception? Matthew : I think that's a very big trend right now. Especially, you see it with a lot of the younger composers that are coming up. Caroline Shaw, for instance, does a lot of genre bending. She’s from Raleigh, I think, too. And I think it's a really beautiful thing for the field because, for so long, classical music has been so very structured within its Western European roots. And you of course see that with the music itself, in terms of the Classical era music, was obviously very, very structured within its own form, but then the social structures of it have been very narrow as well. And then there’s something that I think that we’re - it's almost like if we’re afraid if we expand that, then classical music disappears, which I think is a very paradoxical way of going about it, because if you build a wall up around something, then it's no longer - then it it does disappear, because there's nothing to let it thrive.  So I think that it's a really beautiful thing for Western European music to really open up itself to exploring what it can do with and for other genres, because if you don't grow, you're going to die. And so there’s a lot of really great younger performers that are breaking that mold, because we grew up with being very affected by music that wasn't necessarily, you know, classical music.  And then we're wanting to combine all of that into something that is more personal to us, maybe, and not so much meaningful to the older generation, or the ones that came before us, but it's still a very powerful way for us to express ourselves as a musician in the 21st century. Jane :  I think that we have definitely - in the recent years, we have started to branch out and look for many new ways to include all sorts of music, and it’s been a great adventure, and I’m so glad that it's finally open. It feels like it’s opening up, and it’s not just a token here and there: “Let’s play this piece by a woman composer because she's a woman composer.” It’s just opening up, and it doesn't matter anymore. We're just including all people and all types of music. That’s what it feels like. Frank : Greg, I'm going to give you the last word here. Hearing the three of you speak, I know I'm looking forward to hearing you all perform. What else can you tell listeners to this conversation to whet their appetites for the program you’ve prepared? What should they be expecting? Greg : They should be expecting White Sexual Chocolate. That's what they should expect. That's the name of the band that I gave them, and they put beautiful, sugary, milk white chocolate on my music, and it definitely embellished all the songs - every song that I perform normally. I feel really good about (the performance). They just added a different sauce. Frank : Do you think you'll - having done this now, do you think you'll consider doing something like it again, either in the recording studio or when in-person performing becomes commonplace again? Greg : I’m changed forever through this experience. I've always wanted to be involved with film, watching Disney growing up, (and) seeing Randy Newman, who is my favorite composer, just compose the crap out of string arrangements and provoke emotion in that way, I always wanted to be a part of it. So my next album actually is going to be very, very influenced by this experience (with) classical string playing throughout the entire album now. So it’s very much now a fiber, a part of who I am through this experience. I’m very affected by it, and very thankful for the organization again. Frank : I am so looking forward to hearing how that turns out, and I'm really excited for you. My guests are the performers for the next virtual concert in the new NoteWorthy series from WDAV and FAIR PLAY Music Equity Initiative, singer-songwriter and rapper Greg Cox, Charlotte Symphony violinist Jane Hart Brendle, and violist Matthew Darsey.  The concert streams on Wednesday, May 26th at 7:30 p.m. You can get more information and find a link to the Facebook Live event at noteworthyclassical.org . Thank you all for speaking with me. For WDAV’s Piedmont Arts, I’m Frank Dominguez.

The Cello Sherpa Podcast host, Joel Dallow, interviews St. Louis Symphony  Orchestra cellist, Jennifer Humphreys on her journey to successfully winning positions in the Charlotte Symphony, the Atlanta Symphony, the Dallas Symphony, and the St. Louis Symphony. If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on twitter @theCello Sherpa

Since 1950, the Symphony Guild of Charlotte has been supporting the Charlotte Symphony and Charlotte Symphony Youth Orchestras and promoting interest in symphonic music in the Charlotte region. Both the Symphony Guild and the CSO are working on strategic plans which prioritize inclusivity. Debbie Abels, president of the Symphony Guild, and David Fisk, CEO of the Charlotte Symphony, talk about their two organizations' symbiotic relationship and the ways they want to reach new audiences and serve all members of the community. Pictured: David Fisk, photo credit Keitaro Harada.

97: Nonprofit Leaders: When is it Time to Leave? (Kathy Ridge)  SUMMARYOn your path to nonprofit leadership, you will face difficult decisions about whether it is the right time to leave your organization. This decision can be even more difficult if you are the leader of your nonprofit and have dedicated countless hours to the cause and feel genuine concern for its well-being after your departure. Kathy Ridge, our guest on episode #97 of the Path Podcast has helped dozens of nonprofit leaders and their organizations manage transition. She has great advice about how to determine the best time to leave, how you can assure a smooth transition, and what boards of directors can do to effectively evaluate interim solutions.ABOUT KATHYKathy Ridge is the founder of LevRidge Resources, LLC based in Charlotte, NC. Formerly a corporate Executive VP at Wachovia Corporation and the Executive Director of two nonprofits, Kathy has deep experience in leadership, problem assessment and organizational 'turnarounds'. Her finance background, coupled with her years in the nonprofit sector, has given Kathy the knowledge and practical application in being an innovative visionary who can get her hands dirty in tactical implementation. She has served on the boards of the Charlotte Symphony, Child Care Resources, The Women's Impact Fund, The Arts Education Committee of the Arts and Science Council, The Advocacy Committee at First Presbyterian Church and leadership roles on the boards of the Davidson College Friends of the Arts Board, and the Humane Society of Charlotte. In addition to leading LevRidge Resources, Kathy has written and presented on Board and Nonprofit Governance; Succession Planning; Business Essentials for Nonprofits; among other subjects. She taught “Evaluating Nonprofits: Measuring what Matters” in Wake Forest University’s Nonprofit Essentials course for four years.  She has been invited to moderate community panels on a variety of social justice and equity issues. Kathy also helped lead the development of a national set of standards, “Guiding Principles for Executive Transition and Leadership Continuity” for consultants to nonprofits across the U.S.  EPISODE TOPICS & RESOURCESWilliam Bridges’ book TransitionsParker Palmer’s book Let Your Life SpeakCheck out Devlin McNeil’s episode #48 Agile Arts Leadership in the Nonprofit SectorApply to join one of PMA’s Mastermind Programs!

The NoteWorthy concert series is presented by WDAV in partnership with the FAIR PLAY Music Equity Alliance. The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community building music. Singer-songwriter Arsena Schroeder talks about the concert and collaborating with pianist Leonard Mark Lewis, violinist Lenora Cox Legatt, and guitarist Chris Suter, who also join the conversation. Arsena Schroeder Lenora Cox Legatt Leonard Mark Lewis Chris Suter Transcript: Frank : This is Frank Dominguez for WDAV’s Piedmont Arts. On Wednesday, April 14 at 7:30 PM, the NoteWorthy concert series debuts on Facebook Live. It’s presented by WDAV in partnership with FAIR PLAY Music Equity [Initiative] and brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-bending, community building music.  The first concert in the series features singer-songwriter Arsena Schroeder with musical guests pianist Leonard Mark Lewis, violinist Lenora Cox Leggatt, and guitarist Chris Suter. All of them are joining me now via Zoom to talk about the concert. Welcome, everybody. Great to have you all here!  Arsena, I'll start with you. Your music is influenced by R&B, pop, and folk, and it's been described as tackling topics of personal healing and empowerment. I’m curious about how you arrived at your sound in general and those particular themes. Arsena : That's a good question. Well, I actually started music kind of late in college. I had a friend who asked me to sing on a project of his, and I thought, “I don't sing.” That’s what I told him, and he said, “You do.” So, that was my first time writing and recording, and I fell in love with it. And then shortly after, I got a hold of Lauryn Hill's MTV Unplugged performance, and it was very ‘singer-songwriter’ - her, her guitar, and storytelling - and I thought, “Oh, if I can do it that way, then I do sing, and I can do music.” So, I kind of just pull from inspiration that is soulful, but still very simple and self-reflective in content. Frank : Mark, let me ask you about your work. You’re a composer as well as a pianist, and your works have been commissioned by orchestras such as the Charlotte Symphony. How did you get involved in this particular project, and what's the collaboration been like? Mark : I was super pumped, because initially I wasn't even going to be involved. I found out that I was going to be involved three hours before the first rehearsal. I was told, “Oh, you have to be at this rehearsal.” So I [thought], “Where’s a keyboard?” So I drove around trying to find a keyboard and drive to Arsena’s loft. I had heard her music before, and I probably got involved because I told the person in charge [of recruiting the classical artists], who happened to be my wife, “I love this music. I want to play with her.” And so, that’s probably how it happened. It’s been a wonderful experience. It’s so musical and lyrical and rhythmic and lush that it was easy - I just came in and did my thing, and [Arsena] was open to new ideas and all those things, and it’s been wonderful from start to finish. Frank : Lenora, let me ask you: you have ties to the Charlotte Symphony, too, as a violinist in the orchestra. Apart from the stylistic differences, how is working with Arsena in this concert different from the classical fare that you normally rehearse and perform? Lenora : I’m used to somebody writing my notes for me, and I work hard at that, and I’m good at that, so just having to go with my own instincts was a new experience. And it was really exciting and really fun and I really enjoyed it, mostly because Arsena just made it so easy and relaxed and she was open to any ideas I wanted to try, or not try, or just explore, and she just made it. Frank : Arsena, let me go back to you for a moment and ask if there was any kind of trepidation - especially now that I've learned that you came to music rather late in life - about heading into this project with classically trained musicians such as Mark and and Lenora. Arsena : Yeah, I mean, in the back of my mind, I’m like, “I don't know how this is going to work,” because we come from two different worlds. I come from the world of improv, just going with what feels good, just kind of playing it by ear, and then also just not having that formal training and being self-taught. And knowing from experience that it normally can take months or years for a band to gel well, I’m going to have to have chemistry, and so I think we kind of hit the jackpot and it worked. But I did think, “We’re really rolling the dice here. This could either go really good or really bad.” [laughs] Frank : Well, I saw a little bit of the rehearsal, so I can attest to the fact that it's going really well. Arsena : Yeah, it went really great.  Frank : Chris, let me bring you in on this and ask how you came to work with Arsena. Chris : I’ve known Arsena for a few years now. She worked with a friend of mine on, I think, one of her earlier EPs, and then long story short, he kind of stepped out of the engineering game and recommended me. We talked and seemed to have a good rapport and seemed to work together, and it just kind of all fell into place from there. Frank : It sounds as if many of our listeners might be surprised at just what an active music scene there is in Charlotte. Chris : I think you have to maybe look for it a little bit, but once you do discover it, you can find that there's a pretty lush community of musicians and artists all kind of working to help each other out. I think because it is a little bit it - it can be a little bit of a struggle, so you kind of find that when you do discover and break your way into the music scene, that everyone is really, really open to helping each other out and working together. Frank : That's great to know. This next question is really for all of you. I'd be interested in your individual thoughts on this. Genres, such as classical or pop or R&B, are handy things for recording labels (and for radio stations, I’ll admit). But what do you, as musicians and creatives, think of that term, “genre”? Arsena, let’s start with you. Arsena : I hate it, because I want to play them all, but I do understand, having a business mind, that marketing-wise, it’s helpful for the audience to know if they're going to be drawn or attracted to what you create. But I mean, I pull from so many different aspects, and one song could be one genre, and another song can be another genre when you’re creating freely, so I don't necessarily care for that label. Frank : Mark, how about you? Mark : I agree with Arsena. Postmodernism is alive and well, and I don’t think there’s any one particular music that stands above another, and it’s all there for the exact same reason. Frank : Lenora? Lenora : I don’t mind it. I like the idea of blending genres more than anything. Composers have always borrowed from each other, and I think exploring and being open to new genres is important. I have students that I was telling them - well, somehow it came up that they don’t think a violin would go in a rock band, and I said, “Actually, I’m playing in a rock band next week.” [Arsena   laughs] Lenora : They were so excited by that. And so I think exploring new genres is important, and I have experience with that, mostly because my husband’s a rock musician, and my son is 9 and he’s always showing me new things to listen to on YouTube. So it helps to explore. Frank : And Chris, what's your experience been with that term as a working musician here in town? Chris : It's kind of a love-hate relationship. I mean, it obviously works and it has its purpose, but one of the most frustrating things is when you're working on an original project and then someone asks you, “What kind of genre is it?,” and it's like, “I don't know, I haven't thought about it. Now let me try to force it into this box.” Into, “Oh, I guess it's rock, but it's also kind of pop,” and then it can give people the wrong or right idea. So it has its utility, but it definitely kind of forces you think in a weird way sometimes. Frank : Arsena, I’m going to give you the last word and ask you to tell me a little bit, or give the listeners a little bit of an expectation of what they can encounter when they tune in for this concert stream. What’s the program going to be like? Arsena : I feel relaxed. Kind of like Mark said, it’s pretty relaxed. I do some storytelling in between the songs. We’ve got some solos, everybody gets a little solo and a moment. I think it’s something that you might find interesting and pleasing to your ear, just because we’ve got the violin, which I’ve never had. Now I feel like I need violin on every single one of my songs moving forward, so Lenora, I’ll be hitting you up. And we’ve got Chris on electric, and I pulled Chris in because we’ve been playing together for years, and I felt like he could fill in some of the areas that I couldn’t. But I go from electric guitar to acoustic guitar to tambourine, Mark is on electric piano and grand piano, so we really get a really good palate of music for your ears, I think. Frank : That sounds very tempting, and I know hearing that, a lot of folks are going to be interested in checking it out. My guests have been the performers for the first virtual concert in the new NoteWorthy series from WDAV and FAIR PLAY Music Equity Initiative. Singer-songwriter Arsena Schroeder (whose latest release, [Unplugged+Live: Remixed & Remastered], is available for download at arsenamusic.com), pianist and composer Leonard Mark Lewis, violinist Lenora Cox Leggatt, and guitarist Chris Suter.  The concert streams on Wednesday, April 14 at 7:30 PM, and you can get more information and find a link to the Facebook Live event at noteworthyclassical.org. Everybody, thanks so much for speaking with me! Arsena : Thank you for having us. Frank : For WDAV’s Piedmont Arts, I’m Frank Dominguez.

On this episode of Hello CMS, we're exploring Youth Arts Month with Dr. Chilcutt and art partners from The Bechtler Museum of Modern Art and The Charlotte Symphony.  The Bechtler Museum of Modern Art will provide virtual and guided tours of its collection while employing visual thinking strategies to help students build a deeper understanding of the work. The Charlotte Symphony will provide a virtual performance of its “One Musical Family” education concert. The concert features music from a diverse group of composers.

The Charlotte-Mecklenburg Schools Arts department has collaborated with several Charlotte arts organizations to provide E3 Virtual Field Trips experiences for students in kindergarten through eighth grade. The program has the potential to reach over 100,000 students. From March through mid-May, the Children’s Theater of Charlotte, Charlotte Ballet, Bechtler Museum of Modern Art, Charlotte Symphony, Mint Museum, Harvey Gantt Center for African-American Arts and Culture and Opera Carolina will provide unique performing and visual arts experiences for CMS students. We're speaking with Dr. Michael Chilcutt about this incredible opportunity for our students! 

The Charlotte Symphony will celebrate the arrival of 2021 with a New Year’s Day concert featuring Baroque music. Resident Conductor Christopher James Lees explains how the lively and joyful sounds of Baroque music may be the unexpected, but perfect, way to turn a new page after the tumult of 2020. He also reflects on what performing arts organizations have learned this year and what it means for them going forward. Learn more about A Baroque Celebration: Old World / New Year

Use code "spit1020" at checkout to receive $500 off the purchase of a brand new instrument through January 31st!www.houghtonhorns.comJonathan Kaplan joined the Charlotte Symphony Orchestra as 2nd Trumpet at the beginning of the 2017-2018 season. He has been a guest musician with the Atlanta Symphony Orchestra, Phoenix Symphony, Charleston Symphony Orchestra, Tucson Symphony Orchestra, and the New World Symphony. Since 2019, he also has served as the 2nd Trumpet of the Central City Opera Orchestra during the summer, located in historic Central City outside of Denver, CO.Originally from Eagle River, Alaska, Kaplan holds a bachelor's degree from Arizona State University and a master's degree from Rice University. Kaplan has also attended Brevard Music Center and Tanglewood Music Center, where he was the recipient of the Andre M. Come Fellowship. His notable teachers include Charles Geyer, Barbara Butler, David Hickman, Ben Nguyen, Kerry Maule, and Stuart King. In addition to performing, Kaplan maintains a private teaching studio and enjoys spending time exploring Charlotte with his wife, who is a middle school band director in Union County Public Schools. Support the show (https://thatsnotspit.com/support/)

BARRIE BENSON is a Charlotte-based interior designer best known for balancing the modern with the traditional in her signature interiors. She transforms residences like her iconic 1950s ranch with traditional pieces to create an interesting blend of periods, rooms, and moods. Barrie is also known for giving architecturally traditional homes a dash of energy and color with her fresh take on European and American 20th-century furniture, art, and collections. In addition to interiors, Barrie designs a signature line of furniture for Highland House and a line of decorative hardware and accessories in collaboration with Addison Weeks. Top publications have featured Barrie’s work including AD, Coastal Living, Domino, Elle Dècor, Garden & Gun, House Beautiful, Southern Living and The Wall Street Journal. A true lover of the arts, Barrie is an active board member of the Mint Museum and the Charlotte Symphony and regularly visits galleries and art fairs around the world.

Charlotte Symphony violinists Monica Boboc and Calin Lupanu are the founders of "Chamber Music for All" which presents chamber music concerts around the Piedmont region. Their new season begins with a virtual concert that's part of the CPCC Connor Chamber Music Series. They discuss how putting together a season during a pandemic has been challenging. Hear how they've adapted and how they are planning for the future. Monica Boboc Calin Lupanu

With a style that has been described as “passionate,” “fiercely vigorous,” and even “humorous,” Brad Edwards has appeared as a soloist before audiences in the United States and Europe. His solo credits include radio and television broadcasts, premieres of new music, guest recitals at colleges and regional workshops, and concertos with student and professional orchestras and wind ensembles. He has twice been featured as a soloist with “Pershing’s Own” Army Band at the American Trombone Workshop in Washington D.C. As a member of the Air Force Concert Band he was twice featured as a soloist.             His CD, “Trombone And…” features concert duets pairing the trombone with other instruments.  It includes several works written for and premiered by him as well as one of his own compositions, Five American Folksong Sketches. Of this recording, Audiophile magazine wrote, “Trombonist Brad Edwards is an accomplished musician. The performances are all excellent, and the pairings with other instruments, particularly the marimba are quite interesting.”             Dr. Edwards began teaching trombone at Arizona State University in Fall, 2016. Previously, he  taught at the University of South Carolina and the University of Northern Iowa. Other teaching positions have included Franklin and Marshall University and Kinhaven Music School. Reecently, he has begun teaching at the Raphael Mendez Brass Institute and performing there with the Summit Brass Ensemble.             He is best known for his pedagogical books including Patterns and Snippets, Lip Slurs, Lip Slur Melodies as well as the Trombone Craft and Simply Singing for Winds series.  His latest book is The Intermediate Trombonist. He has published a number of pieces through the International Trombone Association Press (available from Warwick Music) including Blue Wolf which has been recorded three times and Four Impromptus for Low Bone Alone, which was selected for the national solo competition of the American Trombone Workshop. He has composed a set of 176 one-minute audition solos for all woodwinds and brass. These solos have been adopted for all-state auditions in South Carolina and Utah. These solos are available for free download at the his companion website, AuditionSolos.com. In 2018 he composed a set of 24 concert pieces for trombone and piano targeted at the intermediate-advanced ability level. His recordings of these pieces, play-along including versions with the piano part alone, will become available in 2020.             In addition to the Air Force Band, Dr. Edwards has held positions as Principal Trombonist of the South Carolina Philharmonic, Symphony Orchestra Augusta and the Waterloo/Cedar Falls Symphony. He has also been the bass trombonist of the Cedar Rapids Symphony and the Arlington Symphony in Virginia. He has performed with such ensembles as the Phoenix Symphony, Baltimore Symphony, the Kennedy Center Opera Orchestra, the brass choir of the National Symphony, Hartford Symphony, the Charleston Symphony, the Charlotte Symphony and the Baltimore Opera Orchestra as well as the Wintergreen and Cabrillo Festival Orchestras. He has shared the stage with such diverse artists as Al Jarreau, Ray Charles, Dave Brubeck, Wycliffe Gordon, Ben Folds, Jean-Yves Thibaudet, Olivia Newton John, Bela Fleck, the Gatlin Brothers, Robert Merrill, Big Bad Voodoo Daddy and Roger Daltry. In 2007, he was selected to be participant at the prestigious Alessi Seminar in New Mexico.             Dr. Edwards holds degrees from the Peabody Institute of Johns Hopkins University, the Cincinnati College-Conservatory of Music and the Hartt School of Music. His primary teachers have been Jim Olin, Tony Chipurn, Ronald Borror and Henry Schmidt. He has also studied with Joseph Alessi, Arnold Jacobs, Dave Fedderly and Milt Stevens.

With a style that has been described as “passionate,” “fiercely vigorous,” and even “humorous,” Brad Edwards has appeared as a soloist before audiences in the United States and Europe. His solo credits include radio and television broadcasts, premieres of new music, guest recitals at colleges and regional workshops, and concertos with student and professional orchestras and wind ensembles. He has twice been featured as a soloist with “Pershing’s Own” Army Band at the American Trombone Workshop in Washington D.C. As a member of the Air Force Concert Band he was twice featured as a soloist.             His CD, “Trombone And…” features concert duets pairing the trombone with other instruments.  It includes several works written for and premiered by him as well as one of his own compositions, Five American Folksong Sketches. Of this recording, Audiophile magazine wrote, “Trombonist Brad Edwards is an accomplished musician. The performances are all excellent, and the pairings with other instruments, particularly the marimba are quite interesting.”             Dr. Edwards began teaching trombone at Arizona State University in Fall, 2016. Previously, he  taught at the University of South Carolina and the University of Northern Iowa. Other teaching positions have included Franklin and Marshall University and Kinhaven Music School. Reecently, he has begun teaching at the Raphael Mendez Brass Institute and performing there with the Summit Brass Ensemble.             He is best known for his pedagogical books including Patterns and Snippets, Lip Slurs, Lip Slur Melodies as well as the Trombone Craft and Simply Singing for Winds series.  His latest book is The Intermediate Trombonist. He has published a number of pieces through the International Trombone Association Press (available from Warwick Music) including Blue Wolf which has been recorded three times and Four Impromptus for Low Bone Alone, which was selected for the national solo competition of the American Trombone Workshop. He has composed a set of 176 one-minute audition solos for all woodwinds and brass. These solos have been adopted for all-state auditions in South Carolina and Utah. These solos are available for free download at the his companion website, AuditionSolos.com. In 2018 he composed a set of 24 concert pieces for trombone and piano targeted at the intermediate-advanced ability level. His recordings of these pieces, play-along including versions with the piano part alone, will become available in 2020.             In addition to the Air Force Band, Dr. Edwards has held positions as Principal Trombonist of the South Carolina Philharmonic, Symphony Orchestra Augusta and the Waterloo/Cedar Falls Symphony. He has also been the bass trombonist of the Cedar Rapids Symphony and the Arlington Symphony in Virginia. He has performed with such ensembles as the Phoenix Symphony, Baltimore Symphony, the Kennedy Center Opera Orchestra, the brass choir of the National Symphony, Hartford Symphony, the Charleston Symphony, the Charlotte Symphony and the Baltimore Opera Orchestra as well as the Wintergreen and Cabrillo Festival Orchestras. He has shared the stage with such diverse artists as Al Jarreau, Ray Charles, Dave Brubeck, Wycliffe Gordon, Ben Folds, Jean-Yves Thibaudet, Olivia Newton John, Bela Fleck, the Gatlin Brothers, Robert Merrill, Big Bad Voodoo Daddy and Roger Daltry. In 2007, he was selected to be participant at the prestigious Alessi Seminar in New Mexico.             Dr. Edwards holds degrees from the Peabody Institute of Johns Hopkins University, the Cincinnati College-Conservatory of Music and the Hartt School of Music. His primary teachers have been Jim Olin, Tony Chipurn, Ronald Borror and Henry Schmidt. He has also studied with Joseph Alessi, Arnold Jacobs, Dave Fedderly and Milt Stevens.

Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is considered to be one of the most distinctive artists of his generation. The Washington Post proclaimed Mr. Huang as "an artist with the goods for a significant career" following his recital debut at the Kennedy Center.This summer, Mr. Huang made highly acclaimed debut at Bravo!Vail Music Festival stepping in for violinist Anne-Sophie Mutter in the Mozart’s Violin Concerto No.4 with Chamber Orchestra Vienna-Berlin. Recent and forthcoming engagements include his recital debut at the Lucerne Festival in Switzerland, Aspen Music Festival, as well as appearances with the Mariinsky Orchestra with Valery Gergiev (St. Petersburg's White Nights Festival), Berliner Symphoniker with Lior Shambadal (Philharmonie Berlin debut), Detroit Symphony with Leonard Slatkin, Houston Symphony with Andres Orozco-Estrada, Orchestra of St. Luke's with Carlos Miguel Prieto, Seoul Philharmonic, Baltimore Symphony and Grant Park Festival Orchestra with Markus Stenz, North Carolina Symphony and Charlotte Symphony with Gemma New, Buffalo Philharmonic with JoAnn Falletta, Pacific Symphony with Carl St. Clair, National Symphony Orchestra of Taiwan with ShaoChia Lu and the Taipei Symphony with Jahja Ling (both in Taipei and on a U.S. tour). 2019-20 season will also see Mr. Huang giving the German premiere of Tan Dun’s Violin Concerto “Fire Ritual” with the Nuremberg Symphony with Kahchun Wong and appearances in the U.S. with the Tucson Symphony, New Mexico Philharmonic, Long Beach Symphony, Brevard Symphony, and Mobile Symphony.Recital and chamber music performances this season will include Mr. Huang’s recital debut for People’s Symphony Concerts in New York, a recital tour across North America and Taiwan with pianist Helen Huang, as well as his debut at the Wolf Trap in Washington D.C. He will also return to Camerata Pacifica in Santa Barbara and the Chamber Music Society of Lincoln Center for three separate tours in the U.S., Europe, and the Far East.Mr. Huang's recent recital engagements included Lincoln Center's "Great Performers" series and return engagement at the Kennedy Center where he premiered Conrad Tao's "Threads of Contact" for Violin and Piano during his recital evening with pianist Orion Weiss. He also stepped in for Midori with Leonard Slatkin and the Detroit Symphony to critical acclaim. Mr. Huang has also made debuts at the Wigmore Hall, Seoul Arts Center, and the Louvre in Paris.His first solo CD, Intimate Inspiration, is a collection of favorite virtuoso and romantic encore pieces released on the CHIMEI label. In association with Camerata Pacifica, he recorded "Four Songs of Solitude" for solo violin on their album of John Harbison works. The album was released on the Harmonia Mundi label in fall 2014.A frequent guest artist at music festivals worldwide, he has performed at the Seattle, Music@Menlo, Caramoor, Bridgehampton, La Jolla, Santa Fe, Moritzburg, Kissinger Sommer, Sion, Orford Musique, and the PyeongChang Music Festival in Korea. His chamber music collaborators have included Gil Shaham, Cho-Liang Lin, Nobuko Imai, Mischa Maisky, Jian Wang, Frans Helmerson, Lynn Harrell, Yefim Bronfman, and Marc-Andre Hamelin.Support the show (https://thatsnotspit.com/support/)

006: Navigating Your Nonprofit Career & Creating Positive Workplace Culture (Michelle Hamilton)SUMMARYMichelle and I had a great discussion on all three phases of a nonprofit career: getting started and navigating your first nonprofit job; advancing into leadership as you move through your mid-career; and maximizing leadership opportunities once you achieve them. Michelle also shares great resources and tips to stay organized amidst a busy nonprofit lifestyle and how to develop a positive workplace culture.ABOUT MICHELLEMichelle Hamilton, CFRE, is Interim President & CEO at the Charlotte Symphony, an orchestra bucking the trend of symphony orchestras serving a narrow slice of society in its belief that sharing music should be a right and not a privilege. She has 28 years’ experience as a non-profit leader, including work with the Houston Symphony, Dayton Philharmonic Orchestra and the Arts Council of Fort Worth and Tarrant County. Michelle is a Lafayette, Louisiana native and holds a BA in communications from the University of Louisiana. She is a past president of the Charlotte Chapter of the Association of Fundraising Professionals, an international organization inspiring global change and supporting efforts that generate billions of dollars in philanthropy. She was recognized as Charlotte’s Outstanding Fundraising Professional by AFP Charlotte in 2013. Learn more about Michelle on LinkedIn and her work at the symphony at Charlotte Symphony Orchestra.EPISODE TOPICS & RESOURCESWhy choose a nonprofit career?Distinguishing between work at larger and smaller nonprofitsUsing post-it notes and Outlook to stay organizedCarson Tate at Working SimplyMaximizing a mentorWhen is it time to leave your nonprofit job?Main things she looks for when hiring, and best interview question she usesProfessional development resources she recommends for aspiring leaders3 ways to create a positive nonprofit cultureWhat she does to continue her professional development Strengths Based Leadership (Tom Rath)Donor Centered Leadership (Penelope Burk) More about their creative programming: CSO Website, Instagram

Brass Junkies Extra: Tubist Aubrey Foard of the Baltimore Symphony Orchestra on the state of the lockout In this special episode of The Brass Junkies, Aubrey Foard catches us up on where things stand with the BSO lockout. From his bio: Aubrey Foard is the principal tubist of the Baltimore Symphony Orchestra, a position he has held since 2018. He also serves as Lecturer of Tuba and Euphonium at the University of California, Los Angeles (UCLA) and as Artist Faculty at the Brevard Music Center. Mr. Foard was most recently principal tubist of the Charlotte Symphony, where he had performed since 2012. He has previously held principal tuba positions in the Santa Barbara, West Virginia, Canton, Youngstown, and Albany Symphonies as well as with the Britt Festival Orchestra. He has performed as a guest musician with several other orchestras, including the Los Angeles Philharmonic, The Cleveland Orchestra, the North Carolina Symphony, the Louisville Orchestra, Arizona MusicFest, and as Acting Principal Tubist with the San Diego Symphony. Aubrey gives us an inside look at how the lockout has impacted the musicians over these last few months.  We discuss: Expiration of their contract Summer bargaining sessions His first act as a member of the BSO Management's offers vs. the players' Cancellation of the summer season and the start of the lockout Lack of progress in negotiations Aubrey taking 47 auditions before landing the BSO gig Taiwan Tubamania Finding Baltimore Symphony recordings in Taipei Individual overscale negotiations Leaving the Charlotte Symphony The impact of previous management decisions on today's situation The difference between a 40-week and a 52-week orchestra Playing with the San Diego Symphony in the summers How uncertainty of the future of the orchestra has impacted him personally Having to hit the road to make it work The impact on his family 15-20 other cities have already reached out to have Baltimore Symphony players sub with their orchestras ICSOM Call to action has provided over $250,000 so far "The BSO without the O is just BS" Lessons from the experience (stay united and get involved) Throwing a mega-brass concert to support the musicians Collecting data for the creation of a fact sheet and data project Michael Kaiser, make great art and market it brilliantly Places and people who are doing it right in the industry Aubrey Bergauer of the California Symphony Deborah Borda of the New York Philharmonic Mark Niehaus of the Milwaukee Symphony  Phil Munds and Andy Balio on The Brass Junkies Future Symphony Institute Here's a link to a recent article from Baltimore Sun outlining the state of things: "BSO and musicians in marathon contract negotiations as deadline looms" Here's a link to the musicians' Facebook page: BSO Musicians Facebook page And their website: BSO Musicians Website The players' GoFundMe page: https://www.gofundme.com/f/keep-the-o-in-bso

Since 2006, Charlotte Symphony concertgoers have heard the sound of trombonist Tom Burge playing in the brass section of the orchestra, and for more than ten years WDAV listeners could also enjoy the Australian musician’s cheery “G’day” greeting when he welcomed them to his Sunday Evening with Tom Burge program. He’ll be leading a quartet of trombones unofficially known as “The Four Horsemen” when they appear for the Music at St. Alban’s concert series.

Pops in the Park, occurs each year across the street from Jesse Brown’s in Southpark’s Symphony Park. This year Albert George Schramm continues his tradition of conducting the Charlotte Symphony on July 3rd followed by a Fireworks display.          

This week, 2019 Tony winner Stephanie J. Block joins Ilana for a conversation. Block has established herself as one of the most relevant and versatile voices in contemporary musical theatre. She most recently won the Outer Critics Circle Award for Outstanding Leading Actress in a Musical portraying Star in THE CHER SHOW and also garnered a Drama League, Drama Desk and TONY Award nomination(s) for her current role of Star. Ms. Block also received the Outer Critics Circle, Drama Desk & TONY nomination(s) for Best Featured Actress in a Musical in 2017 for her star turn as Trina in Lincoln Center Theatre’s highly acclaimed revival of FALSETTOS. In 2013 she was recognized with both the Drama Desk and TONY Award nomination(s) for Best Leading Actress in a Musical for her portrayal of Alice Nutting/ Edwin DROOD in The Roundabout Theater’s production of THE MYSTERY OF EDWIN DROOD. That marks 3 TONY Award nominations in the last 6 years, a feat very few Broadway actors have attained. Other Broadway credits include Reno Sweeney in the 2011 TONY Award winning revival of ANYTHING GOES, 9 TO 5:THE MUSICAL playing the role of Judy Bernly for which she earned a Drama Desk nomination for Best Actress in a Musical. She created the roles of Grace O'Malley in THE PIRATE QUEEN and Liza Minnelli In THE BOY FROM OZ (opposite Hugh Jackman). Ms. Block is best known for her portrayal as Elphaba in the Broadway company of WICKED as well as originating the role in the First National Tour for which she won numerous awards including the prestigious Helen Hayes Award for Outstanding Actress in a Musical. Ms. Block has sung with numerous symphony orchestras including the NY Pops at Carnegie Hall, Boston Pops, National Symphony Orchestra (under the baton of Marvin Hamlisch), Dallas Symphony, Indianapolis Symphony Orchestra, Utah Symphony, Columbus Symphony, Charlotte Symphony and the Cleveland Pops among many others. Her solo concert has been critically acclaimed and continues to sell out throughout the US and in London. Some of her Off-Broadway and regional theatrical credits include LITTLE MISS SUNSHINE (Drama Desk nomination for Outstanding Featured Actress in a Musical), BY THE WAY, MEET VERA STARK(Drama Desk nomination for Outstanding Featured Actress in a Play), THEY'RE PLAYING OUR SONG(starring opposite Jason Alexander), CATS (St Louis' Kevin Kline Award Nominee- Best Actress),FUNNY GIRL, CRAZY FOR YOU (L.A. Ovation Award Nominee), OLIVER (Critics Award-Best Actress), James Joyce's THE DEAD, TRIUMPH OF LOVE, THE GRASS HARP, SOUTH PACIFIC, WILL ROGERS FOLLIES and the World Premiere of WICKED. Stephanie's solo album, THIS PLACE I KNOW has been received with great praise, lauded by critics as "One of the best debut recordings to come out of the Broadway community in quite some time... 6 out of 5 stars". An array of award-winning songwriters assembled to help interpret their music on Stephanie's album. Composers such as Stephen Schwartz, Marvin Hamlisch and the legendary Dolly Parton join forces with Ms. Block to create a thrilling musical experience. Stephanie's voice can be heard on multiple cast recordings, including THE BOY FROM OZ, THE PIRATE QUEEN, WICKED's 5th Anniversary Album and 9 TO 5: THE MUSICAL (GrammyNomination).  Television credits include: RISE (upcoming: NBC), MADAME SECRETARY (CBS), ORANGE IS THE NEW BLACK (Netflix), HOMELAND (Showtime), IT COULD BE WORSE (HULU). 

By the time this interview is released, the film industry will have capped off its awards season with the Oscars. While some focus on the more prominent awards like “Best Actress” or “Best Motion Picture,” it’s just as interesting to look to the more audio-inclined categories of “Best Original Song” and “Best Original Score.” Because … Continue reading "Lights… Camera… Music! Bringing Classical to the Big Screen with the Charlotte Symphony" The post Lights… Camera… Music! Bringing Classical to the Big Screen with the Charlotte Symphony appeared first on Amplifier.

Sally Robinson is a civic leader and community volunteer whose contributions have shaped education, arts and culture in Charlotte and Durham. She has served on many boards, including the Charlotte Symphony, the Charlotte-Mecklenburg Library, the McColl Center for Visual Arts, the Foundation For The Carolinas and Duke University. Sally was the visionary force behind the launch of the Levine Museum of the New South. She has received many awards for her service, including the Duke University Distinguished Alumni Award, the University of North Carolina at Charlotte Distinguished Service Award, the John Tyler Caldwell Award for the Humanities, the Charlotte Woman of the Year Award, and the Arts & Sciences Council Lifetime Commitment Award. Sally graduated Phi Beta Kappa with a degree in history from Duke University. This episode is perfect for anyone interested in family history, community service, connecting to ideas and possibility, and a lifelong friendship and love.   IN THIS EPISODE Sally describes her first home in Charlotte and growing up in the 1930s and 1940s. She tells a story about German POWs and chewing gum just after World War II. She remembers her father and the work he did in textile machinery. She talks about roaming the streets of downtown Charlotte in the 1940s. Sally shares her mother’s community service during the war and the example of civic leadership she established. She recalls her brothers’ heroic service during the war and the family routine of listening to the news and tracking the war effort. She discusses going to boarding school at Mary’s School in Raleigh and the influence of a particular teacher. She shares her first date with Russell Robinson and how it led to marriage. Sally talks about studying history and being a student at Duke University. She answers whether she ever felt limited as a homemaker during the 1950s. She describes how development patterns in Charlotte changed in the 1950s and 1960s. She reflects on segregation, the civil rights movement, and how her perceptions about race relations have evolved. Sally explains how her passion for civic life developed in the 1980s and 1990s and launching the Levine Museum of the New South came about. She answers whether there is a cause or issue that she might have been more involved in. She remembers the naming of the Robinson Center for Civic Leadership at the Foundation For The Carolinas in the 2000s. She shares what is on her mind today for Charlotte in the 2020s. She discusses connecting to community and her connection to Duke University. Sally answers why her marriage works so well and what’s next.  plus Mark's Personal Word Essay: Only Connect To learn more, visit On Life and Meaning

Charlotte Symphony Orchestra’s music director Christopher Warren-Green, as well as President and CEO Mary Deissler, discuss the variety of series in the 2019-2020 season, and also how the orchestra has grown over the past decade of Warren-Green’s tenure. Christopher Warren-Green Mary Deissler

Music and imagery combine in a Charlotte Symphony concert program that brings together Holst’s beloved masterwork, The Planets , with a new work by the popular living composer Eric Whitacre called Deep Field . Music director Christopher Warren-Green describes the technological innovations in the Whitacre piece, which includes projected images from the Hubble Space Telescope and incorporates a phone app into the orchestration. The maestro also tells us about the astrological origins of Holst’s most famous work.

Libby Larsen is one of America’s most performed living composers. Her catalogue of some 500 compositions spans every genre from vocal to chamber music to massive orchestra and operatic works. Including a Grammy winning album in 1993, she has over 50 recordings to her credit. She continues to be in demand for commissions and premieres by artists worldwide. She is the co-founder of the Minnesota Composers Form, now the American Composers Forum, and has held residencies with the Minnesota Orchestra, the Charlotte Symphony, and the Colorado Symphony.

Linda Weisbruch of the Symphony Guild of Charlotte speaks about the popular, yearly "Heart of the Home" Kitchen Tour. In addition to details about the six homes that are part of the event, she also discusses the positive impact the Guild has on the Charlotte Symphony, and why the orchestra is so important to her.

Christopher Warren-Green, music director of the Charlotte Symphony Orchestra (CSO), speaks with WDAV about the concerts and guest artist in its 2018-2019 season. Maestro Warren-Green describes his excitement for the new season and how the concerts will mix the traditional with the new. For more information about the season, visit the Charlotte Symphony website .

Christopher Warren-Green, music director of the Charlotte Symphony, speaks about the perennial holiday favorite, Handel’s oratorio Messiah. He talks about the dramatic and spiritual qualities that make Messiah one of the greatest musical works of all time. Pictured: Christopher Warren-Green

Grammy-winning fiddlers Mark and Maggie O’Connor visit WDAV again to chat with Frank Dominguez about their appearance in the Charlotte Symphony’s annual Magic of Christmas concert. They’ll also speak about Mark’s work as Artist in Residence with the Charlotte Symphony Orchestra, what it’s like to come home to Charlotte after touring, and share what aspect of the season gives them special pleasure. Pictured (l-r): Maggie O'Connor, Frank Dominguez and Mark O'Connor at WDAV.

Calin Lupanu, concertmaster of the Charlotte Symphony, will lead a string quartet of Charlotte Symphony Orchestra musicians to perform for WDAV’s first Small Batch Concert at Free Range Brewing in Charlotte’s NoDa district. Calin speaks about the unique appeal of performing in a brewery, and how playing chamber music makes him a better orchestra musician. Learn more about WDAV's Small Batch Concert Series Pictured: Calin Lupanu

In Episode 015 of A Medicinal Mind: Wisdom and Wellbeing, we explore the interface between science and spirituality, evolution and creationism, faith and the experimental method. I have a wonderful conversation with a dear friend and honorary family member, former governor of North Carolina and nurturing grandfather Jim Martin.   Jim is a Princeton PhD organic chemist who initially taught at his alma mater Davidson College During that time, he played principal tuba in the Charlotte Symphony and officiated high school football. Drawn to politics as a precinct worker, he was then elected three times as county commissioner, six times to the U.S. Congress, and twice as Governor of North Carolina. After twenty-six years of public service, he returned to his scientific roots in private life to serve as vice president of medical research at Carolinas Medical Center in Charlotte. He and his wife Dottie have three children and five grandchildren in addition to being amazing family friends to my grandparents and all the Abbott's in my loving family.   In our conversation Jim shares some amazing insights regarding the complexities of biology, organic chemistry, and physics as they relate to the current existence of humanity and our universe as a whole.   In distilling down some of the major ideas in his groundbreaking book: Revelation Through Science   Jim provides us with a small glimpse into some foundational scientific principles that perhaps, do not and WILL NEVER PROVE the existence of a God, but do indeed provide evidence POINTING TO the existence of a larger Creator.   Introducing the concepts of irreducible complexities, the remarkable relational geometry of DNA, RNA, sugars, and amino acids, we explore that miraculous machinery that allows for the storage and interpretation of genetic code and the eventual creation of an incredible array of proteins and biologic tissues.   Getting a little geeky, we, as two chemists explore the concepts of chirality or handedness of molecules. Why should we care if something is left handed or right handed? What does it mean to be left handed in the first place?   And what the heck is a enantiomer?   Changing gears, James and I explore Scripture and the biblical text   Can we treat the Bible as a scientific textbook or as a book of relational and interpretive wisdom?   Is it fair to judge the biblical text against our current understanding of the scientific method?   Dancing into the beautiful trinity of sugars, RNA/DNA, and amino acids, Jim creates the wonderful three way chicken, egg and creator conundrum, what came first nucleic acids, or ribose and deoxyribose, or amino acids or perhaps something we don't even currently understand?   I am so grateful to Jim for sharing this space with me and engaging in a thoughtful discussion seeking to bring peace to the supposed dichotomy between science and spirituality, providing a middle ground for individuals to recognize that you can both believe in God and evolution, use the scientific method and rely on faith for understanding.   And please check out Jim's book: Revelation Through Science, it really is a fascinating collection of thoughtful scientific inquiry accessible to both the rigorous scientist and curious layperson.   You can find links to Jim's page and his book in our show notes, as well as slides describing some of the concepts we discuss in the podcast, for those, like myself, who are rather visually inclined.   I really hope you enjoy the show!   Access Jim's website here:: http://www.beatenpathbooks.com/ Access Jim's book here: https://www.amazon.com/Revelation-Through-Science-James-Martin/dp/1524536083   You may access all of our previous podcasts on our website using this link: http://www.amedicinalmind.com/podcast-wisdom-and-well-being   Disclaimer: The content at A Medicinal Mind and the content of our podcast are educational and informational in nature. They are not intended to be medical advice, spiritual counsel or a substitute for working with a health professional or a trained spiritual counselor. We cannot guarantee the outcome of any of the recommendations provided on our page or by the guests on our podcast and any statements written or made about any potential outcomes are expressions of opinion only.

Matt Rogers chats with Charlotte Symphony cellist Jon Lewis about his performance as part of the CSO Pulse Rush Hour Recital Series. Rush Hour Recitals are hour-long concerts featuring CSO musicians playing their own musical selections--typically pieces that are not among the standard symphonic repertoire. Jon gives us a preview of the late Baroque music he has picked out, and Pulse co-president Beth Rennie shares how the organization is fostering the next generation of CSO concertgoers.