Podcasts about charlotte symphony orchestra

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.

Kwamé Ryan was born in Canada, raised in Trinidad, and studied music in Europe before being officially named to his new position in late 2023. He says he felt connected to Charlotte on his first visit here. We talk about that, his musical philosophy, and his vision for the orchestra.

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

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.

The Charlotte Symphony Orchestra (CSO) shared news that the organization has raised more than $40 million toward a goal of $50 million for its endowment. CSO President and CEO David Fisk discusses why having a significant endowment makes the orchestra stronger, and he provides details about the vital programs the endowment campaign will enable in the future.

The Washington Post's Patrick Marley and CBS News' Weijia Jiang discuss how the politics of abortion and Israel played out on the 2024 campaign trail this week. Then, military analyst Michael Kofman shares insights from the front lines in Ukraine. And, conductor Kwamé Ryan talks about his debut as music director designate of the Charlotte Symphony Orchestra in North Carolina.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Thorgy Thor, a classically trained musician who first came to national prominence on the television series RuPaul’s Drag Race , is the guest on this episode of Piedmont Arts. After a recent appearance at Davidson College, she spoke to us about how she developed the concert program Thorgy and the Thorchestra which has been performed with orchestras in Canada and the U.S. including the Charlotte Symphony Orchestra last season. She has also performed as an instrumentalist at Carnegie Hall and Lincoln Center in New York City.

Loki highlights words by the late Kwame Ture, chats with Parisian violinist and arts activist Marina Chiche, and responds to the historic appointment of Kwame Ryan as Music Director of the Charlotte Symphony Orchestra. "La Création du Monde" by Darius Milhaud Elaine Brown and Kwame Ture Interview (1993) Marina Chiche La Marseillaise par la violoniste Marina Chiche Charlotte Symphony Makes History, Names a Black Conductor as its New Music Director ★ Support this podcast ★

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.

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 .

Conductor Lan Shui joins the Charlotte Symphony (CSO) for concerts at Belk Theatre in Charlotte. He gives us a rundown of the works on the CSO program, and he explains why he loves being a guest conductor. Pictured: Lan Shui by Singapore Symphony Orchestra

A new resolution in Congress named Oct. 26, 2022, as Public Radio Music Day. We celebrate with the president of the Charlotte Symphony Orchestra and a co-founder of JazzArts Charlotte, then get national perspective on everything from Taylor Swift's new album to the sustainability of the live music industry.

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.

This season marks the 75th anniversary of the Charlotte chapter of the American Guild of Organists. To celebrate they are teaming with the Charlotte Symphony Orchestra to present concerts that include Saint-Saëns’ beloved “Organ” Symphony, as well as a solo organ recital, all featuring Grammy-winning organist Paul Jacobs. He and Mark Johanson, Dean of the Charlotte AGO chapter, talk about the celebratory events. Learn more about the AGO Organ Concerts

WDAV and the Fair Play Music Equity Initiative continue the second season of NoteWorthy virtual concerts with R&B artist Nia J joined by flutist Jill O’Neill and violist Ben Geller. We speak to the trio about how well they bonded as a group, and how the addition of the classical instruments helped “breathe some life back” into the singer-songwriter’s music. Nia J Ben Geller Jill O'Neill Transcript Frank Dominguez : This is Frank Dominguez for WDAV’s Piedmont Arts. On Wednesday, August 24 at 7:30 PM, WDAV continues its second season of NoteWorthy virtual concerts 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 and community building. This time, we’re teaming R&B singer-songwriter Nia J with flutist Jill O’Neill and violist Ben Geller. The trio joins me now via Zoom. Thanks, everyone! Jill O’Neill : Thanks for having us. Nia J : Yeah, excited to be here. Frank : Nia, R&B is a category of music that's really as broad and varied as classical music in terms of its range of sounds and artists. So who are some of the musicians, from R&B or otherwise, who have had an influence on your music? Nia : I would say Jhené Aiko comes to mind. I really like her harmonies and the really melodic tunes that she is able to achieve. And just that it’s really peaceful. I like for my music to be tranquil and have that really peaceful state. I really like Daniel Caesar as well. Same thing as far as harmonies - I really like the way that he writes. Both completely different artists, but those are two that come to mind when I think of R&B artists that inspire me. Frank : And if I were asking you to describe what R&B means to you, how would you talk about that? Nia : I don’t know, it's kind of limitless right now! There's no sound that is unique to it at the moment, everyone's taking their own direction with it. I think it gets back to the lyrics. The lyrics are really soulful, I think the message is usually pretty powerful. And I like the contemporary stance that a lot of artists are taking, where we're fusing different genres into it. Frank : Jill, you are a flute professor at Winthrop University and you teach Music Appreciation, but in addition, your resume also includes the Charlotte School of Rock and courses in the History of Rock and Roll. How did you come by this eclectic streak? Jill : It actually doesn't seem eclectic to me, I don't know why it does to everybody else. (Laughs) You know, I grew up listening to heavy metal and punk and being a kid in the 80’s. Yes, I play a very… solit(ary), shall I say, girly instrument. Most of my teachers were men when I was a kid. (The flute) is seen as that frilly, fluffy, pretty, very vocal instrument, but that actually is very unlike me as a human and as a musician. When I have to play flute, I really have to bring myself into Nia’s way of thinking. I really have to calm myself down and try to contain it. Because that’s not the kind of music I really listen to and the two bands that I played with, it’s not pretty flute music. It’s kind of heavy, loud, grinding… and that’s just the kind of person I am. So, when I’m playing drums, I actually sometimes feel more like myself. But the flute is my life. I started playing piccolo when I was six, so of course, everybody insisted that I gravitate towards the flute as well, so I played both. And alto flute and bass flute. But that’s just one very small part of me. I think as a teacher, that’s what I bring to the table, because I make sure that all my students can do everything. I always say, “the more you do, the more marketable you are, so don’t pigeonhole yourself!” Frank : Great point. Ben, most of WDAV’s listeners are used to seeing you in evening wear at concerts by the Charlotte Symphony Orchestra. What is the appeal for you personally about stepping outside your usual circle and collaborating with Nia J on this project? Ben Geller : Well, it's… that pigeonholing that Jill was talking about, that’s more of my life. I think when I was younger, I had broader interests, and as I got older, I wanted to focus more and more, and eventually orchestral viola kind of took over my life. Not to say I don't love it, but I miss doing more out of the box stuff. And playing in the orchestra does get you a decent amount of variety. We play all kinds of classical music and modern stuff. But being a directly contributing partner to a project like this was… I mean, I love that. Nia’s got such a unique voice, a beautiful voice, and great songwriting. And working with another colleague in Jill, who brings this whole varied background… this was so much fun. I wish we could do this all of the time, always. Jill : Hear that, Nia? (Laughs) Hint! Ben : Stand by. Nia : Taking the hint. Frank : That's really great to see the obvious bond that has formed between the three of you. Nia, I'm interested in your creative process for writing songs. Are you thinking about the audience and their expectations of you, or are you perhaps more driven by your own experiences and emotions? How does it work for you? Nia : I think anytime I try to start with the audience, it just doesn't work. So usually, it's best if I think about how I'm feeling and experiences that I'd like to share, and usually I get lucky and those experiences can be related to by others and people who are listening. So I just try to be authentic in why I'm writing and taking from my experiences and then just hoping that people will connect. Frank : Jill, I have another question for you. And given that you demonstrated you're not the stereotypical flutist that some people might have in mind, how did you go about working with Nia? What form did the collaboration take? Jill : You know what, it was really easy. She had sent Ben and I her music quite some time before we got together, and Ben and I just kind of had - immediately, I mean, we’ve known each other and played with each other for a long time - we just had a sense of what each song needed from us. So that's why I ended up just grabbing a whole bunch of different instruments before I left because we had no idea what was going to come of rehearsals. It was a neat kind of hodgepodge of listen to a tune, grab a different instrument, try something… substitute one instrument for another, until we just found it. I don't think that's a secret. I think that's the way most people write music. So it was fun for us to have that beautiful base of stuff that she had already written. It made our jobs really easy, don’t you think, Ben? (Laughs) It really wasn’t taxing for us. We did have to decide a few times, and Nia was really prominent in the conversations, about how much of the music do we keep and add us on to, versus trying to have us recreate that. It wasn’t an easy task when Ben and I felt like, “Oh my God, we have to play flute and viola. How are we going to make her music sound (right)?” That was really scary. Until she had this look on her face, like “No, you don’t have to do that. You can do anything you want.” And as soon as we realized that, it was on. I mean, we just kind of went crazy. And when Ben got out his mandolin, Nia just looked at me like, “Yeah. This is going. This is what we want.” Frank : Ben, how about you? What was the transition to playing music in this sort of milieu? Easy, or difficult, or how did you manage it? Ben : You know, viola is a backup instrument. We don’t… it's not always “spotlight” for us, for sure. So thinking about it in this vein was a little bit (of) where I live, in how to best support a good clear melody. And viola didn’t always make sense, so I happen to have this wonderful mandolin that I love and don't play enough of, and it seemed to fit on a few of Nia’s songs, so we kept using it. Frank : One definite message I'm getting from this is that there's a lot more to the contemporary classical musician than first meets the eye and than I think the average audience member might realize, not only in terms of your training and background but your interests and the ways you express yourself. Nia, when you were getting ready for this NoteWorthy concert, did you have any role in playing… in terms of choosing the instruments or the musicians who would be performing with you? Nia : I wasn't really picky. They asked what types of instruments (I’d like), and I’m like, “I don’t know!” It’s been a while since I’ve worked with classical musicians. I did choir, and we always performed alongside classical musicians, but that was in high school, so I’m like, “Whatever you think sounds like it will fit with my music.” I was randomly paired with Jill and Ben, and it was great because Jill… the first day that we rehearsed, she brought like fifty different instruments. So it was nice that we could experiment, as they were saying, and just play around to see what worked and what didn’t. I had no idea what route I would take with it. Frank : I’m going to give you the last word, Nia, and ask you what stands out for you as the most memorable part of working with Jill and Ben specifically as classically trained musicians? What did that combination bring to the songs you had written and have been performing? Nia : I think they definitely helped breathe some life back into the music. After performing the same songs over and over again, sometimes you lose touch with them. So working with Jill and Ben helped me reconnect with them in a way that I hope the audience will see when they watch the performance. And just who they are as people, too. I’ve grown really fond of you guys, and getting to work together was awesome. I’m just really grateful to have gotten to meet both of them. Frank : My guests have been R&B singer-songwriter Nia J and flutist Jill O’Neill, as well as violist Ben Geller. On Wednesday, August 24th at 7:30 PM, you can hear them perform when WDAV continues the second season of NoteWorthy virtual concerts, 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 and community building music. And you can watch WDAV’s YouTube channel to catch the video or WDAV’s Facebook page. You can also get more information about the artists and the series from noteworthyclassical.org. Thank you, everyone, for speaking with me. Jill : Thanks, Frank. Ben : Thanks for having us, Frank. Nia : Thanks! Frank : For WDAV’s Piedmont Arts, I’m Frank Dominguez.

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 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

Joshua Cutchin will be on hand to tell us about his research in Bigfoot and Fairiy Folk. Prior to pursuing his dream of becoming a full-time author and musician in 2015, Cutchin served as public affairs director of the University of Georgia Hugh Hodgson School of Music for three years. During his tenure at UGA, Cutchin authored over one hundred articles, press releases, and blog posts. In addition to appearing in local media, his press releases have also been referenced and distributed by such media outlets as the Associated Press and National Public Radio. Before his time at UGA, Cutchin provided content for the Georgia Symphony Orchestra (Marietta, GA), Athens Banner-Herald (Athens, GA), Walton Tribune (Monroe, GA), and Observer News Enterprise (Newton, NC). Cutchin has appeared on a wide variety of paranormal programs discussing his work, including Coast to Coast AM, Mysterious Universe, Binnall of America, Expanded Perspectives, Radio Misterioso, and the Gralien Report. He is the author of five books: 2015's A Trojan Feast: The Food and Drink Offerings of Aliens, Faeries, and Sasquatch (translated into Spanish as Banquete Troyano); 2016's The Brimstone Deceit: An In-Depth Examination of Supernatural Scents, Otherworldly Odors, & Monstrous Miasmas; 2018's Thieves in the Night: A Brief History of Supernatural Child Abductions; and 2020's Where the Footprints End: High Strangeness and the Bigfoot Phenomenon, Volumes I & II, with Timothy Renner.2021 will see the release of Fairies on Film, a collection of essays of which he is editor and a contributor. Cutchin's writing is also featured in Robbie Graham's 2017 collection of ufological essays UFOs: Reframing the Debate, as well as David Weatherly's Wood Knocks: Vol. 3 (2018) and Peach State Monsters (2021). Excerpts of his work have appeared in Fortean Times and Edge Science. Cutchin has been featured on the hit History Channel television show Ancient Aliens, and is a recurring roundtable guest on the Where Did the Road Go? podcast. Cutchin has been invited to speak at Georgia MUFON Events, annual ParaMania un-conferences, the International Fortean Organization's 2016 & 2019 FortFests, 2019's X-Filers United! conference, ConCarolinas (2019-2021), Strange Realities Conference (2019-2021), Tewksbury Public Library's 2020 Fright Nights, 2020's Phenomenacon (hosted by Greg & Dana Newkirk), and the 2021 Utopæon-Convention in Graz, Austria. As a composer, Cutchin has had his music performed by Phonatopia Tuba-Euphonium Quartet, and the tuba ensembles of the University of Georgia, University of Wisconsin, and the Eastman School of Music. In addition to Stevens and Zerkel, Joshua's teachers have included Connie Weldon, creator of the modern tuba ensemble, and David Mills, tubist of the Charlotte Symphony Orchestra.

The top headlines from The Charlotte Observer for Wednesday, May 12, 2021, including the latest on gas lines, the Charlotte Symphony Orchestra and Mecklenburg County politics.

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.

Our newest episode of TECHnically Speaking features North Carolina-based lighting designer Jenni Propst.Jenni has worked as a production manager, head electrician, and event manager for clients ranging from non-profit groups to large corporate events, national tours, and even NASCAR.She has toured domestically and internationally as a head electrician and lighting supervisor with Alonzo King LINES Ballet, Complexions Contemporary Ballet, and Charlotte Ballet.Jenni has worked with world renowned choreographers including Dwight Rhoden, Jean-Pierre Bonnefoux, Sasha Janes, Mark Diamond and David Ingram. Some of her design credits include Charlotte Ballet’s The Little Mermaid and Innovative Works, Charlotte Symphony Orchestra’s KnightSounds series, Charlotte Youth Ballet’s Wizard of Oz and Alice in Wonderland and countless concerts and special events.She is an ETCP Certified Entertainment Electrician, member of IATSE Local 322, and has an M.A. in Communication from the University of North Carolina – Charlotte where her academic focus was on sports communication and culture. She’s an avid knitter, teardrop camper, hockey enthusiast and world traveler.Currently, she is studying theatre at the University of Memphis with an emphasis in Lighting and Sound Design.Because of Jenni's extensive touring experience, she was kind enough to be a guest on our podcast as well as author a "Tour Diaries: Tales from the Road" piece, which will be published in next week's Weekly News!If you’d like to explore Jenni’s work, please visit her website www.jennipropst.com.Registration is now open for USITT21 Virtually Anywhere taking place March 8-12, 2021. To register visit usitt.org/registration.TECHnically Speaking is a public service of USITT, which seeks to have a broad conversation on topics of interest to its members, but it is neither a legal interpretation nor a statement of Institute policy. The views expressed on this podcast by guests are their own and their appearance herein does not imply an endorsement of them or of any entity they may represent. Reference to any specific product or idea does not constitute an endorsement or recommendation. Views, opinions, recommendations or use cases expressed on this podcast do not necessarily reflect the views of USITT, its Board members or employees.

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/)

The Charlotte Symphony Orchestra (CSO) welcomed their new President and CEO, David Fisk, on September 1, 2020. He's joining the CSO at a critical time as they learn new ways to share their music safely in the midst of a pandemic. David Fisk talks about getting to know his new city and organization in a socially distanced way. He also shares his thoughts on the importance of the CSO's role in our community in times like these. Pictured: David Fisk; photo by Keitaro-Harada.

In this episode, John Azar @jjazar shares his journey from commercial banker to private equity consulting and finally joining up with his brother and helping to take their multifamily syndication business from 2500 units to 6500 units. Listen in to learn about building an institutional quality syndication business. Download a Free Fast Start Investor Toolkit --> https://www.apartmentinvestingjourney.com/free-tool-kitAbout Our Guest:John is an Executive Vice President and Managing Member of MACC Venture Partners where he directs acquisitions, strategic development, capital management and growth. He also oversees alternative financing and investor/portfolio development. He co-directed the company’s recent growth from a 2500 units owner/operator to a current 6500 units owner/operator by developing a market brand and proliferating and growing a portfolio of institutional and individual investors in the syndications of the company’s assets; as well as the launch of several closed-end asset funds. In 2019 John launched a new capital advisory and consulting firm called Peak 15 Capital to help other CRE operators and sponsors with their capital stack.Previously he was a co-founder and Managing Partner of Boston Venture Partners (BVP), a private equity consulting and finance firm based in Boston specializing in real estate development, and structured finance. Through his tenure with BVP he worked on a cumulative portfolio of $1.8 Billion spanning from Boston to Miami as well as London. His previous roles as a commercial banker in financial institutions and banks such as Bank of America provided an integral understanding of debt and equity financing as well as deal structure; honing his skills and insights into the critical planning issues relevant to growing successful companies. John is a regular guest speaker in various commercial real estate conferences, and he served on the boards of directors of several non-profit organizations. He is currently a board member for the Charlotte Symphony Orchestra and has been a guest lecturer on entrepreneurship and finance and is a continuous advocate for several business growth initiatives. John holds a BA from the University of North Carolina, Charlotte and an MBA from Boston University Questrom School of Business.Connect With Our Guest:john@maccvp.comwww.maccvp.comhttps://www.instagram.com/jjazar/https://www.linkedin.com/in/jalalazar/CONNECT WITH US! Visit our Website: https://www.apartmentinvestingjourney.com/Connect with us on Facebook: https://www.facebook.com/apartmentinvestingjourney/?modal=admin_todo_tourFollow us on YouTube: https://www.youtube.com/channel/UCpmNIzpEzxGn5ZuNgjAVV-w/featuredFollow us on Instagram: https://www.instagram.com/apartmentinvestingjourney/Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/apartment-investing-journey/id1464256464LOVE THE SHOW? PLEASE SUBSCRIBE, RATE, REVIEW & SHARE!

"You don't 100% the video game of a Music career by getting a college teaching job." Andy Hudson is currently Assistant Professor of Clarinet at the University of North Carolina Greensboro and the NC State Chair for the International Clarinet Association. He has appeared in Carnegie Hall’s ‘Weill Recital Hall,’ Chicago’s ‘Symphony Center,’ and has performed at the World Congress of the International Alliance for Women in Music, College Music Society conferences in the US and Canada, the New Music Gathering, and International Clarinet Association Festivals in the US and Europe. Andy has commissioned or premiered dozens fo works to date, and has performed as guest principal clarinet of the Charlotte Symphony Orchestra, the North Carolina Opera, and the Carolina Ballet. He has performed with the Chicago Symphony Orchestra on their MusicNOW series and was appointed 3rd/Bass Clarinetist of the Cabrillo Festival Orchestra in 2020. Andy currently performs with Latitude 49, F-PLUS, earspace, and The Zafa Collective. Let’s connect on Twitter: @TheAndyHudsonwww.theandyhudson.comwww.ledahfinck.com

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

The value of arts, science and history in the classroom is important to creating critical thinkers and problem solvers best able to meet the challenges of today. In Charlotte-Mecklenburg, the need for additional programming is particularly critical. In this episode of the Culture For All podcast, we’ll take you into classrooms around the county to let you hear how arts programming is serving our children every day.  We’ll listen to the work being done by the Charlotte Symphony Orchestra and their Project Harmony initiative. Arts & Science Council VP of Education Barbara Ann Temple tells us about the importance of arts in the classroom. You’ll hear how Troy Kryzalka, better known as the Number Drummer, uses drumming and music to teach math. Carolina Raptor Center’s Kate Shaner will show a class of elementary school kids exotic raptors for the first time. Finally, we’ll sit in on one of DigiBridge’s STEAM Saturdays and see how founder David Jessup is working to bridge the digital divide. Host Mary C. Curtis, a Mecklenburg County resident and personality, leads you through this look at arts and culture in and out of the classroom. If you’ve just found this podcast and are unfamiliar with the tax, please listen to the first episode (Culture For All) in this series first. That episode will provide an overview of the tax and give you all the information you need to know right now. Remember to share your voice with the Arts & Science Council on this important topic. Call or text us at 704.286.6288 and leave a :30 message. Your responses may be used in a future episode of this podcast. You can also email us at asc@artsandscience.org, or contact us via social media. This podcast was produced by the Arts & Science Council and GohJo Studios. Original Music by Harvey Cummings. Contact the Arts & Science Council on: Facebook Instagram Twitter asc@artsandscience.org 704.286.6288   Subscribe, rate and review Culture For All on: Spotify Apple Podcasts Stitcher TuneIn SoundCloud   Arts & Science Council Website Podcast Page on ASC Website

Pictured: Paul Huang; Photo by Marco Borggreve. The Avery Fisher Career Grant recipient Paul Huang speaks about playing the Dvořák Violin Concerto. He joins the Charlotte Symphony Orchestra under the direction of guest conductor Gemma New.

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

After 43 years as the principal clarinetist with the Charlotte Symphony Orchestra, Gene Kavadlo is retiring. He began his career as a music educator in the Manhasset Public Schools on Long Island before taking a gamble to become a symphony musician. He talks with WDAV about his musical journey, living in Charlotte and what will come next as he turns the page on an incredible career.

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

Kenney Potter, Director of Choruses for the Charlotte Symphony Orchestra, talks with WDAV’s Frank Dominguez about the Charlotte Symphony Chorus’ upcoming performances of Felix Mendelssohn’s Elijah . -->

Calin Lupanu, concert master for the Charlotte Symphony Orchestra, and principal violist Benjamin Geller talk with WDAV about the Charlotte Symphony Classical Series concerts in which they are featured as soloists. Calin Lupanu Benjamin Geller

Timpanist Leo Soto stops by the WDAV studio to talk about the Charlotte Symphony Orchestra's premiere of Leonard Mark Lewis' percussion concerto.

The music students of the Northwest School of the Arts in Charlotte will present a Spring Recital including an exciting first for the school: the premiere of a new work by the acclaimed Charlotte-born composer Dan Locklair, commissioned on behalf of the school by the Charlotte Symphony Orchestra. Before they present this performance, Dan Locklair and the students will be in WDAV's John Clark Performance Studio to give us a preview.

Sir James Galway, the virtuoso flute player known as “The Man with the Golden Flute,” visits Charlotte to perform a special Charlotte Symphony Orchestra event, conducted by Christopher Warren-Green. Before his performance with the CSO, Sir James Galway took a moment to speak with WDAV's Rachel Stewart, chatting about topics such as Mozart, Bach, and his favorite band, Pink Floyd.

Violinist Karen Gomyo with accompanist Dina Vainshtein visited the WDAV John Clark Performance Studio for a live performance and to chat with host Rachel Stewart. Ms. Gomyo is the feature soloist in the Charlotte Symphony Orchestra's performance of Tchaikovsky's Pathetique , part of the CSO's Classics Series. 

Midsummer Night's Serenade, July 5, 7 p.m.: You're invited to an evening of cello music with friends from the Charlotte Symphony Orchestra. Join us in the sanctuary, or watch online here.