Podcasts about curtis institute

Jasmine Choi, praised as “The Goddess of Flute” by the Korea Times, has made a remarkable impact on the classical music world with her extraordinary talent and innovative approach to the flute. From her early days in a family steeped in music to her groundbreaking role as the first Asian woman to serve as Principal Flute of the Vienna Symphony, Jasmine's career has been marked by significant achievements. She has performed with prestigious ensembles worldwide and is celebrated for her acclaimed recordings and strong mentorship of young musicians.In this conversation, we explore Jasmine's journey from a young girl in Korea to a global soloist, her experiences at the Curtis Institute of Music and Juilliard, and the challenges she faced in pursuing her passion. Jasmine shares insights into her unique teaching style, her approach to social media, and her deep commitment to making classical music accessible to a broader audience. With stories that resonate deeply, her journey offers inspiration and valuable lessons for anyone pursuing their dreams in the arts.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!

Content Warning: This episode discusses sexual abuse and institutional failure. Listener discretion advised. Why can't parents find this when they search the Curtis Institute of Music? In this episode, we examine Dear Lara, the powerful new social justice documentary from world-renowned violinist and filmmaker Lara St. John, which premiered nationally at the Santa Barbara International Film Festival (SBIFF). The film documents St. John's public account of sexual assault she endured at age 14 while a student at the Curtis Institute of Music—first reported by The Philadelphia Inquirer—and expands into a broader investigation of institutional patterns that have affected students across North America and Europe. Through survivor testimony, investigative journalism, and expert legal insight, Dear Lara explores how elite institutions can fail to protect minors, how silence is maintained, and why accountability is so often delayed or denied. This episode is intended for parents, students, educators, and advocates seeking transparency, awareness, and reform within music education and elite training environments. About the Film Dear Lara is the directorial debut of Lara St. John and features original music by St. John. The documentary includes voices from musicians, journalists, legal experts, and advocates, and partners with Child USA, a national organization focused on civil rights and institutional accountability. Why This Matters If you are researching conservatories, elite music programs, or student safety policies, this conversation provides critical context that is not easily found through search engines alone. Learn more about the film, resources, and survivor advocacy: https://www.dearlara.film

In this episode, I sit down with percussionist, composer, and author Russell Hartenberger for a deep and reflective conversation about sound, mentorship, history, and the long arc of a musical life. Russell's influence on percussion performance, composition, and pedagogy is immeasurable, and this conversation traces the remarkable path that led him from a childhood in Oklahoma to the center of some of the most important musical movements of the twentieth and twenty-first centuries.We begin with Russell's early years studying percussion with Alan Abel in Oklahoma City and how that formative mentorship shaped his relationship to sound, mechanics, and musical discipline. Russell shares stories about studying at the Curtis Institute of Music with Fred Hinger, including the now legendary focus on sound production and timpani tone that defined his approach to every percussion instrument. We talk about why timpani study is foundational for all percussionists and how concepts of weight, touch, and resonance translate across the entire percussion family.Russell reflects on graduating from Curtis during the height of the Vietnam War and on the sudden pivot in his life when an orchestral job offer was withdrawn because of the draft. He recounts his years performing with the United States Air Force Band in Washington, D.C., describing how military band life mirrored many aspects of orchestral performance while also providing structure during a turbulent moment in American history. We discuss the impact of performing military funerals at Arlington National Cemetery, the discipline of daily rehearsals, and how that period ultimately created space for further academic and artistic exploration.A pivotal chapter of the conversation centers on Russell's graduate studies at Wesleyan University and his introduction to ethnomusicology and non-Western musical traditions. Russell describes his early studies in African Drumming, tabla, and gamelan, and how these experiences fundamentally reshaped his musical worldview. This path led directly to his introduction to Steve Reich in 1971, where Russell became involved in the creation and early performances of Drumming. He offers a rare, firsthand account of learning Reich's music by rote, rehearsing as the piece was being written, and discovering the subtle rhythmic feel that would come to define the Reich ensemble's sound.We explore the formation of Nexus and how improvisation, global instrument collections, and collaboration shaped the ensemble's identity. Russell explains how Nexus and Reich's music intersected, how percussionists became central to rhythmic interpretation, and how early Nexus performances helped introduce Reich's music to a broader percussion community. He reflects on how later generations of performers have built upon that foundation, adapting the music to new contexts while maintaining its core integrity.The conversation turns deeply personal as Russell discusses his composition Requiem for Percussion and Voices. He shares the emotional and historical influences behind the work, including military funerals, childhood memories of church bells, and the symbolic role of percussion in mourning rituals. Russell explains how the piece came together organically, how its structure revealed itself through the writing process, and how adding voices expanded the work's emotional resonance.We close by discussing Russell's current life in retirement, his ongoing writing and scholarship, and his continued engagement with the percussion community through residencies, performances, and significant publications. Russell reflects on writing about Steve Reich's performance practice, the evolution of interpretation across generations, and the importance of documenting lived musical experience. This episode is a profound meditation on sound, time, mentorship, and legacy from one of percussion's most thoughtful and influential voices.Music from the Episode:The Desert Music (Steve Reich)One Last Bar, Then Joe Can Sing (Gavin Bryars)Music for Mallet Instruments, Voices, and Organ (Steve Reich)Requiem for Percussion and Voices (Russell Hartenberger)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In today's episode from the Vault, we revisit a 1982 lecture by the composer Lukas Foss, a leader of the American musical avant garde of the 1960s and 70s. In this lecture, a part of the “New American Music Series” of Gallatin Lectures at NYU, Foss discusses the state of American contemporary music, musical minimalism, and his own approach of combining serial elements with spontaneous composition. Foss was born Lukas Fuchs in Berlin, on August 15, 1922, the son of a lawyer and a painter. He began studying piano and music theory when he was 7, and sketched out an opera when he was 11. His family fled to Paris in 1933, and arrived in the U.S. in 1937. He attended the Curtis Institute of Music in Philadelphia, and studied composition with Paul Hindemith at Yale. In 1953, Foss succeeded Arnold Schoenberg as the head of the composition department at the University of California at Los Angeles. In 1962, “Time Cycle,” a four-movement vocal setting of texts by Auden, Housman, Kafka and Nietzsche, premiered with Leonard Bernstein and the New York Philharmonic. From 1971 to 1988 Foss was music director of the Brooklyn Philharmonic. After he left the Brooklyn Philharmonic, in 1990, Foss appeared as a guest conductor and pianist with orchestras around the world. He died in New York City on February 1, 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In today's episode from the Vault, we revisit a 1982 lecture by the composer Lukas Foss, a leader of the American musical avant garde of the 1960s and 70s. In this lecture, a part of the “New American Music Series” of Gallatin Lectures at NYU, Foss discusses the state of American contemporary music, musical minimalism, and his own approach of combining serial elements with spontaneous composition. Foss was born Lukas Fuchs in Berlin, on August 15, 1922, the son of a lawyer and a painter. He began studying piano and music theory when he was 7, and sketched out an opera when he was 11. His family fled to Paris in 1933, and arrived in the U.S. in 1937. He attended the Curtis Institute of Music in Philadelphia, and studied composition with Paul Hindemith at Yale. In 1953, Foss succeeded Arnold Schoenberg as the head of the composition department at the University of California at Los Angeles. In 1962, “Time Cycle,” a four-movement vocal setting of texts by Auden, Housman, Kafka and Nietzsche, premiered with Leonard Bernstein and the New York Philharmonic. From 1971 to 1988 Foss was music director of the Brooklyn Philharmonic. After he left the Brooklyn Philharmonic, in 1990, Foss appeared as a guest conductor and pianist with orchestras around the world. He died in New York City on February 1, 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices

In today's episode from the Vault, we revisit a 1982 lecture by the composer Lukas Foss, a leader of the American musical avant garde of the 1960s and 70s. In this lecture, a part of the “New American Music Series” of Gallatin Lectures at NYU, Foss discusses the state of American contemporary music, musical minimalism, and his own approach of combining serial elements with spontaneous composition. Foss was born Lukas Fuchs in Berlin, on August 15, 1922, the son of a lawyer and a painter. He began studying piano and music theory when he was 7, and sketched out an opera when he was 11. His family fled to Paris in 1933, and arrived in the U.S. in 1937. He attended the Curtis Institute of Music in Philadelphia, and studied composition with Paul Hindemith at Yale. In 1953, Foss succeeded Arnold Schoenberg as the head of the composition department at the University of California at Los Angeles. In 1962, “Time Cycle,” a four-movement vocal setting of texts by Auden, Housman, Kafka and Nietzsche, premiered with Leonard Bernstein and the New York Philharmonic. From 1971 to 1988 Foss was music director of the Brooklyn Philharmonic. After he left the Brooklyn Philharmonic, in 1990, Foss appeared as a guest conductor and pianist with orchestras around the world. He died in New York City on February 1, 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In today's episode from the Vault, we revisit a 1982 lecture by the composer Lukas Foss, a leader of the American musical avant garde of the 1960s and 70s. In this lecture, a part of the “New American Music Series” of Gallatin Lectures at NYU, Foss discusses the state of American contemporary music, musical minimalism, and his own approach of combining serial elements with spontaneous composition. Foss was born Lukas Fuchs in Berlin, on August 15, 1922, the son of a lawyer and a painter. He began studying piano and music theory when he was 7, and sketched out an opera when he was 11. His family fled to Paris in 1933, and arrived in the U.S. in 1937. He attended the Curtis Institute of Music in Philadelphia, and studied composition with Paul Hindemith at Yale. In 1953, Foss succeeded Arnold Schoenberg as the head of the composition department at the University of California at Los Angeles. In 1962, “Time Cycle,” a four-movement vocal setting of texts by Auden, Housman, Kafka and Nietzsche, premiered with Leonard Bernstein and the New York Philharmonic. From 1971 to 1988 Foss was music director of the Brooklyn Philharmonic. After he left the Brooklyn Philharmonic, in 1990, Foss appeared as a guest conductor and pianist with orchestras around the world. He died in New York City on February 1, 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Today we're putting The Tonearm's needle on Patricia Brennan, a vibraphonist and composer who grew up in Veracruz, Mexico, playing salsa with her dad while listening to Hendrix and Zeppelin with her mom. She studied classical percussion at the Curtis Institute, performed with Yo-Yo Ma and the Philadelphia Orchestra, then found her voice and career in jazz and improvisation.Patricia's latest album, Of The Near And Far, takes constellations from the summer sky and turns them into music. She superimposes the circle of fifths over star patterns to generate pitches, then turns them into compositions that reflect a voice as unique as the compositional approach. Patricia's ten-piece ensemble features a jazz quintet, a string quartet, and an electronic musician, all conducted by Eli Greenhoe. Hot on the heels of her 2024 release, Breaking Stretch, which won Album of the Year and Vibraphonist of the Year in the DownBeat Critics Poll, Patricia's here to talk about finding symmetry between the cosmos and composition, why she carries a telescope wherever she goes, and how ancient myths and modern astronomy shape her work.(The musical excerpts heard in the interview are from Patricia Brennan's album Of The Near And Far)–Dig DeeperArtist and AlbumVisit Patricia Brennan at patriciabrennanvibes.com and follow her on Instagram, Facebook, and YouTubePurchase Patricia Brennan's Of The Near And Far from Pyroclastic Records, Bandcamp, or Qobuz and listen on your streaming platform of choicePatricia Brennan's acclaimed 2024 album Breaking Stretch on Pyroclastic RecordsEducational InstitutionsCurtis Institute of Music – Philadelphia conservatory where Patricia studied classical percussionYouth Orchestra of the Americas – Continental ensemble Patricia joined at age seventeenCollaborators and Ensemble MembersSylvie Courvoisier, pianistMiles Okazaki, guitaristKim Cass, bassistJohn Hollenbeck, drummer and composerKyle Armbrust, violistArktureye (Noel Brennan) – Electronic musician and Patricia's duo partner in MOCHEli Greenhoe, conductorMusical Influences and ReferencesKeiko Abe – Japanese marimbist who transformed the instrumentRadiohead – In RainbowsErik Satie – "Gnossienne No. 1"Glenn Gould performing BachPhilip Glass – String QuartetsGyörgy Ligeti – AtmosphèresGrachan Moncur III – Evolution featuring Bobby HutchersonKid Koala – Canadian turntablistEighth Blackbird – Contemporary chamber music ensembleFania All-Stars – Legendary salsa supergroupComposers MentionedTōru Takemitsu – Japanese composerIannis Xenakis – Greek-French composerKarlheinz Stockhausen – German composerEdgard Varèse – French-American composerJohn Cage – American experimental composerSteve Reich – American minimalist composerDavid Lang – Pulitzer Prize-winning composer, Bang on a Can co-founderAstronomical ReferencesAndromeda Galaxy (M31) – Nearest major galaxy to the Milky WayCircle of fifths – Music theory concept used in Patricia's compositional systemConstellation guide – Reference for the star patterns inspiring the albumNASA's Sounds of Space – Astronomical recordings translated into audio–Dig into this episode's complete show notes at podcast.thetonearm.com–• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we're putting The Tonearm's needle on Patricia Brennan, a vibraphonist and composer who grew up in Veracruz, Mexico, playing salsa with her dad while listening to Hendrix and Zeppelin with her mom. She studied classical percussion at the Curtis Institute, performed with Yo-Yo Ma and the Philadelphia Orchestra, then found her voice and career in jazz and improvisation.Patricia's latest album, Of The Near And Far, takes constellations from the summer sky and turns them into music. She superimposes the circle of fifths over star patterns to generate pitches, then turns them into compositions that reflect a voice as unique as the compositional approach. Patricia's ten-piece ensemble features a jazz quintet, a string quartet, and an electronic musician, all conducted by Eli Greenhoe. Hot on the heels of her 2024 release, Breaking Stretch, which won Album of the Year and Vibraphonist of the Year in the DownBeat Critics Poll, Patricia's here to talk about finding symmetry between the cosmos and composition, why she carries a telescope wherever she goes, and how ancient myths and modern astronomy shape her work.(The musical excerpts heard in the interview are from Patricia Brennan's album Of The Near And Far)–Dig DeeperArtist and AlbumVisit Patricia Brennan at patriciabrennanvibes.com and follow her on Instagram, Facebook, and YouTubePurchase Patricia Brennan's Of The Near And Far from Pyroclastic Records, Bandcamp, or Qobuz and listen on your streaming platform of choicePatricia Brennan's acclaimed 2024 album Breaking Stretch on Pyroclastic RecordsEducational InstitutionsCurtis Institute of Music – Philadelphia conservatory where Patricia studied classical percussionYouth Orchestra of the Americas – Continental ensemble Patricia joined at age seventeenCollaborators and Ensemble MembersSylvie Courvoisier, pianistMiles Okazaki, guitaristKim Cass, bassistJohn Hollenbeck, drummer and composerKyle Armbrust, violistArktureye (Noel Brennan) – Electronic musician and Patricia's duo partner in MOCHEli Greenhoe, conductorMusical Influences and ReferencesKeiko Abe – Japanese marimbist who transformed the instrumentRadiohead – In RainbowsErik Satie – "Gnossienne No. 1"Glenn Gould performing BachPhilip Glass – String QuartetsGyörgy Ligeti – AtmosphèresGrachan Moncur III – Evolution featuring Bobby HutchersonKid Koala – Canadian turntablistEighth Blackbird – Contemporary chamber music ensembleFania All-Stars – Legendary salsa supergroupComposers MentionedTōru Takemitsu – Japanese composerIannis Xenakis – Greek-French composerKarlheinz Stockhausen – German composerEdgard Varèse – French-American composerJohn Cage – American experimental composerSteve Reich – American minimalist composerDavid Lang – Pulitzer Prize-winning composer, Bang on a Can co-founderAstronomical ReferencesAndromeda Galaxy (M31) – Nearest major galaxy to the Milky WayCircle of fifths – Music theory concept used in Patricia's compositional systemConstellation guide – Reference for the star patterns inspiring the albumNASA's Sounds of Space – Astronomical recordings translated into audio–Dig into this episode's complete show notes at podcast.thetonearm.com–• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Che bello scoprire una nuova generazione di compositori provenienti dall'America. Dopo aver parlato di donne del passato, in questo episodio ci contreremo su una di loro, Jennifer Higdon, vivente, che sta componendo opere di buona qualità, belle e spesso profonde. La Higdon è nata il 31 dicembre 1962 a Brooklyn, New York. A oggi, ha vinto un Premio Pulitzer e tre Grammy. In questa biografia, sono contento di scoprire qualcosa su di lei. Biografia di Jennifer Higdon La Higdon ha iniziato a suonare il flauto all'età di 15 anni. Tre anni dopo, si è laureata in flauto alla Bowling Green State University, dove è stata incoraggiata a esplorare la composizione. A 21 anni si era affermata come compositrice. Ha poi conseguito un diploma d'artista presso il Curtis Institute, dove ha studiato con David Loeb e Ned Rorem. Sono passati alcuni decenni e ora è diventata una figura di spicco della musica classica contemporanea. Ha scritto opere per orchestra, ensemble di fiati, ensemble da camera, voce e coro. Secondo Fanfare Magazine la sua musica ha “la particolarità di essere allo stesso tempo complessa, sofisticata ma facilmente accessibile emotivamente”. Secondo il Times di Londra è “radicata, ma intrisa di integrità e freschezza”. La League of American Orchestras riferisce che è una delle compositrici d'America più eseguite. Dicevamo che ha vinto dei premi, fra cui il Premio Pulitzer 2010 per il suo Concerto per violino e 3 Grammy Awards per la Migliore Composizione Classica Contemporanea per il suo Percussion Concerto (2010), per il suo Viola Concerto (2018) e per il suo Concerto per arpa (2020). Consigli per l'ascolto Opere orchestrali e concerti Viola Concerto (2015) - Vincitore del Grammy Award 2018 per la Migliore Composizione Classica Contemporanea. Percussion Concerto (2005) - Vincitore del Grammy Award 2010 per la Migliore Composizione Classica Contemporanea. Blue Cathedral per flauto, clarinetto e orchestra (1999) - Un delizioso pezzo orchestrale che è diventato uno dei preferiti dalle orchestre americane e dal loro pubblico. All Things Majestic per orchestra (1911) – Un pezzo di 25 minuti per orchestra che descrive 3 ambientazioni all'aperto (The Tetons, String Lake e The Snake River) e si conclude con una rappresentazione sonora di cattedrali. Opere da camera Sly Quartet Amazing Grace Sonata for Viola e Piano Dark Wood String Trio Opere corali O Magnum Mysterium (2002) – Un pezzo di sette minuti per piccolo coro. Love Came Down (2022) – Un'ambientazione calda e incantevole di una poesia natalizia di Christine Rossetti. Qualcuno ha definito questo pezzo “quattro minuti di pura bellezza”. Conoscevate Jennifer Higdon?

What if the thing that makes people laugh at your art is the same thing that makes them listen closer? That's the tension—and the opportunity—at the heart of our conversation with cellist and filmmaker Nick Canellakis, whose viral sketches and serious performances are two sides of one craft. We dig into the roots: a musical family, early piano, and the moment the cello took hold. Then the parallel story: childhood home videos evolving into a full-fledged filmmaking habit, culminating in a Curtis holiday “skit night” that became a real short film. Nick walks us through his modern toolkit—single-camera iPhone shoots, simple mics, thoughtful coverage, and Adobe Premiere—to show how cinematic instincts can thrive without massive crews. The secret isn't chasing trends; it's writing what you know: the anxious, funny, fiercely devoted inner life of musicians.That creative momentum has reshaped his concertizing. Nick shares how a five-minute live sketch can prime an audience for Tchaikovsky or Dvorak without diluting the music's weight. We talk about the Orlando Philharmonic collaboration, the balance between entertainment and excellence, and why he refuses to become “a comedian who plays cello.” The music leads, the comedy widens the door, and both raise the stakes for connection.We also explore his role on the Curtis Institute faculty and a fresh teaching model where students study with multiple mentors, including visits from artists like Gary Hoffman. It's a system built for synthesis: different bowings, fingerings, and philosophies that invite players to own their choices and find their sound. Finally, Nick offers grounded advice for young musicians—swing bigger, don't sell yourself short, and choose paths for love, not fear. If you've wondered how to blend passions without losing rigor, this one maps the territory.If this conversation moved you, follow the show, share it with a friend, and leave a quick review so more musicians and creators can find it. For more information on Nick Canellakis: https://www.nicholascanellakis.com/biographyYou can also find Nick Canellakis on Instagram and Facebook: @nick.canellakis_cellistIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Joseph Alessi, principal trombone of the New York Philharmonic. About Joseph Alessi: Joseph Alessi was appointed Principal Trombone of the New York Philharmonic in the spring of 1985. He began musical studies in his native California with his father, Joseph Alessi, Sr. As a high school student in San Rafael, California, he was a soloist with the San Francisco Symphony before continuing his musical training at Philadelphia's Curtis Institute of Music. Prior to joining the Philharmonic, Mr. Alessi was second trombone of The Philadelphia Orchestra for four seasons, and principal trombone of L'Orchestre symphonique de Montreal for one season. In addition, he has performed as guest principal trombonist with the London Symphony Orchestra in Carnegie Hall led by Pierre Boulez. Mr. Alessi is an active soloist, recitalist, and chamber music performer. In April 1990 he made his solo debut with the New York Philharmonic, performing Creston's Fantasy for Trombone, and in 1992 premiered Christopher Rouse's Pulitzer Prize- winning Trombone Concerto with the Philharmonic, which commissioned the work for its 150th anniversary celebration. His most recent appearance with the Philharmonic as soloist was in performances of the Tan-Dun Trombone Concerto in March of 2024. Mr. Alessi also has appeared as soloist with the New York Philharmonic in performances of concerti by Kazimierz Serocki, Bramwell Tovey, William Bolcom, Chick Corea, and William Grant Still. Composed especially for Mr. Alessi, he performed the world premiere of the Chick Corea Trombone Concerto with the Säo Paulo Symphony Orchestra in August of 2021. Joseph Alessi has recorded and performed extensively with five prominent trombone quartets; The New York Trombone Quartet resulting in the only recording of Bartok's 4th String Quartet, Aries Trombone Quartet, Four of a Kind Trombone Quartet, the World Trombone Quartet, and Slide Monsters Trombone Quartet. Other solo engagements have included the New Japan Philharmonic, Nagoya Philharmonic, Gulbenkian Symphony, Costa Rica Symphony, National Symphony Orchestra of Taiwan, Tokyo Metropolitan Symphony, Orchestra of Teatro Bellini, Mannheim National Theater Orchestra, Hauge Philharmonic, Helsinki Philharmonic, and the Colorado, Nashville, Alabama, Santa Barbara, Syracuse, and Puerto Rico symphony orchestras. Mr. Alessi has also participated in numerous festivals, including the Festivale Musica di Camera in Portogruaro, Italy; Cabrillo Music Festival; Swiss Brass Week; and Lieksa Brass Week in Finland. He was featured in the 1997 International Trombone Festival in Feldkirch, Austria, and the International Meeting of Brass Instruments in Lille, France. In 2002 Mr. Alessi was awarded an International Trombone Association Award for his contributions to the world of trombone music and trombone playing, and in 2014, was elected President of that association. Mr. Alessi is currently on the faculty of The Juilliard School; his students now occupy posts with many major symphony orchestras in the U.S. and internationally. As a clinician for the Eastman-Shires Instrument Co., he has also given master classes throughout the world and has toured Europe extensively as a master teacher and recitalist. He has performed as soloist withseveral leading concert bands, including the U.S. Military Academy Band at West Point, U.S. Army Band (Pershing's Own), and the U.S. Marine Band (President's Own).  In addition, he has performed with the Maria Schneider Orchestra, the Village Vanguard Orchestra, and has recorded with jazz greats, J.J. Johnson and Steve Turre. Mr. Alessi's discography includes many releases on the Summit record label, including the Trombonastics, and a disc with New York Philharmonic Principal Trumpet Philip Smith entitled Fandango; he also recorded New York Legends on the Cala label. His live recording of the Rouse Concerto with the New York Philharmonic can be heard on Volume II of the recent release, An American Celebration, on New York Philharmonic Special Editions, the Orchestra's own recording label. Mr. Alessi was invited by the International Trombone Association to record a solo disc of newly composed works, which was distributed to the Association's membership of 5,000 trombonists. in early 1999 and is now available as Beyond the End of the Century through Summit Records. His recording of George Crumb's Starchild on the Bridge record label, featuring Mr. Alessi as soloist, won a Grammy Award for 1999– 2000. Other recordings featuring Mr. Alessi are with the Canadian Brass (Sony Classical and Philips Records). Further information about Mr. Alessi can be found on his website, www.slidearea.com. Mr. Alessi plays exclusively on a Shires- Alessi model trombone.   As a conductor, Mr. Alessi has conducted the Juilliard Trombone Choir, the Danbury Community Orchestra and the New York Concerti Sinfonietta in Carnegie Weill Recital Hall and will conduct the World Doctor's Orchestra in November of 2025. 

Marcia Peck is an award-winning writer and accomplished musician, celebrating over 50 years as a cellist with the Minnesota Orchestra.  Inspired by the rhythms and sounds of music echoed in language, her debut novel, Water Music: A Cape Cod Story, combines all of her passions –music, writing, and Cape Cod. The book has received critical acclaim and has received many book awards, including Literary Titan Gold, National Indie Excellence Award, New England Book Festival Regional Lit Winner, and Feathered Quill Reviewers Choice Award Winner. Additionally, she was a finalist for American Writing Awards, Eric Hoffer Award Grand Prize, Firebird Book Awards, and Wishing Shelf Book Awards. Pacifica book Awards designated it as a “Notable Book” and her book was long-listed by both Historical Fiction Company Book-of-the-Year Award and Somerset Book Awards.  Peck's writing has received awards from New Millenium Writings (First prize for "Memento Mori"), Tamarack Awards (honorable mention for "An Unexpected Cadence"), Lake Superior Writers' Conference (First Prize for "Pride and Humility"), Glimmer Train(finalist for Very Short Fiction Award for "The Flavor of Borscht"),Flash quake (nomination for Pushcart Prize for "Long Distance"), and MnArtists Mini Stories (Winner for "Little Vladimir's Father").  She is the grateful recipient of Artist Fellowships from the Minnesota State Arts Board, Loft-McKnight, and the Jerome Foundation as well as residencies at Hambidge Center in Georgia and Ragdale in Illinois. A cellist with the Minnesota Orchestra for her entire musical career, she is inspired by the rhythms and sounds of music echoed in language. Peck graduated from the legendary Curtis Institute of Music in Philadelphia. She studied with famed Italian cellist Antonio Janigro in Germany for two years. Her articles have appeared in Musical America, Strad Magazine, Strings Magazine, Senza Sordino, the magazine of the Minnesota Orchestra and the op-ed pages of the Minneapolis Star Tribune. Her fiction has appeared in Chautauqua Journal, New Millenium Writings, Gemini Magazine, Glimmer Train, 26 Minnesota Writers (Nodine Press), Tribute to Orpheus 2(Kearney Books), and three volumes of Open to Interpretation: Fading Light(Taylor and O'Neill). Her work has been supported by the Minnesota State Arts Board, The Loft Literary Center, and the Jerome Foundation, Ragdale Foundation and Hambidge Center. Peck grew up in New Jersey and summered in Cape Cod. Her love for Cape Cod has been a strong and deep current throughout her life. She and her sisters still return to the house their father built in Orleans. She lives in Minnetonka, Minnesota with her husband and two very naughty dogs For more information, please see: www.marciapeck.com.

#realconversations #classicalpianist #GRAMMY #KennedyCenter#JohnsHopkins #ClevelandState #professor CONVERSATIONS WITH CALVIN WE THE SPECIESMeet Dr. ANGELIN CHANG: “Before any of my descriptive words,you should know Dr Chang was the first American female GRAMMY Award-winningclassical pianist. Beyond a special honor to interview her. Huge thanks toMaria Zsal & Laurens Tijssen for orchestration. Just a few words.  Kennedy Center's first Artist-in-Residence.Doctorate degree in Music (Peabody Institute, Johns Hopkins) and Juris Doctor,Cleveland-Marshall College of Law. AI just informed me that fewer than 200Americans hold this dual degree. This, in part, is Dr Angelin Chang. Sheperforms worldwide at such venues as the Kennedy Center, the Kimmel Center(Philadelphia), Lincoln Center (NYC), Russia, and China. I'm writing this a fewhours after the interview. There's a resonance of elevation in my writingthoughts. Comprehending this wondrous accomplished artist whom I spent 118minutes with. Dr. Angelin Chang. Thanks, beyond.”  Calvin https://www.youtube.com/c/ConversationswithCalvinWetheSpecIEs605 Interviews/Videos  9200 SUBSCRIBERSGLOBAL Reach. Earth Life. Amazing People.  PLEASE SUBSCRIBE DR. ANGELIN CHANG, 1st Female Classical Pianist to winGRAMMY, Mastering Virtuosity, The Art of Piano Performance, Doctorate in Music& Law, Professor, Cleveland State UniversityYouTube: https://www.youtube.com/watch?v=2fOXYBVogsALINKS: https://www.angelinchang.com/BIO:  Dr. AngelinChang, the first American female GRAMMY® Award-winning classical pianist(Messiaen: Oiseaux Exotiques), performs at prestigious venues like the KennedyCenter and Lincoln Center. As the Kennedy Center's first Artist-in-Residence,she launched the Arts for Everyone initiative. A Professor of Music and Law atCleveland State University, she teaches the Taubman Approach, helping pianistsachieve virtuosity without injury, and leads masterclasses at institutions likethe Curtis Institute. A Yamaha Academic-Performing Artist and GRAMMY®organization leader, Dr. Chang also chairs the Research Committee on Asian andPacific Studies for the International Political Science Association, advocatingfor arts and culture globally.**WE ARE ALSO ON AUDIOAUDIO“Conversations with Calvin; WE the SpecIEs”ANCHORhttps://lnkd.in/g4jcUPqSPOTIFYhttps://lnkd.in/ghuMFeCAPPLEPODCASTSBREAKERhttps://lnkd.in/g62StzJGOOGLEPODCASTS https://lnkd.in/gpd3XfMPOCKETCASTS https://pca.st/bmjmzaitRADIOPUBLIC https://lnkd.in/gxueFZw

You've heard me say this before: I had wonderful teachers throughout my musical life. From my very first piano teacher when I started piano at age four, through my harp studies from age eight and my college years at the Curtis Institute, my teachers were all I could have wanted. They nurtured me, encouraged me, pushed me, and took me to task when that was required, and believe me, it was required from time to time. Most importantly - and this is one of my core teaching principles to this day - they were as invested in my musical journey as I was. They took my learning and my musical growth personally, not as a reflection on them, but as a mission that mattered to them because my music mattered to me. It would be easy to say that they were the inspirations for my own teaching path, but truly, the path itself showed up more or less by accident. But as is the case with so many blessings, it showed up when I needed it and led me in directions I could never have expected. At each step along the way, I have learned more about what it means to me to be a teacher, and more particularly, to be the kind of teacher I want to be for those I am honored to teach. I'll share a few more specifics about some of the steps on that path in a few moments. But my primary mission today is to share with you a few things I have discovered about how the ways we teachers think about our teaching, and how many students think about their learning, can be either useful and productive or possibly not. These are “big picture” concepts that may help you, if you are a student, get even more value from your lessons. If you are a teacher, perhaps these will inspire you to keep bringing the joy to the students you are privileged to work with. Or if you're a harpist who is neither teaching or taking lessons at the moment, there might be some ideas that will give you some food for thought, maybe even energize your harp playing in a new way. I certainly hope so. That's part of my job, coaching you here on the podcast today. Links to things I think you might be interested in that were mentioned in the podcast episode:  Register for our October Teachers' Retreat  In the Hub: Week 9 of our Super Summer Challenge  Check out the new Learn section in the Harp Mastery®  app. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com Looking for a transcript for this episode? Did you know that if you subscribe to this podcast on Apple Podcasts you will have access to their transcripts of each episode? LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-220  

The Mada & Hugh Piano Duo, composed of Romanian-born pianist Mădălina Dănilă and Korean-American pianist Hugh Sung, captivates audiences worldwide with their innovative 4-hand piano performances. Their award-winning collaboration brings a dynamic range of music, from unique classical pieces to dazzling arrangements of popular tunes. They are proud to be official Petrof Artists, representing the esteemed Czech piano brand known for its warm, romantic tone and exceptional craftsmanship. Mădălina, an internationally acclaimed concert pianist, has triumphed in prestigious competitions such as the International Piano Competition in Vigo and the Charleston 20th Century Music Competition. She was personally invited by renowned violinist Anne Sophie Mutter to perform a solo recital at the prestigious Ruhr Klavierfestival in Germany, marking a significant milestone in her career. Hugh Sung, renowned as one of the finest collaborative pianists of his generation, has performed with eminent musicians and worked extensively with the Philadelphia and Baltimore Symphony Orchestras. As a former faculty member of The Curtis Institute of Music, co-founder of AirTurn, and an educator at ArtistWorks, Hugh has significantly influenced the music community. Currently, he serves as the Vice President of Cunningham Piano Company. Together, Mădălina and Hugh create unforgettable concert experiences, blending their exceptional talents and shared passion for music to inspire and delight audiences around the globe.   https://madahugh.com https://patreon.com/madahughpianoduo   Thanks for joining me on Crushing Classical!  Theme music by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams.  You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!    

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Julie Landsman, former Principal Horn of the Metropolitan Opera and teacher at University of Southern California. About Julie: Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989. A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn. She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner's “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center,  Orcas Island Chamber Music  Festival,  and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music  Festival, and the Aspen Music Festival. World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel.  In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany. Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women's Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today's generation of horn players. Landsman currently resides in Santa Barbara, California.

Cellist Yumi Kendall has been the assistant principal cellist of the Philadelphia Orchestra since 2004, serves on the faculty of the Curtis Institute of Music, co-hosts the Tacet No More podcast with bassist Joseph Conyers, and is a graduate of the University of Pennsylvania's Master of Applied Positive Psychology program.In this episode, we explore…Yumi's early musical influencesWhat effective practice really means (and looks like)How Yumi balances competing demands and sets practice goals and intentionsWhen is something good enough, and it's time to move on?Biggest takeaways from her studies in the University of Pennsylvania's positive psychology programSelf-compassion, positive teaching, overcoming negative self-talkIdentity and habit formationYumi's experience with performance anxiety and how she learned to get past this in the early part of her careerDealing with shaky bowWhat change would she love to see in the music industry?For the complete transcript and other notes and links, visit:Cellist Yumi Kendall: On Becoming a More Positive (And Effective) Practicer* * *Have you been feeling a little stuck or stagnant in the practice room? Or has performance anxiety and the gap between practice and performance been a nagging issue that hasn't changed, no matter how well you've prepared for performances, auditions - and even lessons? If you've been wanting to experience more joy in the practice room and play more like yourself on stage, but haven't been quite sure how to make that happen, starting June 10, 2025, I'll be teaching a live, online, accelerated 2-week class on the most essential mental skills and practice strategies that can make a difference in your practicing and performing. We'll meet twice a week via Zoom and work on a series of exercises and techniques in four essential skill areas (effective practice, managing anxiety, focus, and confidence), together as a group. And to make sure the concepts become consistent habits, I'll show you how to gently integrate these new skills into your (or your students') daily practice through bite-sized practice challenges alongside a supportive group of practice buddies from around the world. Registration is open now through 11:59pm on Sunday, June 8th. Over 2000 musicians, educators, and students and learners of all ages have participated in the course to date. You can find out what alumni are saying, and sign up to join Cohort 23 at: bulletproofmusician.com/essentials

Dr. Mia Chung joins us to talk about how classical music is a foundational aspect of human flourishing. Dr. Chung is an internationally renowned pianist, concerto soloist, and chamber musician.  She was on the faculty of the Curtis Institute of Music in Philadelphia, and she is now a professor at Harvard. Additionally she is the founder and executive director of the Octet Collaborative, which is a community of students, faculty, and staff at MIT who are dedicated to human flourishing. And if that is not enough, she writes and speaks on the transformative impact of music on cognition, learning, and health.Find out more about Dr. Mia Chung HEREDiscover more about the Octet Collaborative HEREFollow the Octet Collaborative and their podcast through their Instagram HEREContact Cyndi Parker through Narrative of Place.Join Cyndi Parker's  Patreon Team!

Welcome to The UpWords Podcast, where we discuss the intersection of Christian faith in the academy, church, and marketplace. In today's episode, we are delighted to welcome painter and author Bruce Herman and Mia Chung-Yee — concert pianist, music professor, and executive director of the Octet Collaborative at MIT.In this episode of the UpWords Podcast, hosts Daniel Johnson, Bruce Herman, and Mia Chung-Yee explore the profound connections between creativity, faith, and the arts. They discuss the legacy of composers like J.S. Bach and Mendelssohn, the personal journeys of the speakers in their artistic expressions, and the evolving role of music and art in spiritual and community life. The conversation emphasizes the importance of integrating art into worship and the discipline required in artistic practice, ultimately highlighting the shared human experience through creativity.The speakers explore the intersection of faith, art, and academia, emphasizing the importance of grounding transcendence in reality. They discuss the role of discipline in worship and art, the challenges faced within the modern academy, and the tension between artistic expression and academic expectations. The conversation highlights the need for a holistic approach to education that embraces both the arts and sciences, encouraging young artists to integrate their faith into their creative endeavors while remaining humble and committed to their craft.Host:Daniel JohnsonGuests:Bruce Herman: Painter, writer, and speakerMia Chung-Yee: Concert pianist, music professor, and executive director of the Octet Collaborative at MITGuest Backgrounds:Mia Chung-Yee:Internationally known concert pianistFounder and executive director of the Octet Collaborative, a Christian Study Center at MITWinner of the Concert Artists Guild Competition (1993)Recipient of the Avery Fisher Career Grant (1997)Educational background: Bachelor's degree from Harvard College, Master's degree from Yale University, PhD from the Juilliard SchoolFormer Professor of Music and Artist in Residence at Gordon College (1991-2011)Current Professor of Musical Studies at the Curtis Institute of MusicBruce Herman:Painter, writer, and speakerArt exhibited in over 150 national and international exhibitionsCollections include the Vatican Museum of Modern Religious Art in Rome and various museums in the United States and CanadaNearly four decades of teaching at Gordon College, founding chair of the Art DepartmentEducational background: BFA and MFA degrees from Boston University College of Fine ArtsKey Topics Discussed:The role of Christian faith in the arts and academiaThe intersection of faith and creativity in the marketplacePersonal journeys and career highlights of Bruce Herman and Mia Chung-YeeInsights into the Octet Collaborative and its mission at MITReflections on the impact of faith on artistic expression and professional developmentThe legacy of composers like J.S. Bach and MendelssohnThe evolving role of music and art in spiritual and community lifeThe importance of integrating art into worshipThe discipline required in artistic practiceThe challenges faced within the modern academyThe tension between artistic expression and academic expectationsThe need for a holistic approach to education that embraces both the arts and sciencesEncouraging young artists to integrate their faith into their creative endeavors while remaining humble and committed to their...

Nina Simone, immense figure du jazz, rêvait pourtant d'une toute autre carrière : devenir la première pianiste classique noire d'Amérique. Dotée d'un talent précoce, formée dès l'enfance à la rigueur du piano classique, elle puise son inspiration dans l'œuvre de Jean-Sébastien Bach, qui influencera toute sa vie musicale. Mais son rêve s'effondre après son refus à l'entrée du prestigieux Curtis Institute, un échec qu'elle attribue au racisme. Pour survivre, elle joue dans des bars, chante en s'accompagnant au piano et adopte un pseudonyme : Nina Simone. Ce « travail alimentaire » devient vite une vocation. Sa mère, très pieuse, rejette cette musique profane. Pourtant, même dans le jazz, Nina Simone reste une musicienne classique dans l'âme. Elle y introduit le contrepoint, la rigueur et la profondeur émotionnelle. Une artiste singulière, blessée, mais virtuose. Merci pour votre écoute N'hésistez pas à vous abonner également aux podcasts des séquences phares de Matin Première: L'Invité Politique : https://audmns.com/LNCogwPL'édito politique « Les Coulisses du Pouvoir » : https://audmns.com/vXWPcqxL'humour de Matin Première : https://audmns.com/tbdbwoQRetrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Retrouvez également notre offre info ci-dessous : Le Monde en Direct : https://audmns.com/TkxEWMELes Clés : https://audmns.com/DvbCVrHLe Tournant : https://audmns.com/moqIRoC5 Minutes pour Comprendre : https://audmns.com/dHiHssrEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this episode, we sit down with composer, horn player, and music preparer Steven Juliani! Episode Highlights Early Horn Studies Studies at Curtis Institute of Music Graduate studies at USC: studying with Vincent DeRosa Professional Playing in Los Angeles Transition to Music Copying Starting His Own Copying Business Law School (In His 40s) Practicing Law Return to Music and Composition Relationships with fellow musicians Recent Commission and Performance with Chicago Symphony Horn Section "I think my story is about being able to adapt and change gears and see new opportunities. And I I think that's an important skill to have for any musician."

SynopsisCarlos Salzedo, the most influential harpist of the 20th century, was born in Arcachon, France, on today's date in 1885. Salzedo transformed the harp into a virtuoso instrument, developing new techniques showcased in his own compositions and that others like Stravinsky, Schoenberg, and Britten adopted in theirs.In 1921, Salzedo and Edgard Varese co-founded the International Composers Guild, promoting works by progressive composers like Bartok and Honegger. Salzedo's compositions for harp include both transcriptions as well as original works like Scintillation, probably his most famous piece, and Four Preludes to the Afternoon of a Telephone, based on the phone numbers of four of his students. He taught at the Curtis Institute and the Juilliard School, and offered summer courses in Camden, Maine. Hundreds of Salzedo pupils filled harp positions with major orchestras around the world. Salzedo himself entered the Paris Conservatory at 9 and won the premiere prize in harp and piano when he was 16. He came to America in 1909 at the invitation of Arturo Toscanini, who wanted him as harpist at the Metropolitan Opera, and — curious to note — Salzedo died in the summer of 1961, at 76, while adjudicating Metropolitan Opera regional auditions in Maine.Music Played in Today's ProgramCarlos Salzedo (1885-1961): Scintillation; Carlos Sazledo, harp; Mercury LP MG-80003

Just graduated from Curtis Institute and Manhattan School of Music Anton Mejias and Ossi Tanner are sharing their experiences of classical piano studies in the USA

Today we released part two of our interview with Michael Sachs. He has a portfolio career at the highest levels of classical music: he's in his 37th year as the principal trumpet of The Cleveland Orchestra, he's the Music Director of the Strings Music Festival, an active soloist, author, instrument designer, and he's on the faculty at the Curtis Institute of Music.   Though our interview mainly focuses on his entrepreneurial activities as a music director and musician outside of The Cleveland Orchestra, Michael offers a wealth of information to anyone aspiring to become a professional musician! https://michaelsachs.com/

About Gaby Casadesus Born Gabrielle l'Hôte, she studied at the Paris Conservatory with Louis Diémer and Marguerite Long and was awarded the first prize in piano at age 16. She met Claude Debussy at this time, as he was the judge for one of her competitions. Gaby later won the Prix Pagès, which was the most prestigious award in France at the time for which women were eligible. In 1921, she married the pianist Robert Casadesus and with him formed the Robert and Gaby Casadesus duo. The duo made many recordings of the four-hand piano repertoire. However, Gaby was also a significant soloist. She knew Maurice Ravel, Gabriel Fauré, Florent Schmitt and Moritz Moszkowski, and her interpretations were aided by their guidance. Her repertoire also included Felix Mendelssohn, whose music she effectively championed, and the keyboard composers of the Baroque era. As a teacher, Gaby Casadesus taught in the US, at the Salzburg Mozarteum, at the Académie Maurice Ravel in Saint-Jean-de-Luz and most notably at the American Conservatoire at Fontainebleau. Among her notable pupils are Donna Amato, David Deveau, Rudy Toth, and Vladimir Valjarević. After her husband's death in 1972, she worked with Grant Johannesen and Odette Valabrègue Wurtzburger, to found the Robert Casadesus International Piano Competition which ran from 1975 to 1993. Casadesus died November 12, 1999, at age 98 in Paris. She is buried with her husband and son, Jean in Recloses, department of Seine-et-Marne. About Thereselink to buy book -- https://www.amazon.com/Robert-Gaby-Casadesus-Piano-Recital/dp/B00000DSHBCasadesus Rawson Daughter of the late French pianists Robert and Gaby Casadesus, Therese Casadesus Rawson received a Ph.D. in French language and literature from the University of Pennsylvania in 1977. She has taught French, Humanities, French Diction and French vocal repertoire to singers at the Curtis Institute of Music in Philadelphia for nearly 30 years. Besides teaching and performing—she is a soprano focusing on Bach and French repertoire--Therese Casadesus Rawson is also active as a lecturer in a variety of topics pertaining to French culture, music, literature, painting, culinary arts. She has been and continues to be involved with French or Franco-American cultural institutions. She was President of the Alliance Française de Philadelphie for nearly 10 years, and has been President of the Fontainebleau Associations for 25 years: the stateside support group which helps organize and finance the summer Music and Fine Arts program at the Château de Fontainebleau. Therese's involvement with the Fontainebleau Schools is steeped in the legacy of her famous parents, Robert and Gaby, and her brother Jean, who were themselves devoted to the Fontainebleau Schools, teaching extensively at the Conservatoire Américain (the music side of the program). Remarkably, Robert and Gaby succeeded in running the program in New England during World War II and Gaby continued to teach until her passing in 1999 at the age of 98. The French Government awarded Therese the Palmes Académiques in recognition of her teaching activities, and, in 2001, she was named to the rank of Chevalier des Arts et Lettres on account of her efforts on behalf of Franco-American cultural affairs. Meosha Bean Films on Plex https://watch.plex.tv/person/meosha-bean Shout out ATL link -https://shoutoutatlanta.com/meet-meosha-bean-filmmaker-actor/ Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Today we released part one of our interview with Michael Sachs. He has a portfolio career at the highest levels of classical music: he's in his 37th year as the principal trumpet of The Cleveland Orchestra, he's the Music Director of the Strings Music Festival, an active soloist, author, instrument designer, and he's on the faculty at the Curtis Institute of Music.   Though our interview mainly focuses on his entrepreneurial activities as a music director and musician outside of The Cleveland Orchestra, Michael offers a wealth of information to anyone aspiring to become a professional musician! https://michaelsachs.com/

Sharing her own musical career with her internationally known musician-husband, Robert, Gaby excelled in her roles as a concert pianist, piano teacher, interpreter of modern French composers, intrepid world traveler, mother to three children, wife, and champion of her husband's composing career as well as his extraordinary performance career as a pianist.  Gaby and Robert certainly could be said to have had a “piano love affair.”  The Casadesus family had been musicians for generations but Robert and Gaby's family went on to be especially known as the “The First Family of the Piano.  Their son, Jean, sometimes performed with them on pieces featuring three pianos, one even captured on CBS TV! Gaby's delightful memoir, My Musical Notes, is now available in English for the first time and is being published in October by Hamilton Books, an imprint of Bloomsbury Publishing.  It was first published in French in 1989 and describes: *Gaby's love of teaching the French piano tradition, giving lessons at well-known schools such as the American Conservatory at Fontainebleau, Julliard and Curtis Institute of Music.  Due to her close association with many of the modern-day French composers, especially Ravel, she was known for her insights in helping students learn and interpret their works. *Her collegiate relationships and friendship with many leading musical figures of the 20th century including Ravel, Poulenc, Fauré, Toscanini, Bernstein, Szell, Ormandy, and many others.  In fact, she was friendly with Albert Einstein as well during her stay in Princeton from 1940 - 1945 and performed Mozart with him in a local concert! Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

The Canadian violinist Lara St. John was a child prodigy who was only two when she started playing her instrument. But her young age also made her extremely vulnerable. When she was 14, Lara was sexually assaulted and raped by her 78-year-old instructor at the Curtis Institute of Music in Philadelphia. It took more than 35 years for the school to acknowledge the abuse she suffered. Now, Lara is making a documentary to highlight sexual abuse in the classical music world. She sits down with Tom Power to talk about the project and how she's trying to make classical music safer moving forward.  

Garza sits down in-person with Elizabeth Zharoff. Founder of The Charismatic Voice. With over 1.8 million subscribers on YouTube. Elizabeth is on the forefront of the latest vocal research. https://linktr.ee/thecharismaticvoice MERCH & SUPPORT: https://garzapodcast.myshopify.com CHAPTERS: 00:00 - Finding the Right Partner, Family 10:35 - Disneyland, Baby #2 12:33 - Will Ramos Throat Study 16:24 - 1st Wave of Vocal Studies w/ Metal Singers, Utah Lab 22:37 - Growing Up in Washington, Curiosity About Vocals 26:55 - The Moment Elizabeth Wanted to Study Voices 31:12 - Studying w/ Background Noise & Music 32:50 - Dealing w/ Vocal Nodules & Damage 40:41 - Retiring From Opera to Start YouTube 42:51 - VR, Spatial Audio, Immersion, The Las Vegas Sphere 49:37 - Classical Music, How Music Affects Our Bodies 56:09 - Starting “The Charismatic Voice” 1:03:20 - Academic History, Curtis Institute of Music 1:05:30 - Working w/ Will Ramos, Extensive Studies 1:11:40 - Identifying Vocal Cord Damage, Travis Ryan 1:14:48 - Mitch's Vocal Damage 1:17:40 - Kickstarter, Fund Vocal Research: http://kck.st/3Zah4Zn 1:19:10 - Honey For Vocals Myth 1:23:15 - How to Start Singing & Screaming 1:27:55 - Speech Impediments & Singing

Katherine Needleman is a wonderful oboe player, who has been the principal oboist of the Baltimore Symphony since 2003. She's also active as a solist and chamber musician, and is on faculty at the Curtis Institute of Music. She is a champion of music of our time and you'll find her recordings and many projects on her website. To many listeners in the Classical Music world, she's probably better known for her Substack articles and posts on social media that address misogyny, sexual misconduct and assault, and the lack of diversity and equity in the Classical music world. In this conversation you'll hear about some of her activism and advocacy work , and different aspects of Katherine's life as a musician, including her work as a composer and educator, and mentors including Jennifer Higdon. Please note the timestamps to navigate the episode. I regret that I didn't get into improvisation with her, because she's also an excellent improvisor and has put out an album of improvised chamber music “The Marmalade Balloon”. Perhaps we can get into this next time she comes on the podcast! You can watch this on YouTube or listen to the podcast, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/katherine-needleman Katherine Needleman website “Land Where My Fathers Died” Aria for oboe and piano by Jennifer Higdon (sheet music available on the composer's website) It's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity. Please look at the links for different ways to support this independent podcast. Original Merch for sale Can you buy this independent podcaster a coffee? In January 2025 I'll be releasing Season 5 of this series. I've linked some other episodes that may interest you: Anna Petersen, Gail Archer, Omo Bello, Karen Donnelly, Renee Yoxon and Jessica Cottis, among many others! Newsletter sign-up Linktree for social media ⁠ Timestamps (00:00) Intro (03:20) Katherine is also a composer and improvisor, her feminist posts (05:54) fund for new music, Fatima Landa (12:40) parenting, performance anxiety, oboe reeds (18:46)activism, starting to write about lack of diversity, etc (21:44) Katherine's experience at Curtis as a student, her approach as a teacher (26:02) Katherine the composer (27:00) excerpt from “Land Where My Fathers Died” (link in description to complete performance) (32:26)challenges of performing as an introvert (34:13)other episodes you'll like, different ways to support this series (34:53)solo broadcast concerts, importance of exercise (37:22) auditions (43:02) reactions to her posts (44:39)orchestra musicians as soloists with their orchestras, Kevin Puts oboe concerto (47:06) Marin Alsop, lack of gender diversity in the conducting world (51:21) Queen of Filth digest (55:52) the mandatory dress story and gendered dress codes (59:22) Jennifer Higdon (01:01:24) excerpt from Aria for oboe and piano by Jennifer Higdon with Jennifer Lim on piano (link in description to complete performance) (01:04:37) what Katherine has changed her mind about, presentation and tone, need to prioritize (01:07:50) orchestra playing, chamber music, music education (01:11:50) Katherine's determination to continue Substack and activism, and need to compartimentalize for mental health

Therese Casadesus Rawson talks about her mother Gaby Casadesus and Gaby's book My Musical Notes: A Journey in Classical Piano Between the World Wars and Beyond. This is episode 722 of Teaching Learning Leading K12, an audio podcast. About Gaby Casadesus She has taught French, Humanities, French Diction and French vocal repertoire to singers at the Curtis Institute of Music in Philadelphia for nearly 30 years.  She was President of the Alliance Française de Philadelphie for nearly 10 years and has been President of the Fontainebleau Associations for 25 years: the stateside support group which helps organize and finance the summer Music and Fine Arts program at the Château de Fontainebleau. The French Government awarded Therese the Palmes Académiques in recognition of her teaching activities, and, in 2001, she was named to the rank of Chevalier des Arts et Lettres on account of her efforts on behalf of Franco-American cultural affairs. Our focus is your mother Gaby Casadesus and her book - My Musical Notes: A Journey in Classical Piano between the World Wars and Beyond. About Therese Casadesus Rawson Daughter of the late French pianists Robert and Gaby Casadesus, Therese Casadesus Rawson received a Ph.D. in French language and literature from the University of Pennsylvania in 1977. She has taught French, Humanities, French Diction and French vocal repertoire to singers at the Curtis Institute of Music in Philadelphia for nearly 30 years. She was President of the Alliance Française de Philadelphie for nearly 10 years and has been President of the Fontainebleau Associations for 25 years: the stateside support group which helps organize and finance the summer Music and Fine Arts program at the Château de Fontainebleau. The French Government awarded Therese the Palmes Académiques in recognition of her teaching activities, and, in 2001, she was named to the rank of Chevalier des Arts et Lettres on account of her efforts on behalf of Franco-American cultural affairs. Our focus is Gaby Casadesus and her book - My Musical Notes: A Journey in Classical Piano between the World Wars and Beyond. So much to learn. Awesome discussion! Before you go... You could help support this podcast by Buying Me A Coffee. Not really buying me something to drink but clicking on the link on my home page at https://stevenmiletto.com for Buy Me a Coffee or by going to this link Buy Me a Coffee. This would allow you to donate to help the show address the costs associated with producing the podcast from upgrading gear to the fees associated with producing the show. That would be cool. Thanks for thinking about it.  Hey, I've got another favor...could you share the podcast with one of your friends, colleagues, and family members? Hmmm? What do you think? Thank you! You are AWESOME!   Learn More: My Musical Notes: A Journey in Classical Piano Between the World Wars and Beyond Mozart Two Piano concerto, K.365 with George Szell and the Columbia Symphony https://open.spotify.com/album/1VFuIk59wnK4dHGYAYXZ4F?si=Bs8OAjloQoqkBbcHIsD7ww https://www.youtube.com/watch?v=T-V1O6NAoO8 The one with my mother performing Ravel's Jeux d'eau is found on YouTube when you enter search (Ravel's Jeux d'eau) but there are many versions so one needs to scroll quite a bit. Length - 47:47

 “If I ever stop finding music challenging and life-altering, I'll quit and become an accountant.”  Not to worry.  Pianist Jonathan Biss, a world-renowned educator and critically-acclaimed author, cannot stop finding music challenging and life-altering.  Listening to him speak about Beethoven — or even Verdi, one gleans an obsession with greatness.  At the age of 17, Jonathan attended the Curtis Institute of Music, where he studied with Leon Fleisher, which proved a phenomenal learning experience.  While his life in music provides him with tremendous satisfaction, playing music remains ever a struggle. He regards it as a pleasure and privilege to live this struggle, and to share its results with other people.  As he puts it, “Doing justice to great music is an unattainable goal.”His audio book, Unquiet, My Life With Beethoven is a must-hear.Our conversation is as enlightening as it is entertaining.  Listen for yourself! 

Do you ever feel torn between your performing life, your teaching life, and your family life? Our guest this week on Tales from The Lane, Heather Miller Lardin, was feeling exactly that way until she figured out how to balance it all--making space for what was most important:  Being at the top of her game as a performer Being an incredibly generous mentor and guide for her beloved students Being present for her family (and having the energy they deserve from her) You'll hear how she crafted a bespoke teaching program that gives her students the absolute gold standard of historical performance pedagogy, and has carved out the rest of her schedule with the utmost intentionality to make time for the other parts of her life that are important to her as well.  This episode is full of gems and words of wisdom and experience. You won't want to miss it!  And if you're curious about how the Creatives Leadership Academy can help you to design your life and career with more intentionality so that you can take things up a notch, earn more income, do the gold-standard of whatever it is you love to do, AND have time for the rest of your life, Book a call with me today so we can discuss it! ---> CHAT WITH KATE   Heather Miller Lardin is principal double bassist of the Handel + Haydn Society, director of the Temple University Early Music Ensemble, and co-director of the Philadelphia-based period instrument ensemble Night Music. This season she also appeared with Tempesta di Mare, Bach Choir of Bethlehem, Charlotte Bach Festival, Staunton Music Festival, and Brandywine Baroque. In addition to serving on the faculties of Amherst Early Music and the Viola da Gamba Society of America Conclave, Heather has presented historical bass workshops and master classes at Yale University, James Madison University, and Peabody Conservatory.  Intensely curious about all things historical bass, Heather designs online and in-person workshops engaging like-minded bassists worldwide. Her Baroque Double Bass course is available on discoverdoublebass.com. A graduate of the Curtis Institute of Music, Heather holds a DMA in Historical Performance Practice from Cornell University. She makes her home in the Western suburbs of Philadelphia, where she started playing bass in 6th-grade orchestra. When not teaching, tuning, or chauffeuring teenagers, she might be enjoying a cozy mystery and a good cup of coffee with her two Maine Coon cats. Follow her on IG @heathermillerlardin And be sure to say hi over at @kkayaian 

Sarah Hicks is the in-demand conductor across an array of genres, and as an educator, arranger, producer, writer and speaker committed to creating connections through music.Sarah has worked extensively with all the major orchestras in the US and abroad. She is a specialist in film music and the film in concert genre.  Sarah has acted as advisor on numerous projects for Disney Music Group and is a consultant and frequent collaborator at Disney Concerts. Since 2020, she has been the primary host and writer of “This is Minnesota Orchestra”, broadcast on Twin Cities PBS and streamed globally. She is a frequent guest lecturer and panelist, and was on faculty of the Curtis Institute of Music from 2000 to 2005 and staff conductor until 2012. Her presentation, “The Art of Conducting”, has illustrated collaborative leadership to numerous organizations, civic groups and corporations. Her interest in mental health and music led to the production of a 2019 concert titled “Music and the Mind.”  Her most recent project, "Music and Healing", is a collaboration with the Minnesota Orchestra. Available digitally, the project includes a concert, commissioned works, interviews, and conversations with neuroscientists, wellness experts and musicians.  

Live recording from an AMA (Ask Me Anything) Panel Discussion on April 28, 2024. The panelists of the sessions were:Marta Gardolinska, Music Director, Opera national de LorraineStephanie Rhodes Russell, Founder, Women's Artistic Leadership Initiative; Guest Conductor, Wolf Trap Opera, Cincinnati Opera, Washington National OperaMichelle Rofrano, Artistic Director, PROTESTRA; Guest Conductor, Madison Opera, City Lyric Opera, Curtis Institute of MusicIf you missed my interview with Michelle Rofrano in Season 1 Episode 3 where we discussed programming for social causes, make sure to revisit it: https://theconductorspodcast.com/podcast/3/All About Chaowen Ting

A particularly important episode of the Mind Over Finger Podcast with guest Lara St. John where we discuss the context and impact of sexual abuse, the lack of representation, and how women often don't get the support they need.  Lara shares her own experiences and she stresses the need for institutions to step up and create a safe space for everyone by being transparent, and having clear steps to handle sexual harassment and assault.  Finally, we touch on the power dynamics and gender issues in the classical music world and the difficulty of addressing these issues in a society that often prefers to stay silent    Download the transcript from this episode HERE   MORE ABOUT LARA ST. JOHN Website:  https://www.larastjohn.com/ YouTube channel:  https://www.youtube.com/@StJohnLara Facebook: https://www.facebook.com/AncalagonRecords Instagram: https://www.instagram.com/stjohnlara/ Lara St. John & the Curtis Institute: https://larastjohn.club/  Resources RAINN (Rape, Abuse & Incest National Network): https://www.rainn.org/ Offers support, information, and a hotline for victims of sexual assault. National Sexual Violence Resource Center (NSVRC): https://www.nsvrc.org/ Provides resources and information on sexual violence prevention and support for survivors. Me Too Movement: https://metoomvmt.org/ Advocacy and support network for survivors of sexual violence. Time's Up: https://timesupnow.org/ An organization that addresses workplace sexual harassment and inequality. Equal Employment Opportunity Commission (EEOC): https://www.eeoc.gov/ Federal agency providing information and support on workplace discrimination and harassment. National Women's Law Center (NWLC): https://nwlc.org/ Provides legal information and resources related to sexual harassment and gender equality in the workplace. Writers Guild of America's “MYConnext” Tool: https://www.wga.org/members/employment-resources/know-your-rights Resource for reporting workplace harassment and finding support. The Black Orchestral Network: https://www.blackorchestralnetwork.org/ Advocacy for equity in orchestral settings, including addressing issues of harassment and discrimination. American Federation of Musicians (AFM): https://www.afm.org/ Union providing support and resources for musicians, including initiatives against harassment. Chicago Federation of Musicians' #NotMe App: https://cfm10208.com/musician-resources/fair-employment-practices-and-notme An app for reporting harassment within the music industry. Change the Culture Committee – Proposal Document: https://drive.google.com/file/d/13f_eQl2VEaRF1pxIKkdsUcJr4mEmNy87/view?usp=sharing Articles  Lara St-John & The Curtis Institute – Articles catalog: https://larastjohn.club/  Sammy Sussman – Articles catalog: https://sammysussman.com/reporting?fbclid=IwZXh0bgNhZW0CMTAAAR0KtQ42ZfE7azBHCTWlp5ErasRAyAYWAjrdzwBOPPPAJmlCZcmwnH3kAlQ_aem_ZmFrZWR1bW15MTZieXRlcw  A Hidden Sexual-Assault Scandal at the New York Philharmonic - Two musicians were fired for sexual misconduct. Why are they back with the orchestra?  https://www.vulture.com/article/new-york-philharmonic-sexual-assault-scandal.html Abused, then mocked- acclaimed violinist says she was sexually assaulted by her renowned teacher at the Curtis institute, and then disregarded when she reported it  https://www.inquirer.com/news/a/lara-st-john-sexual-abuse-jascha-brodsky-curtis-institute-philadelphia-20190725.html They Wouldn't Believe Me https://larastjohn.club/philadelphia-inquirer-subsequent-articles/they-wouldnt-believe-me-1 Top Music School Finds Sexual Abuse Allegations From Violinist 'Credible' https://www.npr.org/2020/09/23/916108440/top-music-school-finds-sexual-abuse-allegations-from-violinist-credible Investigative Report 2020 - Statement from the Curtis Institute Board of Trustees https://www.curtis.edu/about/institutional-policies/investigative-report-2020/ The evolution of #MeToo https://www.michigandaily.com/arts/evolution-metoo/?fbclid=IwZXh0bgNhZW0CMTEAAR01peoxpx0nkteuYsbKRI7YGmItXKk-AmiymMtHSLFyOkcfexxLq8UH0BY_aem_WbvxwAylau31GKIPEcDNvw Tainted History - Former Juilliard composition students share allegations of sexual harassment and misconduct https://van-magazine.com/mag/juilliard-sexual-harassment/?fbclid=IwZXh0bgNhZW0CMTEAAR1p_C22c0w4D-YFUyxca3r-uDaaHapH5Ef9Lwbfejr4S4toB0ImL5vZP8o_aem_JvRLjIQ8FxqIBJdzJXQfnA Cleveland Orchestra Fires Two Musicians for Sexual Misconduct https://www.nytimes.com/2018/10/24/arts/music/cleveland-orchestra-sexual-harassment-misconduct.html#:~:text=The%20accusations%20first%20surfaced%20in,and%20making%20a%20lewd%20advance.%E2%80%9D Calgary Philharmonic removes two musicians after month-long investigation over ‘troubling comments' https://www.theglobeandmail.com/arts/theatre-and-performance/article-calgary-philharmonic-removes-two-musicians-after-month-long/ Assaults in dressing rooms. Groping during lessons. Classical musicians reveal a profession rife with harassment. https://www.washingtonpost.com/entertainment/music/assaults-in-dressing-rooms-groping-during-lessons-classical-musicians-reveal-a-profession-rife-with-harassment/2018/07/25/f47617d0-36c8-11e8-acd5-35eac230e514_story.html Music professor retires from Rice following allegations of inappropriate conduct with female students https://www.houstonpublicmedia.org/articles/news/education-news/2024/05/29/488887/rice-william-vermeulen-allegations-inappropriate-conduct-female-students/ Demondrae Thurman no longer serving in Jacobs School of Music roles after sexual misconduct allegations https://www.idsnews.com/article/2024/05/demondrae-thurman-no-longer-serving-jacobs-school-of-music-sexual-misconduct-allegations Music's Perpetually Open Secret - 18 years after they were first reported, allegations of sexual harassment at the Butler School of Music have continued https://van-magazine.com/mag/open-secret/ Former students bring 40 years of misconduct allegations against SMTD professor - https://www.michigandaily.com/news/community-affairs/former-students-bring-40-years-misconduct-allegations-smtd-professor/ As sentencing nears for violinist, four women say he sexually abused them while at UNC school - https://www.charlotteobserver.com/news/state/north-carolina/article260382977.html Violin professor who taught around the world is charged with sex attack  https://www.independent.co.uk/news/uk/crime/royal-college-of-music-london-alfie-boe-south-africa-borough-b2285682.html James Levine's Final Act at the Met Ends in Disgrace  https://www.nytimes.com/2018/03/12/arts/music/james-levine-metropolitan-opera.html Opera Star David Daniels Pleads Guilty to Sexual Assault  https://www.nytimes.com/2023/08/04/arts/opera-star-david-daniels-guilty-plea-sexual-assault.html Royal College of Music investigating misconduct complaints https://www.thetimes.com/culture/music/article/royal-college-of-music-investigating-misconduct-complaints-8nhkp0qx6 Senior professor at Royal College of Music quits over health issues after complaints of gross misconduct upheld  https://www.dailymail.co.uk/news/article-13305193/royal-college-music-senior-professor-quits-health-issues-gross-misconduct.html

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Sophie Shao, Assistant Professor of Cello at the University of Connecticut. They talk about her experience attending the Curtis Institute of Music at the age of 13, experience with competing in major competitions, her teaching influences, and much more!For more information on Sophie, visit: https://www.sophieshao.com/You can also find Sophie on Facebook and Instagram: @shaosophie1YouTube: @shaocelloTo Listen to  Sophie's latest  album, CanCan Macabre, visit Apple Music, or Spotify.If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram, TikTok and YouTube @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Camden Shaw, founding member of the Dover Quartet. They talk about his journey from a student at the Curtis Institute of Music, to becoming a founding member of the Dover Quartet, which was named one of the greatest string quartets of the last 100 years by BBC Music Magazine! Camden also shares his views on what it takes to project inside a string quartet, and much more.For more information on Camden, visit: https://www.doverquartet.com/about/camden-shawFor more information on the Dover Quartet: https://www.doverquartet.com/You can also find Camden on Facebook and Instagram: @cellomonkYouTube: @CelloMonkIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram, TikTok and YouTube @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

Nina Simone - Be My Husband Hess Edit By Petko Turner 3 DL > https://hypeddit.com/mrturner/bemyhusband-petkoturner Nina Simone (/ˈniːnə sɪˈmoʊn/; born Eunice Kathleen Waymon; February 21, 1933 – April 21, 2003) was an American singer, songwriter, pianist, arranger, and activist in the Civil Rights Movement. Simone employed a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop. Born in North Carolina, the sixth child of a preacher, Waymon aspired to be a concert pianist. With the help of a few supporters in her hometown of Tryon, North Carolina, she enrolled in the Juilliard School of Music in New York. Waymon then applied for a scholarship to study at the prestigious Curtis Institute of Music in Philadelphia, where she was denied despite a well-received audition. Waymon became fully convinced this rejection had been entirely due to racial discrimination. Years later, two days before her death, the Curtis Institute of Music bestowed on her an honorary degree. To make a living, Eunice Waymon changed her name to "Nina Simone". The change related to her need to disguise herself from family members, having chosen to play "the devil's music" or "cocktail piano" at a nightclub in Atlantic City. She was told in the nightclub that she would have to sing to her own accompaniment, and this effectively launched her career as a jazz vocalist. Simone recorded more than 40 albums, mostly between 1958, when she made her debut with Little Girl Blue, and 1974. She had a hit in the United States in 1958 with "I Loves You, Porgy". Simone's musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice

Marc A. Scorca joined OPERA America as president and CEO in 1990. Under his leadership, OPERA America has become one of the most respected arts service organizations in North America. Its membership has grown from 120 opera companies to nearly 4,000 organizations and individuals, and its reach extends to 80,000 annual visitors at the National Opera Center and over 83,000 subscribers across digital channels worldwide.Marc has administered over $20 million in grants and prizes to opera companies and artists for audience building, business innovation, civic practice, co-productions, and the development of new work. Due in large part to his contributions to the organization, OPERA America was inducted into the American Classical Music Hall of Fame in 2013.Marc has served as a member of the U.S. delegation to UNESCO, an officer of the Performing Arts Alliance, and on the Music Advisory Boards of Hunter College (CUNY) and the Curtis Institute of Music.

Miguel Harth Bedoya has been the Music Director of the Fort Worth Symphony Orchestra for 20 years and is now their Music Director Laureate. In addition to other Music Director positions he has held, he has also guest conducted major orchestras around the world such as the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, and the Chicago Symphony - to name only a few. He is currently the Mary Franks Thompson Director of Orchestral Studies at Baylor University. We begin by asking Miguel about the differences in conducting various levels of orchestras, ranging from student orchestras to the top orchestras in the world... and his main thought is, "The love of music is very important." I also ask him about score study, to which he explains why a piece sounds different to him each time he reads and studies its score. (He also mentions how reading Cervantes' Don Quixote three times over the years gave him a different understanding of the book each time he read it.) Miguel was the conductor for the premiere and recording of Jennifer Higdon's Cold Mountain, and he talks about the process of bringing a new opera to life. We end with an explanation of why an orchestra is like a research laboratory.[Subscriber content] In Part 2, we begin by talking about Miguel's background. He was born in Peru, and we trace his journey as a student from Peru to Chile to the Curtis Institute and finally to Juilliard. He was an assistant conductor for the New York Philharmonic when Leonard Slatkin was delayed in getting to a concert, and he talks about jumping in at the last moment. He also talks about a later experience conducting Copland's Appalachian Spring with that great orchestra. We finally turn to his career as a teacher, and his belief that building a foundation is critical to becoming a conductor. We end on a non-musical note... his helping with the disposal of garbage in Fort Worth... known as the "Cowboy Compost"... while he was Music Director of the Fort Worth Symphony.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!

Johann Sebastian Bach is a name every musician knows. He is revered as a composer whose music defined musical practices in the Baroque era and whose compositions still influence music and musicians today. Learning about his music and learning to play his music is required study for any music major. But we harpists do feel a little neglected. We play one of the instruments that Bach did not write any music for. Of course, that doesn't stop us from borrowing extensively from his keyboard music, his violin and cello sonatas and partitas and his lute music. Much of Bach's music is well-suited to the harp with rippling scale passages or rich chords.  My first in-depth encounters with Bach's music were in my piano lessons when I was about 12 years old. My teacher was insistent about how the preludes and inventions I was studying should be played: how long each note should be, how the music was made up of melodies played together, or how the harmonies moved in progression. It was my first exposure to the real building blocks of music, besides simple key signatures and chords. Somehow Bach's music seemed to define and explain much of the rest of the music I encountered. In my studies in college, at The Curtis Institute of Music in Philadelphia, I learned much more about the inner workings of Bach's compositions and the lasting impact it has had, not just in terms of the wealth of beautiful music he wrote, but also in the effects his music had on every composer since his time. What I want to share with you today is not simply how learning more about Bach will make you a better harpist and all-around musician, but specifically how three familiar pieces by Bach can work together to help you improve your finger agility and evenness, your chords, your melodic flow, and your understanding of a couple of key musical concepts.  You probably already know and play at least one of these pieces, and possibly all three. What I want you to come away with today is a new understanding of how these pieces are constructed and how to use this information to become an even better harpist. Links to things I think you might be interested in that were mentioned in the podcast episode:  Fall Retreat registration is open now. Related Resource: Podcast Episode 109 Why Other Musicians Study Bach and Why You Should Too  Related resource Bach and My Friend Edward Aldwell blog post Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-154  

In this episode, we explore the multifaceted journey of Mary Lou Falcone, a luminary in the world of music public relations. From her early days as a promising student at the Curtis Institute to her impactful career managing classical music stars, Mary Lou shares the melodies of her life's work. She delves into the challenges of navigating the music industry, the art of storytelling through music, and the personal resilience needed when life takes an unexpected turn. Mary Lou's story is a testament to the power of passion, perseverance, and the enduring impact of music on our lives. Subscribe for ad-free interviews and bonus episodes https://plus.acast.com/s/the-unmistakable-creative-podcast. Hosted on Acast. See acast.com/privacy for more information.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Jim Nova, 2nd trombonist with the Pittsburgh Symphony Orchestra About Jim Nova James Nova joined the Grammy award-winning Pittsburgh Symphony Orchestra in 2009 as second/utility trombone. In 2012, Nova made his solo debut with the PSO, performing Henri Tomasi's Concerto for Trombone and Orchestra. Prior to that, he was a member of the Utah Symphony Orchestra where he served eight seasons as assistant principal/second trombone.  Since 2012, James Nova has found a new passion in multitrack recording, also known as "overdubbing." Overdubbing is a process by which a musician records all the parts of a piece of music one by one and layers the recordings on top of each other to create a full ensemble. Nova has released dozens of stunning and virtuosic tracks of his own challenging arrangements of exciting repertoire for trombone choir. The arrangements employ many different trombones: contra bass, bass, tenor, small tenor, alto, and even soprano trombones! James Nova has had a lifelong love of John Williams' film scores and in December of 2017, he released a new overdub album for trombone choir, A Fall from Light to Dark. Through the chosen moments of John Williams' masterful scores, this album musically chronicles the rise and descent of Anakin Skywalker as he transforms into Darth Vader. Truly a one-man show, this album's transcriptions, playing, recording, editing, mixing, and mastering were all done by Nova himself. James Nova has always been passionate about music education. When not on stage at Heinz Hall with the Pittsburgh Symphony, he can be found at the Mary Pappert School of Music at Duquesne University where he is adjunct trombone faculty, as well as the brass coach of the Three Rivers Young Peoples Orchestras. Given their widespread popularity, Nova's recordings are playing an impactful role in inspiring the next generation of musicians and budding recording artists and he is frequently invited to teach outside the region. Since 2012, he has completed more than 85 visits to prominent festivals (such as the International Trombone Festival, American Trombone Workshop, and the Korea Trombone Festival, among others) and reputable educational institutions (such as the Curtis Institute of Music, Juilliard School of Music, and New England Conservatory, among others) as the featured artist and educator in concerts, masterclasses, and clinics. James Nova studied with Glenn Dodson at the Curtis Institute of Music followed by study with Norman Bolter at the New England Conservatory of Music. While in Boston, Nova played regularly with the Boston Symphony Orchestra and the Boston Pops Orchestra, including recordings and television broadcasts as both principal and second trombone.  James Nova is an S.E. Shires Artist and performs on his signature line of Greg Black Mouthpieces. For more info, visit jimnova.com or hear his recordings at soundcloud.com/jimnova

Two-time Grammy-winning mezzo-soprano, Curtis Institute of Music graduate, and former varsity basketball captain J'Nai Bridges joins host Khadija Mbowe for a free-flowing conversation about her wide-ranging musical influences, structured systems for success, and the public humiliation that (inadvertently) led to her becoming a star. In February 2024, Bridges joined The Philadelphia Orchestra to announce the upcoming rededication of its home inside the Kimmel Center for the Performing Arts as Marian Anderson Hall. It will be the first major concert venue in the world to honor the late performer and trailblazer.Music from this episode: BIZET, HABANERA,  J'Nai Bridges in the Canadian Opera Company's 2022 production of CarmenJ'Nai Bridges with Gustavo Dudamel, Los Angeles Philharmonic, and YOLA (Youth Orchestra Los Angeles) perform “Whole World In Your Hand” during Global Goal: Unite for Our Future on June 27. Links from this episode:READ MORE: The Philadelphia Orchestra to Rename Its Home at the Kimmel Center for the Performing Arts MARIAN ANDERSON HALL in Honor of the Legendary Contralto, Civil Rights Icon, and Philadelphian:  https://www.philorch.org/about-us/contact-us/press-room/news-releases/the-philadelphia-orchestra-to-rename-its-home-at-the-kimmel-center-for-the-performing-arts-marian-anderson-hall-in-honor-of-the-legendary-contralto-civil-rights-icon-and-philadelphian/Want more Marian Anderson? Listen to our season one episode with Jillian Patricia Pirtles, CEO of the National Marian Anderson Museum: https://www.buzzsprout.com/1364857/5986438 Marian Anderson Museum: http://marianandersonhistoricalsociety.weebly.com/J'Nai Bridges:https://jnaibridgesmezzo.com/https://www.instagram.com/jnaibmezzo/https://www.facebook.com/jnaibridgesmezzo/The Philadelphia Orchestra's HearTOGETHER series is generously supported by lead corporate sponsor Accordant Advisors. Additional major support has been provided by the Otto Haas Charitable Trust.

SynopsisPerhaps there is some poetic justice in the fact that maverick American composers like Charles Ives had a hard time getting performances of their music during their lifetime, only to be both lionized and frequently performed after their deaths. Conversely, many mainstream American composers who were lionized and frequently performed when they were alive seldom show up on concert programs anymore — and in some cases, that's a darn shame.Take Walter Piston, for example, who in his day was regarded as one of America's premier composers. On today's date in 1957, his Viola Concerto received its premiere performance by the Boston Symphony, in a concert conducted by Charles Munch, with soloist Joseph de Pasquale, a Curtis Institute professor and first-chair violist of the Philadelphia Orchestra.It's a lovely, lyrical work and a terrific showcase for a great violist. But have you ever heard it in concert — or on the radio, for that matter? A British reviewer, writing in the UK's Gramophone magazine, was bowled over by this music, writing, “Piston's concerto opens pensively, quickly builds to an aching climax … in the final pages, a sweeter lyricism that prepares the listener perfectly for the playful syncopations of the exuberant finale.”Music Played in Today's ProgramWalter Piston (1951-1987): Viola Concerto; Randolph Kelly, viola; Latvian National Symphony; Alexandrs Vilumanis, cond. Albany TROY-558

March is just around the corner, so the team is back with our monthly picks of the coolest things to do, places you've gotta eat, and free events to enjoy. Host Trenae Nuri talks with executive producer Laura Benshoff, Hey Philly newsletter editor Asha Prihar, and producer Abby Fritz. Here's a full list of our recommendations for March: Hilltop Books Lucky Day Book Sale Free Rita's Water Ice Free Admission To PA Trails Of History Sites And Museums The Lucky Well Incubator hosts Hatch Cover Philly Queer Birders Spring Equinox Event “Weeds to Know Before You Hoe” event Philadelphia Flower Show 2024 Southeast Asian Market Kickoff Weekend Official Boathouse Row Relighting Ceremony Phillies Season Home Opener at Citizens Bank Park Vault & Vine Cafe Free Recitals at the Curtis Institute of Music To listen to our episode about birding in Philly, click here. Want some more Philly news? Then make sure to sign up for our morning newsletter Hey Philly. We're also on Twitter and Instagram! Follow us @citycastphilly. Have a question or just want to share some thoughts with the team? Leave us a voicemail or send us a text at 215-259-8170. Interested in advertising with City Cast? Find more info here. Learn more about your ad choices. Visit megaphone.fm/adchoices. Learn more about your ad choices. Visit megaphone.fm/adchoices

Lang Lang visits Google to perform pieces from his new album, “The Chopin Album”. This album includes the second set of Chopin's Études, the Andante spianato & Grande Polonaise, and a selection of shorter works that he has long enjoyed performing, including three Nocturnes and the Waltz op. 64 no. 1, popularly known as the "Minute" Waltz. Chopin has accompanied Lang Lang throughout his career. One of the first pieces he learnt was the Grande Valse brillante in E-flat major, and it was Chopin's music that also carried him through a number of career-changing competitions. And it was with the Chopin Études that Lang Lang made his now-renowned Beijing Concert Hall recital at age 14 -- a performance that led to his studying with Gary Graffman at the Curtis Institute in Philadelphia. Originally published in October of  2012. Visit http://youtube.com/TalksAtGoogle/ to watch the video.