Podcasts about Classical music

Music includes: Pomp and Circumstance March #4 by Edward Elgar, Ruins of Athens march by Beethoven, March from the English Folk Song Suite by Ralph Vaughn Williams, the Nutcracker March by Tchaikovsky and the Guadalcanal March by Richard Rodgers and Richard Russel Bennett. Conducors include: Arturo Toscanini, Arthur Fiedler, Thomas Beecham and Henry Wood.   

Alec and Nick return to podcasting to discuss their special respective connections to classical music. The conversation employs a back-to-basics overview of the form: what is classical music? What is NOT classical music? What was and is it? Taking a zoomed-out approach, the episode spans the culture, mechanics, operations, and evolution of classical music: arriving at an assessment of the “audacity of its form” in relationship to the dysfunction and cosmopolitanism of contemporary society. Johann Sebastian Bach, Igor Stravinsky, Richard Strauss, Maurice Ravel, Erik Satie, John Cage, Morton Feldman, Wolfgang Amadeus Mozart, and even … Béla Fleck & the Flecktones are all mentioned. 

Pianist and composer Conrad Tao is based in New York City, but was born in Urbana and spent a portion of his childhood in Chicago. He returns to the Windy City this week to perform at the Nova Linea Musica series. Tao discusses how he got into piano playinh in his childhood, creating his own compositions, and the Chicago music scene.      The 21st Show is Illinois' statewide weekday public radio talk show, connecting Illinois and bringing you the news, culture, and stories that matter to the 21st state. Have thoughts on the show or one of our episodes, or want to share an idea for something we should talk about? Send us an email: talk@21stshow.org. If you'd like to have your say as we're planning conversations, join our texting group! Just send the word "TALK" to (217) 803-0730. Subscribe to our podcast and hear our latest conversations. Apple Podcasts: https://podcasts.apple.com/us/podcast Spotify: https://open.spotify.com/show/6PT6pb0 Find past segments, links to our social media and more at our website: 21stshow.org.

Voyager frontman Danny Estrin on his unconventional path from heavy metal to law and on to the Eurovision grand final (R).Danny Estrin is one of the few Australians who knows what it's like to perform at Eurovision. As frontman for the progressive synth metal band, Voyager, Danny commanded the stage in the 2023 competition, wind machine and all. His musical education started early, on a piano gifted by his babushka and freighted from the Soviet Union to his childhood home in Hamburg.After moving from Germany to Perth as a child, Danny turned to heavy metal as a way of finding belonging.Danny is also an immigration lawyer, but by night he quite literally lets his hair down, swapping his suit and tie for a keytar and microphone.Just months after Sarah first spoke to Danny in 2023, he received a stage four cancer diagnosis.Voyager had to cancel all the shows they'd booked after their Eurovision performance, as Danny started treatment, supported by his wife and two girls.While his cancer is terminal, Danny has been doing really well, defying everyone's expectations.This year he even got the band back together, and when he's not undergoing treatment, Danny is back on stage with Voyager.Further informationOriginally broadcast in August, 2023.Danny is currently working on a television show about people's love affairs with their cars.This episode of Conversations was produced by Tamar Cranswick.It explores music, heavy metal, Eurovision, migration stories, migration law, Russia, Germany, multiculturalism in Australia, classical music, how to have a career in music, family, fatherhood, love, marriage, father of daughters, cancer diagnosis, terminal cancer, cars, hot rods.To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

Send us a textThis week on Here's What We Know, Gary Scott Thomas sits down with Robert Emery,  world-renowned conductor, pianist, and Founder of The Arts Group, one of the UK's most dynamic entertainment companies. From childhood prodigy to international maestro, Robert brings a refreshing, fun, and deeply human perspective on classical music, creativity, and the colorful personalities behind history's greatest composers.In This Episode:Why classical music was once the “pop music” of its timeSurprising connections between country, rock, and operaRobert's bold journey from a 7-year-old pianist to global conductor and entrepreneurWhat conductors really do and the leadership lessons they offerWild, unforgettable stories about legends like Liszt and MozartHow classical themes show up everywhere, from film scores to cartoonsRobert's drive to keep innovating through conducting, musicals, and TED's List for online music educationThis episode is sponsored by: Reed Animal Hospital (Be sure to tell them Gary sent you!) Bio:Robert Emery is a conductor, pianist, and serial entrepreneur. He is lucky enough to travel the world; ranging from performances in London's Royal Albert Hall, through to the Sydney Opera House, Robert has seen them all. Besides music, he is the Founder & Director of The Arts Group, one of the most diverse entertainment companies in the UK. Within the portfolio is a national music tuition agency, symphony orchestra, choir, artist agency, record label, and production company. Aside from that, he lives in London and Cambridge, has a wife (Mrs. E), a toddler (Master T), a baby (Master A), and 4 cats.Website: https://robertemery.com/YouTube: https://www.youtube.com/robertemeryofficialFacebook: https://www.facebook.com/robertemeryofficialInstagram: https://www.instagram.com/robertemeryofficial/Connect with Gary: Gary's Website Follow Gary on Instagram Gary's Tiktok Gary's Facebook Watch the episodes on YouTube Advertise on the Podcast Thank you for listening. Let us know what you think about this episode. Leave us a review!

DJ Jesse Luscious explores where punk meets classical music with Orchestre Tout Puissant Marcel Duchamp, London Punkharmonic Orchestra, Monty Oxymoron, & the San Francisco Punk Rock Orchestra, spins new tracks from Problem Patterns, Moja, The Halophones, The Planet Smashers, Josephus, & Pale Horse Ritual, & plays classics from NoMeansNo, Buzzcocks, Zolar X, Green Day, Fang, Elastica, The Bluebonnets, Chakra Shakers , The Stranglers, The Black Tones, Pansy Division, Tim Armstrong, Bad Manners, The Effigies, The Presidents Of The United States Of America, Wire, & The Damned!      Problem Patterns- Classic Rock Has Become My Prison Effigies- Body Bag Moja- Oh My God! Nomeansno- It's Catching (Edit) Presidents Of The USA- Lump Elastica- Connection Wire- Three Girl Rhumba Wire- It's So Obvious Zolar X- Space Age Love 1980 Halophones- Deus Ex Machina Buzzcocks- Are Everything Green Day- Maria Stranglers- Walk On By Planet Smashers- Wasted Tomorrows Big D And The Kids Table- Chin Up, Roger! Tim Armstrong- Take This City Bad Manners- Inner City Violence San Francisco Punk Rock Orchestra- nstitutionalized London Punkharmonic Orchestra- Gary Gilmore's Eyes Orchestre Tout Puissant Marcel Duchamp- Dehors Orchestre Tout Puissant Marcel Duchamp- Ils Disent Orchestre Tout Puissant Marcel Duchamp- Smiling Like A Flower Orchestre Tout Puissant Marcel Duchamp- Tout Cassé Monty Oxymoron- I Just Can't Be Happy Today Pansy Division- I'm The Friend Damned- I Just Can't Be Happy Today Black Tones- Ghetto Spaceship Chakra Shakers- Bad Bad Friend (Edit) BlueBonnets- Don't Walk, Run Josephus- The Money Will Roll Right In (Edit) Fang- Law And Order (Edit) Pale Horse Ritual- Bloody Demon

Opera Road Trip is Operavision's new two-year podcast series, a journey through the 17 countries that currently partner with OperaVision, discovering their operatic history and current relationship with the artform, and meeting along the way young talents finding their voice and seasoned professionals who have devoted their lives to the stage, discovering the diverse paths that have led them to opera and the enduring belief in its relevance, past, present, and future.   Opera Road Trip's first episode is, dutifully, dedicated to opera in Italy. We hear from Danila Grassi, a young conductor making her way in what in Italy is still a male-dominated world; from author, critic and librettist Alberto Mattioli and from the CEO of the Rome Opera house (Teatro dell'Opera di Roma) Francesco Giambrone about the current state of opera in the country of its birth, political influence and what seems to be working in the search for new audiences.   Opera Road Trip is hosted by Sebastian F. Schwarz whose curriculum as an opera manager includes positions at Theater an der Wien, Glyndebourne, Teatro Regio Torino, Festival della Valle d'Itria, Hamburgische Staatsoper and Wexford Festival Opera. He is Vice-president of the International Richard Strauss Society, member of the board of the European Musical Theatre Academy and co-founder of the Cesti Competition for Baroque Opera. On OperaVision you can hear him speak about Korngold's Violanta: https://operavision.eu/de/partner/teatro-regio-torino or read his article about Metastasio: https://operavision.eu/feature/metastasio-28-opera-librettos-and-still-counting   All episodes: https://operavision.eu/podcast   Music extracts:  Introduction: Fidelio (Beethoven): Overture, op. 72 L'Orfeo (Monteverdi): La Musica, Claire Lees; Orfeo, Ed Lyon, Garsington Opera Le Convenienze ed inconvenienze teatrali (Donizetti):  Paolo Bordogna, Wexford Festival Opera Tosca (Puccini): Te Deum, Roberto Frontali, Teatro dell'Opera di Roma   OperaVision is a freeview opera streaming platform, supported by the European Union's Creative Europe programme.   Watch live streams as the performances themselves unfold in the opera house. Enjoy a variety of shows - including opera, operetta, musical theatre, dance, ballet and concerts. Opera connaisseur or curious newcomer, there is something for everyone on OperaVision.

We would love to hear from you, wherever you are!Classical Music by Grieghttps://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

We would love to hear from you, wherever you are!Classical Music by Weber, Wagner, Delibes, Verdi.https://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

[@ 5 min] Alright, this week…music critic Anne Midgette goes Inside the Huddle. As the co-author of the article that launched Classical Music's #metoo movement in 2018 AND as the former music critic of the Washington Post, today's guest is uniquely qualified to comment on just about everything we care about on this podcast. Next month, Anne Midgette is a guest speaker for the Jussi Bjorling Society's webinar “The Myth of Park and Bark,” so in addition to asking her about the Kennedy Center and what we should do with all of our Domingo recordings, we'll talk about acting for singers too! [@ 47 min] Plus, in the ‘Two Minute Drill'…Tom Cruise has to wash his hair, Ben Folds is not really into North Korea vibes, and we warned you, Peter Gelb. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

learn about one of the founders of Russian classical music

From La Scala in Milan, to the Teatro Colón in Argentina, and from Singapore's mega-venue to Belfast's Ulster Hall; this week I look at the oldest, biggest, acoustically best and iconic venues of classical music. Grma xInline G Merch ⭐️www.Inlineg.myshopify.comInline G Patreon ⭐️www.patreon.com/TheInlineGFlutePodcastInline G will ALWAYS be free of charge, but signing up to the Patreon helps let this podcast reach new heights, if you can afford it. You'll also get to ask questions to upcoming guests as well as get early access to some episodes. Or if you'd rather not spend money, subscribing to my YouTube channel and following me on Facebook, Instagram and TikTok is a HUGE way to support the podcast. It'll cost you nothing, and it really makes a difference to the algorithm gods. So please interact however you can; like, comment, or subscribe, and help keep this podcast lit xAnd finally; use the code “INLINEG” online or in person at Flute Center for; 5% off accessories, 10% off all sheet music, free shipping on new instruments and free shipping to trial instruments (USA only.)Chapters:00:00 - Cologne's Finest03:08 - Ten Biggest Venues 18:59 - Ten Oldest Venues24:10 - Ten Best Acoustics30:48 - Special Mentions

Does the world still need classical music? What about orchestras? In this gorgeous talk and performance, violinist Joshua Bell and the Chamber Orchestra of America play selections of classical music masterpieces — from Mozart's Symphony No. 25 to Schubert's Unfinished Symphony and more — sharing why this art form remains a singularly unifying force.For a chance to give your own TED Talk, fill out the Idea Search Application: ted.com/ideasearch.Interested in learning more about upcoming TED events? Follow these links:TEDNext: ted.com/futureyouTEDSports: ted.com/sportsTEDAI Vienna: ted.com/ai-viennaTEDAI San Francisco: ted.com/ai-sf Hosted on Acast. See acast.com/privacy for more information.

In Episode 44 of The Classical Circuit, host Ella Lee talks to Sam McShane, Artistic Director of King's Place in London, on the various factors that make up the picture of class and how they can affect accessibility to and experiences in the classical music industry. She also shared the highs of watching a performance that brought together different relationships she'd nurtured throughout her career, and how the time she didn't get a job she desperately wanted ended up being one of the best things that could have happened at the time. -------------------King's Place-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

Jan Swafford is a distinguished American author and composer, known for his insightful biographies of great composers like Charles Ives, Ludwig van Beethoven, and Wolfgang Amadeus Mozart. With degrees from Harvard and Yale, he's made significant contributions to classical music literature. His works, including the Vintage Guide to Classical Music and "Language of the Spirit," reveal the rich narratives behind the music we love. His unique insights and deep understanding of these composers illuminate their artistic journeys in a way that resonates with both music lovers and scholars alike.In our conversation, we explore the fascinating lives of Haydn and Mozart, delving into their prolific output and the support systems that fueled their creativity. Jan highlights how Haydn composed to commission, leading to his astonishing catalog of works, while debunking myths about Mozart's talent and lifestyle. “He worked himself to death because his body couldn't handle it anymore,” Jan reflects on Mozart's relentless pursuit of excellence.[Subscriber Content] In the subscriber section, Jan shares his thoughts on Tchaikovsky and Brahms, revealing personal preferences and insights about their contrasting styles. He also reflects on the evolution of music through the lens of history, discussing how composers like Schoenberg and Stravinsky marked a shift in musical innovation. Jan emphasizes the importance of authenticity in composition, stating, "It has to come from your core; otherwise, it's no good." Prepare for a warm exploration of music's profound connections to the human experience, as Jan shares his unique perspective on these influential figures.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Pippa speaks to classical composer Caroline Leisegang about her new album which reimagines her debut album she released 10 years ago. Lunch with Pippa Hudson is CapeTalk’s mid-afternoon show. This 2-hour respite from hard news encourages the audience to take the time to explore, taste, read and reflect. The show - presented by former journalist, baker and water sports enthusiast Pippa Hudson - is unashamedly lifestyle driven. Popular features include a daily profile interview #OnTheCouch at 1:10pm. Consumer issues are in the spotlight every Wednesday while the team also unpacks all things related to health, wealth & the environment. Thank you for listening to a podcast from Lunch with Pippa Hudson Listen live on Primedia+ weekdays between 13:00 and 15:00 (SA Time) to Lunch with Pippa Hudson broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/MdSlWEs or find all the catch-up podcasts here https://buff.ly/fDJWe69 Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Demystifying the Classical Music Experience by KHOL

Newspaperwomen Anne Rogers and Spritely Poole, with Lt. Mike Flannigan, have a night of fun and song, at Anne's apartment, until a nearby gunshot transforms it into a murder investigation. Adapted from the script of a lost episode of the radio drama “Hot Copy”.Original broadcast on Sunday, May 14th, 1944. OUR CAST:Rhonda Sigler-Ware … Ann Rogers.Samantha Thompson ... Spritely Poole.Jerry Kokich …Lt. Mike Flannigan.Karim Kronfli ... Hodges.Scott R. McKinley ... Henry Gade. Erin Suminsby ... Virginia Beaton.Dan Ware … Alan Sharp.Pete Lutz … Ernest Walker. Logan Smith ... Officer Pat O'Malley, and your Announcer.Jim Goodluck ... Producer / Director / Audio Editor.MUSIC AND SOUND EFFECTS CREDITS:Miss Kathleen Li ... Pianist for Classical Music.All other music and/or sound effects are from Freesound.org, Inspector J, or the Public Domain.CONTACT US!If you have any questions, comments or suggestions, please feel free to email:hotcopyradiotheater@gmail.comBlueSky:@hotcopyradio.bsky.social‬Facebook page:https://www.facebook.com/HotCopyRadioTheater Hosted on Acast. See acast.com/privacy for more information.

We would love to hear from you, wherever you are!Classical Music by Butterworth, Mahler, Tallis, Vaughan Williamshttps://www.perfectpitchpod.com/contact/@NickHelyHutchThank you for listening - please do get in touch with any comments!

The mandolin player Avi Avital, with his ensemble Between Worlds, has just released a new DG album ‘Song of the Birds' which crosses boundaries to explore the musics of three geographical regions – Iberia, southern Italy (Puglia) and the Black Sea – with vivid results. For this week's Gramophone Podcast, James Jolly caught up Avi Avital while he was on tour in Northern Germany to talk about the new album.

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Despite big efforts in recent years to boost diversity in classical music, the genre is still exceedingly difficult to break into. According to an industry wide study conducted last year by the League of American Orchestras, African Americans made up just 2 percent of professional orchestras nationwide. Violinist and educator Brendan Slocumb and activist Afa Dworkin discuss what's holding the industry back and how improved early access music programs in public schools are vital to creating opportunity for historically excluded populations. Learn More: https://viewpointsradio.org/strings-attached-the-inequities-still-shaping-classical-music-today Learn more about your ad choices. Visit megaphone.fm/adchoices

Vincent Karamanov is a freelance bassoonist playing with such prestigious ensembles as the Chicago Symphony Orchestra, Lyric Opera, and Joffrey Ballet. In this episode, Vincent reflects on how the onset of dysacusis (auditory distortions) and hyperacusis (decreased sound tolerance) forced him to make significant life changes in his employment, outlook, and relationships. The conversation follows the rollercoaster of his last several years, and brings us full circle in a story which somehow repaints Shostakovich's epic symphonic depiction of war as a message of a peace and recovery. Music heard in this episode features Vincent Karamanov (sometimes credited as Vince Halley) on bassoon, bass, guitar, and voice. You can hear more of the music featured through the following links: Ryan Martinez's album "Ensemble" Murder City Players  The Sallys album "Dog Days Demos" Vince and The Sallys cover of Green Days "Nice Guys Finish Last" The recording of Shostakovich: Symphony No. 11 (‘1905') is from the public domain archive 1958 recording of the Houston Symphony Orchestra conducted by Leopold Stokowski [Seraphim (S-60228)] In this episode, we discuss mental health and significant distress from audiologic conditions. If you are in crisis, please call, text or chat with the Suicide and Crisis Lifeline at 988, or contact the Crisis Text Line by texting TALK to 741741.

Guy Johnston joins Hattie Butterworth to discuss his latest recording of the Arthur Bliss Cello Concerto with Andrew Manze and the Royal Liverpool Philharmonic Orchestra. A technical mine field, the concerto was written for the great cellist Rostropovich and premiered with Benjamin Britten conducting at the 1970 Aldeburgh Festival. Guy also speaks about his dedication to pedagogy and gives details of more upcoming English cello recordings he has in the pipeline.  

How does music, even types you dislike, make wine more enjoyable? Can curated playlists in tasting rooms and wine bars influence how customers drink, eat, and experience wine? What happens when you stop overthinking wine and music and just enjoy? In this episode of the Unreserved Wine Talk podcast, I'm chatting with Susan Lin, a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology. You can find the wines we discussed at https://www.nataliemaclean.com/winepicks   Highlights How does a low-pitched, slow-tempo musical piece impact the perceived fruitiness of wine? What does "timbre" mean in musical terms? How do different musical characteristics influence the perception of wine's effervescence? Did the participants' music preferences correlate with their enjoyment of the wine? What might surprise you about how the wines tasted in silence compared? Why does the influence of sound on our perception tend to go unnoticed? How are some winemakers using music in their wineries? Are there retail applications for Susan's research into the influence of music on the perception of wine? What would be Susan's ideal live concert and wine pairing scenario? What are some of the possibilities in the future for AI-generated music for wine experiences? Is there an interest in similar research on the intersection between dance and wine perception? What future research areas is Susan considering in terms of music and wine perception? What three objects would Susan display in a museum representing her life and passions? If Susan could share a wine with anyone outside the wine industry, who would it be and why? How can you start being more intentional about exploring sensory experiences with wine and music?   Key Takeaways How does music, even types you dislike, make wine more enjoyable? Susan says that in her experiments, the wine that was consistently the worst, least balanced, was the wine tasted without music. Even if somebody said I really didn't like this music, it was a way better wine to them than without music. Even for the wine experts, the wines were much more palatable without music. I think that's why sound can be a very, very powerful thing. Can curated playlists in tasting rooms and wine bars influence how customers drink, eat, and experience wine? Susan has worked with tasting rooms and wine bars to curate their playlists in terms of the experiences that they want their customers to have. You want to have people be a little more relaxed in the morning, but then, you start amping it up for the evening. I put together a complete journey, that sort of sonic seasoning for different expressions of their wines, for big bold red versus for their light, youthful white wines. What happens when you stop overthinking wine and music and just enjoy? Susan says that with the melding of music and wine, there's still so much to learn. Keep trying things. Don't worry about whether it's right or wrong. Just enjoy the experience. Let everything come in sensorially and enjoy that and embrace again the mystery of things. We can't explain everything through data, and that's a good thing.   About Susan R. Lin Susan R. Lin is a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology. Susan's MW research paper ‘Influences of Classical Music on the Sensory Perception of a Brut Non-Vintage Champagne' and subsequent work on the interaction of music and wine have been featured in Decanter, Food & Wine, GuildSomm, and others. Each of Susan's creations is rooted in academic research and inspired by a deep respect for the essence of wine and music.         To learn more, visit https://www.nataliemaclean.com/347.

In his second appearance on Anthony Plog on Music, celebrated biographer and composer Jan Swafford returns for an expansive two-part conversation that dives deep into the very soul of classical music. In his previous interview from 2021, Jan discussed his monumental biographies of Mozart, Beethoven, Brahms, and Ives. But his intellectual and creative output extends far beyond those volumes, and this new set of interviews explores more of his wide-ranging contributions to the world of music.In Part 1, the focus turns to Jan's book Language of the Spirit: An Introduction to Classical Music, a refreshingly vivid and often personal guide to the history of Western music. The discussion begins with a few select quotes that set the tone for Swafford's engaging style—an approach that never shies away from humor, insight, or imagination. Along the way, Tony and Jan take an unexpected detour into a blog post imagining a conversation between Mozart and Picasso's Guernica. As the conversation returns to the content of Language of the Spirit, the two explore key aspects of the Baroque period, including figured bass and the challenges of intonation. The episode concludes with a discussion of three of Jan's own compositions—They That Mourn, Late August, First Snow, and River—offering a glimpse into his creative voice as a composer.Part 2 picks up right where they left off, continuing the discussion of the Baroque with special attention to the genius of Bach and the dramatic flair of Händel. This naturally leads into a thoughtful debate on performance practice, particularly the tension between historically informed performances (HIP) and modern approaches. Jan brings his signature candor and wit to the conversation, questioning what authenticity really means and whether the HIP movement sometimes overreaches. The episode closes on a memorable note, as Jan describes the extraordinary experience of holding the original manuscripts of Mozart's Marriage of Figaro and Brahms's German Requiem in his hands. And in true Swafford fashion, he promises to return again—next time, to tackle the Classical era through to the present day.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

As the 2025 BBC Proms season gets underway, Martin Cullingford is joined by Tim Parry and Hattie Butterworth select their top picks. From Rachmaninov with Yunchan Lim and the UK premiere of Anna Thorvaldsdottir's Cello Concerto to a late-night tribute to Arvo Pärt and a rare performance of Delius's A Mass of Life, the team reflects on the Proms's cultural significance, its breadth of programming, and the enduring tradition of live music at the Royal Albert Hall.

Measha Brueggergosman-Lee is a professional singer and musician, who in 2024 became the first black recipient and youngest recipient ever of the Lifetime Achievement Award for Classical Music from the Governor General of Canada. She's also the author of her memoir Something Is Always On Fire and is currently writing a sequel entitled Open-Hearted. She is currently in the third year of a Masters in Practical Theology at Acadia Divinity College.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Romaine Bostick's path to becoming a journalist started out as a teenager in the basement of a hip hop radio station in Chicago. It turns out that learning from folks like Pink House and JP Chill was the perfect launching pad to becoming one of the most established TV anchors in financial news. On this episode of Press Profiles, the Bloomberg anchor discusses his approach to the craft, his use of data to tell stories, and the CIA techniques he uses to research his guests. We also learn about his locker room encounter with President Obama, his distinctive lapel pins, his plea to be a Jeopardy contestant, and as always, a whole lot more.

Why might a symphony night pair just as well with your wine as a heavy metal ballad? What is “sonic seasoning” and how can music impact the way we experience the taste of wine? How are sensory experiences like music, taste, and atmosphere all connected? In this episode of the Unreserved Wine Talk podcast, I'm chatting with Susan Lin, a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology. You can find the wines we discussed at https://www.nataliemaclean.com/winepicks   Highlights What did Susan's grandfather teach her about fine beverages and hospitality? How did playing piano in hotels as a child shape Susan's perspective on the holistic nature of our sensory experiences? Is there a connection between Susan's backgrounds in tech, music, and wine? When did Susan decide she wanted to dive deeper into the intersection between music and wine? What makes a wine "musical"? How do cross-modal correspondences impact wine tasting? Why was Brut Non-Vintage Champagne Susan's choice for her research paper? What is "sonic seasoning" in the context of wine and music? What was Susan's most memorable wine and music pairing event? What might surprise you about the intersection between classical music and heavy metal? How did Susan set up her experiment to observe how music affected participants' perceptions of the wine they were tasting?   Key Takeaways Susan says she was always encouraging a Bach goth night at the symphony to bring people together. I like to say, whether my Brahms is your Metallica or vice versa, music can make such a difference in what you're feeling. Hence, if you got a glass of wine, what you're tasting in that glass, right? I've actually done a few experiments with heavy metal. People feel a lot of things, and there are ballads in metal. It's not just your typical really assertive sound all the time. It can be really soulful too and I noticed a lot of use of medieval melodies and folk songs in the ballads that are really nice. So not too far of a distance between Brahms and Metallica in that sense. Susan explains that if you're listening to something that might add a little bit of pizzazz here or there to your wine, like seasoning can do. It's more of a fun term, not a scientific term. All classical composers experienced all the emotions and all the feelings that we all do and it comes through in their music. Maybe they can be feeling joyful or melancholy or longing or frustrated or upset, and everything in between. So the nature of the seasoning is that it can run in many, many different ways. Susan observed during her performances how moods of the guests changed depending on what she played. Everything in the sensory world, all of our experiences, are really taken in holistically, right? It's not like, oh, we're just listening to this one thing and that's isolated. Oh, and we're tasting this one thing, we're smelling this one thing, and we're seeing something. It's all together. I knew that it was something special, and knew that it was something that I wanted to learn more about, or just somehow be a part of. And playing the piano in those situations actually was a great way for me to be a part of it.   About Susan R. Lin Susan R. Lin is a Master of Wine and a Master of Fine Arts in Classical Piano and Musicology.         To learn more, visit https://www.nataliemaclean.com/346. Susan's MW research paper ‘Influences of Classical Music on the Sensory Perception of a Brut Non-Vintage Champagne' and subsequent work on the interaction of music and wine have been featured in Decanter, Food & Wine, GuildSomm, and others. Each of Susan's creations is rooted in academic research and inspired by a deep respect for the essence of wine and music.

Deantha Edmunds is Canada's first Inuk professional opera singer. Last year, she was appointed to the Order of Canada, and earlier this month, she was honoured at the Canada Day ceremony in Ottawa. In this conversation with Tom Power from 2024, Deantha talks about the forgotten classical music tradition of the Labrador Inuit, as well as her own journey in music.

Podience! It is high summer and we are moving around and around. Lots of pieces are getting mixed up and rearranged. Life is one big puzzle when you really think of it, isn't it? In this episode we talk about MOVING in NYC, we give some advice on what to do with your DYNAMICS, we define often occuring phenomenon and we end with an EPIC multi generational ghost of gags past. Thank you for tuning in! 

What does it mean to live a life in tune—with yourself, your passions, and your wellbeing? In this episode of Musings on Wellbeing, host Charlie Bresler and his guest, internationally renowned pianist Milica Jelača Jovanović, explore how the pursuit of excellence can both shape and challenge our inner lives. Raised in a family of classical musicians in Yugoslavia, Milica's journey spans elite music schools, intense conservatory training in post-Soviet Moscow, and a new chapter of life in Michigan. Their conversation touches on the delicate balance between ambition and self-care, artistry and identity. Her story is both deeply personal and universally resonant—a reflection on discipline, resilience, and finding meaning through music. Listeners will hear Milica's candid take on how intensive training has shaped her mental and emotional wellbeing, the role of family in grounding her, and why she prioritizes self-improvement over competition.  She also shares the guiding principles behind her teaching style and gives a sneak peek into exciting musical projects on the horizon.  Links: milicajelacajovanovic.com Milica on YouTube @milicajj Music from this episode: Mozart concerto performance with bellinghamsymphony.org  Musing on Wellbeing is sponsored by EH Walkers. Discover more and join EH Walkers at www.ehwalkers.org. Charlie Bresler is a former business executive, co-founder of the nonprofit The Life You Can Save, and a self-described effective hedonist. As a psychologist, Charlie emphasizes the importance of aligning personal pleasure with doing good, rejecting the notion of self-sacrifice in favor of a fulfilling, values-driven life.  

David Robertson is a rare conductor who unites avant-garde complexity with accessibility. After serving as music director of the Ensemble Intercontemporain, Pierre Boulez's storied contemporary-music ensemble, he went on to rejuvenate the St. Louis Symphony. Robertson combines a fearless approach to challenging scores with a deep empathy for audiences. Tyler and David explore Pierre Boulez's centenary and the emotional depths beneath his reputation for severity, whether Boulez is better understood as a surrealist or a serialist composer, the influence of non-Western music like gamelan on Boulez's compositions, the challenge of memorizing contemporary scores, whether Boulez's music still sounds contemporary after decades, where skeptics should start with Boulez, how conductors connect with players during a performance, the management lessons of conducting, which orchestra sections posed Robertson the greatest challenges, how he and other conductors achieve clarity of sound, what conductors should read beyond music books, what Robertson enjoys in popular music, how national audiences differ from others, how Robertson first discovered classical music, why he insists on conducting the 1911 version of Stravinsky's Petrushka rather than the 1947 revision, and more. Read a full transcript enhanced with helpful links, or watch the full video on the new dedicated Conversations with Tyler channel. Recorded March 12th, 2025. Help keep the show ad free by donating today! Other ways to connect Follow us on X and Instagram Follow Tyler on X Sign up for our newsletter Join our Discord Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here. Photo Credit: Chris Lee

So just what is "Cooking in Grammi's Kitchen" all about? It's going into Grammi's kitchen and hanging out with Family and Friends. Do we talk about food, yeah but going into your Grandma's or Mom's kitchen was more than just cooking. It was a time where you could talk to them and tap into their knowledge and wisdom. Where you could share some laughs and poke fun at each other and just enjoy the company of Family. That, in a nutshell is what "Cooking in Grammi's Kitchen" is all about!!!! Glad to see everyone join in the fun for a Friday. You all are the BEST!!!! Have a GREAT Weekend, do some fun stuff and enjoy LIFE!!!! We'll be back Monday!! Later Gators!!!   Catch our Re-Play at 11am pst every day on: W-ESN Epic Strategies Network Download their phone app for easy listening or go to their webpage www.epicstrategiesnetwork.com Other Shows from The Old Man Podcast on the W-ESN Epic Strategies Network you may like: “The Old Man's Blues Show” at 1pm pst Monday thru Saturday, “Motown, Soul and R&B” at 11am pst Saturdays and “Classical Music for a Sunday Morning” at 6am pst Sundays. Check them out!!!!   Listen and Download on these platforms: Podbean, Spotify, Stitcher, Podcast Addict, Deezer Podcasts, Tumblr, Linked In, I-Heart Radio, Google Podcasts, Player FM, Listen Notes, Tune-In, Podchaser, Goodpods, PodBay.fm, Amazon Music, Apple Podcasts, Samsung Podcasts and Pandora. Follow us on: Facebook: The Old Man's Podcast @TheOldManOnPodbean Twitter: The Old Man's Podcast. @TheOldMansPodc1 Gettr: TOM-Pod @TOM_Pod Visit our Web Page: www.theoldmanspodcast.com   Contact us with Email at: theoldmanspodcast@gmail.com   Check out Podcast Overlord on Twitter and at https://overlordshop.com/store to see how they can help get your Podcast footprint on twitter to grow.

Norwegian hornist Frøydis Wekre has had a remarkable and influential career as both performer and teacher. She joined the Oslo Philharmonic at the age of 20, at a time when there were only two women in the orchestra, and went on to establish herself as a highly respected chamber musician, soloist, and educator. For many years, she served as a professor at the Norwegian Academy of Music, and her reach has extended far beyond Norway through the countless masterclasses she's given around the world. Widely regarded as one of the leading brass pedagogues of her generation, Frøydis has inspired students and professionals alike with her wisdom, insight, and artistry.In Part 1 of our conversation, we begin by discussing a metaphor from her book Collected Writings, in which she compares two types of teachers to a family doctor and a specialist—one who works with a student long-term, and another who is brought in to address a specific need. It's a concept that resonates deeply in the teaching world, and Frøydis shares how it has shaped her own approach to working with students. We also talk about her experience playing natural horn and explore the different national and cultural styles of horn playing that she has encountered throughout her career. The first part concludes with reflections on her studies with several legendary figures in the brass world: Vitali Bujanovsky, Wilhelm Lanzky-Otto, and James Stamp.[Subscriber Content] In Part 2, Froydis shares her perspective on international competitions, including thoughts on fairness and how such events might be improved. This leads into a broader conversation about women in music and how the landscape has changed—and in some ways, still needs to change—over the course of her career. We wrap up with a few light, miscellaneous questions, giving Frøydis the chance to reflect on her life and work with both humor and depth.It was a privilege to speak with someone who has not only shaped the horn world but continues to influence generations of musicians through her teaching, writing, and example.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

What's the first thing that comes to mind when you think of classical music? Maybe you imagine a conductor on a podium in a fancy outfit. Maybe you remember a heart wrenching moment in your favorite movie. Or maybe it's that McDonald's commercial that's been stuck in your head since the 1980s. Whatever your access point is to classical music, there's much to explore and enjoy. On this episode, we're talking with WUOL Program Director Daniel Gilliam about his own love of the genre, and what makes classical music so relevant and vital.

Enjoy this week's episode with LA SANTA, head honcho of Redolent Music, along with CHUS, DJ & producer influenced by Classical Music, Jazz, Bossa Nova, Soul, and World Music. This amalgamation of cultures allowed her to blend them into a unique scent. She creates a unique and extraordinary sense of belonging, enhanced through an inner journey. Her DJ sets are filled with sensitivity, harmony, high doses of groove, drums & ethnic roots. She has shared the DJ booth with the best international Electronic djs at the moment such as The Martinez Brothers, Seth Troxler, Blond:ish, CHUS, Dennis Ferrer, Deborah De Luca, Oscar L, Audio Fly or Birds Of Mind to name a few. La Santa expands her energy & grooves all over the world with her continuous plays at Ibiza, Tulum, El Cairo, Guatemala, Panama, Bali, India, Morocco... Redolent Music is her most recent project, a new independent boutique record label, event producer, management agency, and lifestyle concept. Daniel Rateuke - Arida (D4NYO Remix) REDOLENT The Deepshakerz - The Beginning Groove PEPPE CITARELLA, CAVALLI, KVISION - CACHOEIRA Sabo, DJ Chus - Afro Chooz (Novalima's Rafael M La Danza Extended Edit) REDOLENT Eran Hersh, ASHER SWISSA - Arak (Extended Mix) La Santa, ANDREATENS, Peter Guzman - Mi Vida REDOLENT Novak - Afro Banga NVRMĪND - Burning Heart Dancing on Lego, La Santa - Play That Fact (Extended Mix) REDOLENT La Santa - Mamba REDOLENT Aura, Emanuele Esposito, Gianni Romano, Trick Beat - Din Daa Daa Crusy, Los Maya - Can't Stop ft Ron Carroll The Deepshakerz - Give It 2 U Dave Anthony, Aleysha Lei, Osunlade - I Feel For You (Yoruba Soul Club Mix) This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

This is an Encore Presentation of Robert's January 2025 interview with Classical Music Superstar JoAnn Falletta. For 25 years JoAnn has been the Music Director and Conductor of the Buffalo Philharmonic Orchestra. She was the first female conductor in the United States of a major symphony orchestra. She's a Juilliard graduate. She studied with Leonard Bernstein. She's a 2x Grammy winner. My featured song is “New York City Groove”, from the album Made In New York by my band Project Grand Slam, in honor of the fact that both JoAnn and I grew up in New York City. Spotify link.—--------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH JOANN:www.joannfalletta.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

(Editor's Note: Welcome to our Reissue series! For the next several weeks, Basic Folk is digging back into the archives and reposting some of our favorite episodes alongside new introductions commenting on what it's like to listen back. Enjoy!This episode featuring Cindy Howes interviewing Chris Thile was originally posted on September 9, 2021 after Chris released his solo album, 'Laysongs.')Chris Thile (Nickel Creek, Punch Brothers) has been making music nonstop since he was 5 years old. His musical parents found him a mandolin and he started taking lessons and jamming at nearby Southern California pizza shops. He met Sara and Sean Watkins when he was 12 and they started Nickel Creek. In the meantime, Chris' parents moved the family from California to Murray, Kentucky and really started getting serious about evangelical Christianity. This would have a huge impact on Chris; his record, 'Laysongs,' asks a lot of questions surrounding his experience with religion as a young kid. He talks about the transition from being a family with no religion in their routine to being enveloped so intensely in faith.Another important aspect that comes along on the album is Chris' striking love for classical music. His grandparents gave him some pieces by Bach and set him up for a lifetime of studying and playing classical. Elsewhere in our Basic Folk conversation he also gets into what it was like to grow up alongside Sara and Sean as bandmates, friends, and fellow Christians. One of the themes of the new album is about community, namely, engaging in a community that you love. Chris recognized that he dissented from Christian community in his young adult life where everyone was thinking the same way – Chris felt excluded, so he left. Now, in music, he's found a new community where everyone thinks the same, so still certain people are excluded. He talks about how the pandemic helped further shape those feelings about exclusionary community. We also get into a riveting conversation about Chris' thoughts on writing simple pop music and one of his deepest passions: wine.Follow Basic Folk on social media: https://basicfolk.bio.link/Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknewsHelp produce Basic Folk by contributing: https://basicfolk.com/donate/Interested in sponsoring us? Contact BGS: https://bit.ly/sponsorBGSpodsAdvertising Inquiries: https://redcircle.com/brands

Our friends over at YourClassical have been celebrating Pride Month with a new series called “Classical Queery” that explores the intersection of classical music and LGBTQ+ identities. YourClassical fellow Mya Temanson takes the mic for the Song of the Day and then joins MPR News host Nina Moini to share more about the series.

Three of our favorite segments from the week, in case you missed them.100 Years of 100 Things: New York Films  (First) | 100 Years of 100 Things: Best Sellers (Starts at 17:31) | Summer Culture Calendar: Classical Music (Starts at 31:42)If you don't subscribe to the Brian Lehrer Show on iTunes, you can do that here.