Podcasts about classical revolution

The perfect balance of honoring tradition and spotlighting contemporary composers, Classical Revolution RVA is on a mission to bring classical music to your favorite local venue! Listen to our podcast on Fireside, ApplePodcasts and Spotify, and tune in to Shockoe Sessions Live from In Your Ear Studios every Tuesday at 7:30pm on YouTube, Facebook, Twitter and Twitch.

1. Danny Elfman’s Violin Concerto “Eleven Eleven”:https://open.spotify.com/playlist/02GpGlIYSLjPzANbHE9YBQ2. Julius Eastman’s Gay Guerrilla:https://open.spotify.com/track/3cSpVzEmTjohDSWxJtt5oS3. A reinterpretation of Mendelssohn’s Op. 44 string quartet:https://youtu.be/EZg31DhIrZoYou can listen to these before or after the episode, or you can pause our podcast and go listen to each piece as we introduce them. Panelists:Rafaela Dreisin is an arts engagement and marketing professional in Baltimore City. Formerly the Director of Audience Development for the Baltimore Symphony Orchestra, Rafaela currently serves as the Associate Director of Marketing for Baltimore Center Stage. Additionally, Rafaela is the co-founder and co-organizer of Classical Revolution Baltimore, a chamber music series which has been brining classical music to new audiences for the past 9 years through performances in non traditional venues. Rafaela has been featured in the Baltimore Sun, Baltimore Magazine, the Baltimore Jewish Times and was invited to speak at TEDxMidAtlantic 2012.Stephanie Ray is a versatile performer and curator of musical projects in Baltimore City. Equally at home on flute, piccolo and alto flute, Stephanie loves exploring repertoire from living and diverse composers and styles. Since 2011 Stephanie has co-directed Classical Revolution Baltimore, which brings free classical music performances into non-traditional spaces such as cafes, bars and public spaces. She curates and performs with Pique Collective, an experimental ensemble that explores sensory enhanced experiences, original compositions and unique collaborations. She enjoys a busy freelance schedule, regularly performing with the Annapolis Symphony Orchestra, Maryland Symphony Orchestra and as a core member of Mind on Fire.With over 30 years of experience, Dominic “Shodekeh” Talifero continues to make musical strides as a groundbreaking beatboxer, vocal percussionist and breath artist who pushes the boundaries of the human voice within and outside the context of Hip Hop music and culture. He currently serves as a musical accompanist and composer in residence for Towson University’s Department of Dance and is the founding director of Embody, A Festival Series of the Vocal Arts, which strives for artistic and cultural convergence through a variety of vocal traditions from the worlds from opera and throat singing to the many forms of vocal percussion. Over the years, Talifero has moved from Beatboxing’s Hip Hop roots to explore innovative and convergent collaborations with a wide range of traditional artists. He serves as the Beatboxer and vocal percussionist for the globally renown Alash, one of the world’s leading Tuvan Throat Singing ensembles, and features on their recent Smithsonian Folkways album release of Achai; and is serving as the resident Beatboxer and cultural ambassador of the local Baltimore chapter of Classical Revolution.More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

Special guest Claire Adams joins us for this week's episode of Eight One Sixty. On Friday night, Feb. 22, she’s collaborating with Rewound for a special concert at The Rino. Rewound is a 3-piece string band featuring Carmen Dieker on violin, Alyssa Bell on viola and Ezgi Karakus on cello. We’ll talk with Claire about that show and we’ll listen to music from three of her albums: "Claire and the Classical Revolution," "Waiting For The Winds To Change" and "Kamikaze." After that, we’ll hear two new singles from two other KC acts, The Dear Misses and Kat King. 

Celine Thackston is a self-described hybrid. A musician and art advocate that focuses on grant writing. For the modern musician, this ability to do both is not only a benefit but often required. In today’s episode Celine talks about her music journey and how she was able to carve out her own career as a flutist and a grant writing consultant. (http://www.advanceyourart.com/wp-content/uploads/2016/12/Celine-Thackston-Flute.jpg) MEET CELINE: Celine Thackston is a musician and arts advocate based in Nashville, Tennessee. Currently, she serves as the founder and artistic director for chatterbird, an alternative classical chamber music ensemble. Celine is a flutist, freelancing regularly in the region with orchestras, recording artists, and chamber groups. In addition to her musical life, Celine is a skilled grant writing consultant. She coordinates grant writing efforts for clients in Nashville and around the world. Her portfolio is diverse, ranging from major cultural institutions to individual artists. Celine has performed often with a wide array of ensembles from traditional to the avant-garde, including the New York New Music Ensemble, Pocket Opera Players, Opera Theater Oregon, Nashville Symphony, Alabama Symphony, Memphis Symphony, Vancouver Symphony, Classical Revolution, Filmusik, and Salem Chamber Orchestra, among many others. She has a special interest in creating musical experiences that emphasize the accessibility and vitality of both contemporary and traditional classical music. In addition to her work as a performer, she has served on the faculty of Middle Tennessee State University and Fisk University, and has been a teaching artist and clinician for workshops around the United States. As a student of comedy improvisation, Celine developed workshops using improvisational theatre games, and has presented classes in free improvisation, theatre games, and creative musicianship throughout the United States. Hailed for her unconventional, fun approach to learning, she has maintained a competitive private studio for many years. Celine completed her doctorate at the University of Oregon, with specializations in Flute Performance and Arts Administration along with a Professional Certificate in Non-Profit Management. While at the University of Oregon, Celine was a student of Grammy-winning flutist Molly Barth, a founding member of eighth blackbird. Celine holds a Master’s degree in Flute Performance with an emphasis in experimental music from the Steinhardt School at New York University. While at NYU, she studied extended techniques for the flute, as well as traditional and contemporary flute literature with flutist and composer, Robert Dick. Celine received her Bachelor’s degree with honors in Flute Performance from the University of Arkansas, where she was a student of Dr. Ronda Mains. She started her college career at the University of Alabama, where she was a student of Liana Tyson and Sheryl Cohen. BOOKS: Beyond Talent: Creating a Successful Career in Musicby Angela Myles Beeching (http://amzn.to/2hbbi59) LINKS: http://celinethackston.com/ (http://celinethackston.com/) http://www.chatterbird.org/ (http://www.chatterbird.org/) BONUS: This podcast is brought to you by Audible. I have used Audible for years, and I love audiobooks. Click on the link to get a 30-day free trial, complete with a credit for a free audiobook download Audible.com (http://www.audibletrial.com/Yuri) QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments.

In 2008, double bassist and founder of the Musical Art Quintet, Sascha Jacobsen regularly attended the Sunday night chamber music jams at Cafe Revolution. But after his umpteenth time through Dvorak’s Opus 77, String quartet No. 2 in G major – one of the few chamber music standards that includes double bass – he realized that if he wanted to play something else, he’d have to write it himself. Now, after 3 years of experimentation, composition, and revision, Jacobsen presents Nuevo Chamber – an innovative collection of new chamber music that draws on unique musical traditions like tango, Afro-Cuban jazz and electronica to create songs that are complex, compelling, and universally appealing. KALW’s Jayme Catsouphes brings us this Bay Area Beats profile of the Musical Art Quintet. SASHA JACOBSEN: The Musical Art Quintet formed at Café Revolution during the Classical Revolution jam sessions that are held every Monday night. When we first founded Classical Revolution, the idea was to have a weekly classical jam session where people could just show up and read through chamber music. And I would show up. I’m a bassist, so there’s basically one piece of chamber music in the standard rep that has bass in it, and we played that piece. And then the next week, we played it again. And the following week, I was like, “Well, I don’t even really like this piece. I’m gonna have to write some new material.” I ended up writing a piece and I would bring it in to Café Revolution and we would – whoever was there – would sight-read through it. Then the following week, I would write up another piece. I would be furiously composing and I would print it out. I would run down to the café and we would just sight-read it. Every piece that I write, it’s based on a rhythm. And then I carry that through the whole piece. For instance, the milonga rhythm, which is from Argentina and has African roots, is basically this rhythm – when they teach it to the dancers they say, “Francisco SAN, Francisco SAN, Francisco SAN.” The Musical Art Quintet is a classical ensemble in the sense that it is a string quintet, string quartet plus bass. But the music we play is definitely heavily influenced by Afro-Cuban music, jazz, even electronica. A lot of the sound effects that I try to get my musicians to employ, a lot of them come from Argentine tango. I love the sounds and I think it really adds a new texture to the music. It’s not something that we do all the time, it’s just in certain key moments that we use them. And I always think, “Oh, the poor instruments.” If the instrument makers could see and hear what we’re doing to these instruments, they’d be rolling over in their graves. We’re playing these hundreds of year old instruments. My bass is over 150 years old. The violins can be over 200 years old. And we’re hitting them and we’re scraping them and scratching them and all these weird ways. There’s a sound effect called “chichara” which means cicada, and it’s a really scratchy sound where they actually bow behind the bridge, and it goes “chicachicachhhhh.” It sounds like a giant insect is flying around or something. My poor bass, we were playing this benefit last January for the Pakistani flood victims at Brick and Mortar, and I was doing some percussion on my bass and I slapped my bass with my thumb and the whole bass broke apart on stage. It just cracked open, like an egg, and I was just standing there in shock going, “Oh my god.” I think sometimes people see the group and they go, “Oh, this is going to be boring. This is going to be classical music. It’s going to be lame.” And then we have this high energy style and we just start tearing into it and we’re not sitting down, we’re standing up and we’re moving around and we’re improvising, and so I think it kind of surprises them. On this album, Nuevo Chamber, what we’re trying to do is bring new audiences into chamber music, to bring new life to chamber music, which is really just all about an intimate setting where people can get together and play music for their friends and their family and whoever is there. So that’s what it’s really about. And with this music, we do want to reach the younger audiences and say, “Hey this classical ensemble, these five guys playing string instruments can make this really vibrant, exciting music.” They might be used to going to rock clubs or whatever and they hear us and say, “Hey, this is pretty cool. I’m gonna check out some more classical music. And maybe I’ll check out Beethoven and find out that he’s just as rocking as any Metallica or whatever.” I mean Stravinsky is more heavy metal, for me, than Metallica, and Beethoven is more rocking than… well, maybe not than Led Zeppelin, but he’s pretty rocking. He’s pretty high up there.

Interview with Amy Vaillencourt-Sal of Classical Revolution PDX about classical musicians and Amanda Palmer by Chris Castle. Read Amy's "Hooray Amanda!" post at http://amyvs.weebly.com/1/post/2012/09/hooray-amanda.html Terms of Use: www.musictechpolicymonthly.com/podcast Copyright 2012 Semaphore Music LLC, All Rights Reserved