Podcasts about curtis institute

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 

Send us a Text Message.Dwayne Haggins primarily plays in Massachusetts and across the East Coast. However, he is coming to Colorado during the month of June 2024 for not one, but two shows! He first became inspired to play the guitar in 2016 after watching Sturgill Simpson appear on Conan O'Brien's talk show, teaching himself to play and eventually mustering the courage to go to an open mic. After performing at the open mic, he realized that performing live truly inspired him. He started playing at more open mics, then gigs, then more gigs, to the point where he can now be a musician full-time. Eric Richard Stone says he comes from a classically trained musical family. Many members of his extended family were original faculty members of the Curtis Institute of Music in Philadelphia and even started the Bay Chamber Concert Series. Stone himself went to the Quaker school known as Germantown Friends School, where he sang in the choir and took music theory classes. Thank you for listening to The Mountain-Ear podcast featuring the news and culture from peak to peak. If you would like to be featured in the podcast, contact the host at media@themountainear.com!SUBSCRIBE ONLINE and use the COUPON CODE PODCAST FOR A 10% Discount for ALL NEW SUBSCRIBERS https://www.themtnear.com/subscribe/ You can find us online by visiting https://www.themtnear.com/Find us on Facebook @mtnearYou can contact our editor at info@themountainear.com.Thank you for listening.

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  

On today's episode, Scott interviews Greg Pattillo, an American flutist, recognized worldwide for his signature beatbox flute sound. Since 2007, his solo videos have reached over 100 million views, featuring his arrangements, that span the gamut of musical styles, from Nintendo's Super Mario Brothers to Prokofiev's Peter and the Wolf. Greg has been featured on TV shows that include Jay Leno and iCarly, and his music was also featured in the 2017 Lego Ninjago movie, as the beatbox flute music of Master Wu. As a published author of his beatbox flute method books, Mr. Pattillo has taught masterclasses on beatbox flute and improvisation, at numerous higher education institutions, that include The Juilliard School, Curtis Institute of Music, and Berklee College of Music. In addition to his solo career, Greg is a founding member of the touring musical ensemble, The Project Trio, that has over 100,000 subscribers on their YouTube channel. This multi-talented beatbox flutist and educator, certainly GOT CHOPS! Follow Greg on  Website: https://www.pattillostyle.com/ Patreon: https://www.patreon.com/gregpattillo Beatbox Flute Method Books: https://www.flute4u.com/Pattillo-G-Beatbox-Flute-Method-Book.html Instagram: https://www.instagram.com/pattillostyle/ Twitter: https://twitter.com/pattillostyle Facebook: https://www.facebook.com/pattillostyle.beatboxflute/ YouTube: https://www.youtube.com/@freedomworksfilms Spotify: https://open.spotify.com/artist/6qgTBDlZ968Xb9SdoIA25f TikTok: https://www.tiktok.com/@pattillostyle Follow Got Chops on Instagram: https://www.instagram.com/gotchopspodcast/ Listen to Got Chops Podcast on - Spotify: https://open.spotify.com/show/6Pjh7tC3aTpeMFEhmn4fp4?si=699ae5b84e544cb5 - Apple Podcasts: https://podcasts.apple.com/us/podcast/got-chops/id1587699754 - Anchor: https://podcasters.spotify.com/pod/show/gotchops - YouTube: https://www.youtube.com/playlist?list=PLp5wwP8DvMPkqI4VM2VMlcufn6a-CzlHM Follow Scott on Instagram: https://www.instagram.com/scottgrimaldimusic/ Website: www.grimaldimusic.com Spotify: https://open.spotify.com/album/6DKn05Vy0ABShIU37u58vR --- Send in a voice message: https://podcasters.spotify.com/pod/show/gotchops/message

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

Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   TRANSCRIPT   Kathleen Parlow Part 1  Welcome to this very first episode of the Historical Strings Recording Podcast.  A show that gives you a chance to hear rare and early recordings of great masters and their stories.  Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles',  a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past.  I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world' on par with Mischa Elman, or the ‘greatest lady violinist in the world', and ‘the girl with the golden bow'.  She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow.  And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890.  Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco.  Very soon, still aged six, she gave her first recital in San Francisco.  So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest.  So where would we be without the chin rest, really? He's attributed with inventing it.  Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition.  of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? Like the teacher of the teacher of and all of a sudden you're in like the Well, Spohr was born 14, he's 14 years younger than Beethoven. Oh, okay. So, he was born in 1784, but he lived a lot longer. He lived over 20 years longer than Beethoven. Oh, wow. And that's fascinating. So, Henry Holmes, Kathleen Parlow's teacher, was taught by this guy who would have known Beethoven? Yes, absolutely. And objected to Beethoven.  Was shocked by his music. Well, I mean, I think sort of the, you might say the more mature Beethoven or the more daring Beethoven. But I think, you know, I'm sure maybe some of Beethoven's early works were much more acceptable. They were more normative, so to speak. Oh, okay.  So Kathleen's in San Francisco and her parents' marriage is breaking down. Her father, Charlie, moves back to Calgary where he dies of tuberculosis the year after. But Kathleen, she rockets on and is becoming more and more well known. Her new teacher sees real talent in the girl, and this teacher, Henry Holmes, he has contacts to make things happen. And he helps arrange a tour for her and playing engagements in England. So for this to happen, Kathleen's mum, she's, she's I'm getting stage mum vibes. Yes.  Because she's still very, still very young. Oh, yeah. I mean, I can't believe she wasn't playing with dolls.  And this would have been a conversation between Minnie, Kathleen's mum, and the teacher. It probably wouldn't have been a conversation with her as a child. No, probably not.  You don't really choose much when you're six, seven. No, that's true. So the problem they have is that they have no money. So, so what do you do, Eric? You have no money, you have a prodigy. You exploit the prodigy by having them play and make an income for you, which is something that happens unfortunately to many, many talented musicians coming from, you might say, less well-off families. They end up becoming the breadwinner. All their focus gets put upon these, these kids. And so not only do they have the added burden of playing and making sure they keep up They're playing well, but they also have the burden of making sure that they play well enough to make an income so that their families can survive. I mean, that's a very familiar story, and it's a story that has more failures than winners, I'm afraid, because you do hear about the winners. You do hear about the Misha Elmans or the Yasha. Well, Heifetz is a little different because he had a more middle-class family, but you do hear of Oskar Shumsky, for example, who I know I knew personally, he says, don't believe that these violence that you hear about having normal childhood behind every great violence, there's always a mama or a papa. And I think he himself endured that kind of pressure, the pressure to somehow become. The breadwinner, or let's say the some, the pressure to become a great violinist, primarily because he would serve as the breadwinner for the family. Well, if you think about it, you could say that.  Violin playing in the early 20th century was very dominated by Russians, particularly Russian Jews. And one of the reasons for that was that in Russia, all the Jews were confined to an area known as the Pale of Settlement.  In other words, a designated area that they could live in, but they could not leave that particular area. And basically, some very gifted young students could get into university or could go into a conservatory, and one of the big examples was Misha Elman, and Misha Elman, you might say left the Pale of Settlement to go study with Leopold Auer in St Petersburg. And they had to get all sorts of permission to do that. Well, the success of Misha Elman, the global success, the international success, I think resonated so well. with the people in the ghetto that they sort of saw, wow, this is one of our boys and look what he's done. He's now playing for the crowned heads of Europe. So I think for them, they felt this was a way out. And if you think about it, the film, Fiddler on the Roof,  which is a famous musical and it was adapted as a famous film. And basically, that film, just the very title, talks about the Fiddler on the Roof. And the setting is in the Pale of Settlement, the Jewish ghetto in Russia. They're often subjected to random attacks by the Cossacks and all sorts of difficulties. But here, despite all that, you know they manage to survive. And of course the image of the Fiddler on the Roof. The violinist is exemplified, you might say, by Misha Elman, who literally grew up in the Russian ghetto. Yeah, and Misha Elman, he'll, he'll become, he He'll become important in our story, yeah. The money. This is not a problem. There is a wealthy admirer called Harriet Pullman, Carolan, in San Francisco. And she pays for Kathleen and her mother to take the trip to England. And in 1904, at the age of 14, Kathleen plays for King Edward VII at Buckingham Palace. And then in the next year in 1905, she and her mother, they come back to England. This tour marks the beginning of a life that she would lead for years to come of performing and playing. And so by the time she was 15, she was touring and playing with the London Symphony. And it was in a concert at the Wigmore Hall in London that she really shoots to fame.  So is the Wigmore Hall, is that, is that still today an important place to play? Oh, extremely so. It's funny because the Wigmore Hall was originally called the Bechstein Hall, and obviously during the wars, it became a much more the name was more neutralized to become less dramatic, and it became named after the street it's on, which is Wigmore Street. It was always a very important venue, but around the sort of 60s In the 70s it had declined a bit in its status because the South Bank had been built and so the Wigmore Hall was a little bit relegated to a sort of a little second class status. But in the past 20 years or so the Wigmore Hall has catapulted to  fame again and it's today one of the most distinguished halls. In London. All right. Okay. And this is, this is pre war. So it's, it would have been called? Bechstein. Okay. So it would have been called the Bechstein Hall when she played? Probably. Oh yeah, definitely. So the Bechstein Hall was, I think first opened in 1901 and it was built by the piano manufacturers, the German manufacturers Bechstein, hence the name. And after the First World War, I believe it was changed to a more neutral sounding, less Germanic name, and it adopted the name of the street that it's currently on, which is Wigmore Street. Incidentally, the first concert at Wigmore Hall was actually performed, was a violin and piano recital, performed by Eugene Ysaye and Federico Busoni.  And then one night in London, Kathleen and her mother went to another concert of another child prodigy called Mischa Elman. And he was, so he's the fiddler on the roof guy, and he was almost exactly the same age as Kathleen. He was just a few months there's just a few months difference between them. And she, she hears him playing this concert and she's, she's just blown away. Blown away, and after the concert, she and her mother decide that Kathleen, she just has to go and have lessons from the same teacher as this, as this, as Mischa. So the only thing, only little thing about Mischa Elman's teacher is that he is in Russia. And as far as anyone knows, no foreigners study in the St. Petersburg Conservatorium, but that is about to change. Definitely no ladies. So, Kathleen and her mother had arrived in England with 300 raised by their church in San Francisco and this was, it just wasn't enough to get them to Russia and to the conservatorium where the famed Leopold Auer was a professor, but get there they would because Kathleen's mum, Minnie, still had a few tricks up her sleeve. She went and petitioned the Canadian High Commissioner.  So she must have been, I feel like Minnie, she must have been very persuasive. Like there was nothing was getting in between, you know, her daughter and this career. Forceful, a task to be reckoned with, certainly. Yeah. She's like we'll get to England, we have no money. Not a problem. We're gonna, we're gonna get this teacher. He's in Russia. Not a problem. No foreigners. It, you know, it doesn't, it doesn't seem to be a problem for her, no girls. Not a problem. No foreigner has ever studied in this St. Petersburg conservatorium. Not daunted. They're off. They go. So to pay the cost travel, Minnie managed to get a loan from Lord Strathconia, the Canadian high commissioner.  And from there, mother and daughter travelled to Russia. And in October of 1906, Kathleen becomes the first foreigner to attend the St. Petersburg Conservatorium. And in her class are 45 Students and she's the only girl. And we have to remember this is pre-revolutionary Russia. So there's still the Tsar Nicholas the second at this point. Yeah. She's mixing in, in that set. So it's an interesting place to be as a musician. Cause you're frequenting the sort of the upper classes but you can come from, from nothing and arrive there. Her professor was the famed teacher, Leopold Auer, who had a knack of discovering talent. Leopold Auer was actually a Hungarian violinist, and he was trained in Vienna, and he also studied with Joachim.  And what happened was Russia has always had a sort of love for the violin, and they employed many people to teach at the conservatory, because they really embraced Western culture. They had A number of important French violinists come, but their big, you might say, catch was to get Vieuxtemps, Henri Vieuxtemps,  to teach for a number of years at, in St. Petersburg. And after Henry Vieuxtemps, they actually got Henry Wieniawski to teach at the conservatory. And when Wieniawski decided to go back to Europe, they employed Leopold Auer to take his place at St Petersburg. Right. So he's up there with the big names. Well, they were a little bit let down. I mean, that's what they were, I think, a little bit disappointed to replace Wieniawski with Leopold Auer because Wieniawski was such a major violinist. So he had initially a little rough time, but he was adored by Tchaikovsky and Tchaikovsky loved Auer's playing, dedicated a number of works for him, including the famous serenade melancholic, and wrote a lot number of ballet scores, which Leopold Auer played the solos for. But of course, they had a big rift when Tchaikovsky wrote his violin concerto for Auer, because Auer said it was unplayable.  And that really hurt Tchaikovsky's feelings. And it laid dormant for several years before another Russian violinist. Brodsky took it up, learned it, and. Premiered it in Europe first, and only after its success in Europe did he bring it back to Russia, where it became a big success, and Auer felt very bad about that, and in fact, just before Tchaikovsky died, a few months before Tchaikovsky died, story has it that Auer went to Tchaikovsky and apologized to Tchaikovsky for his initial mistrust of the concerto. In fact, by that time, Auer himself had actually performed the concerto, championed it, and taught it to many of his students.  Yeah, and we'll see in this story how sensitive composers are, and how easy it is to hurt their feelings and really create. Like a lot of emotional turmoil. That's coming up. So Auer, like he might not have been their first choice for replacing, but he did have a knack of finding star pupils. That is something that we see, that I see in the conservatorium. Every now and then you have a teacher who's very talented at finding talent. Absolutely. And I know in Australia you have one very distinguished teacher who I think now has been poached by the Menuhin School in, in England. Yes. And we're not going to talk about that. Yes, we won't.  Because it's Must be a sore point.  But we do see, we do see him every now and then when he comes back. So along with Elman and Efren Zimbalist, Parlow becomes one of Auer's star pupils and Auer was so taken with her playing that he often called her Elman in a skirt, which I think is supposed to be a compliment. And in Auer's biography, he writes, he says, “It was during this year that my first London pupil came to me, Kathleen Parlow, who has since become one of the first, if not the first, of women violinists”.  And that, he says that in his biography, My Long Life in Music.  So, Every year, Auer had a summer school in Kristiana, which is Oslo today. And Parlow spent her summers there and became a great favourite in Norway, which leads us to the next and perhaps one of the most marking events in her career and life. At 17, having spent a year at the conservatory in Russia, Kathleen begins to put on public performances she gives solo performances in both St. Petersburg and Helsinki. So these are two places she knows quite well by now. And these concerts were, they were very important as Kathleen's mother really had no money to support them. And so, with but you know, Minnie doesn't bother her, she just ploughs on. And so with the money from these concerts this would have to tide her over.  From letters that I've read, they were living in like this small apartment and then another friend writes, you know this other person, they've been saying you live in a tiny little place, but I'm not going to spread that rumor. And, and so it was a, it was a thing on the radar that they didn't have much money and they were scraping by and they were like frequenting people of much more wealthier than they were, so they were sort of on the fringes of society, but with her talent that was sort of pushing, people wanted to know her. So she makes her professional debut in Berlin and then began, she begins a tour of Germany and the Netherlands and Norway. And in Norway, she performs for the King Hakon and Queen Maud. Of whom she'll become a favorite. And, and her touring schedule was phenomenal. It was just like nonstop. So, yeah. For a 17-year-old that's, you know, she's going all over the world. And you were saying that Auer knew . Do Tchaikovsky do you think Auer, was he was giving her these pieces that did, that influenced him? Yes.  I mean, Tchaikovsky  wrote a number of violin, solo violin works before the concerto, the most famous of which is, of course, the Waltz Scherzo and the Serenade  Melancholique. One is a fast, virtuoso piece, the other is a slow, soulful piece. And I know that Auer was the dedicatee of certainly the Serenade Melancholique, which she did play. So, so Auer's giving her stuff from, you know, his friend Tchaikovsky to play. Now she's 17 and she's touring to support herself and her mother and she has an amazing teacher who probably understands her circumstances all too well because Auer growing up also found himself in her position, supporting his father in his youth with his playing. So she's studying in St. Petersburg, which is an incredible feat in itself. So she must have had quite a strong character and her mother, Minnie, also appears to be very ambitious for her daughter. We're talking about her mother being ambitious, but for Kathleen to, you know, she's her daughter, she, she must've had quite a strong wheel as well. Yes. Well, she certainly did.  I wish we knew more about her because maybe she was very subservient, you know, we have no idea. Maybe she didn't have, I mean, it's a speculation, of course. Yeah. We do have like hundreds of letters from Kathleen and there's a lot between her and Auer, and there's a real sort of paternal, he really sort of  cared for her like a daughter almost and she looked up to him like a father and he was always very correct about it, you know, he would always write the letter to her. To Minnie, her mother the correspondents, it was, and it was always very, everything was very above board, but a very, they were very close. Kathleen later says that after expenses, her Berlin debut netted her exactly 10 pounds.  She didn't know it at the time, but this was an indication of what her future would be like, and she would be sort of financially in a precarious state most of her life, and she would so her routine was she studies with Auer every summer in order to prepare, like they were preparing her repertoire for the next season of touring. So now she has a tour  in 1908, so she's still 17, almost 18. It's in Norway, and to understand just a little bit of the political climate in the country, We can see that Norway, only three years earlier, had become independent of Sweden and had basically become its own country. So there's this this great sense of nationalism and pride in being Norwegian. And they have a newly minted king, King Hakon, who she's played for, and his queen, who was, He was in fact a Danish prince. And then when Norway, the Norwegian parliament asked him if he would like to become the king of Norway when they had their independence. And he said, why not? As part of this great sense of nationalism Norwegian musicians, composers, writers, and poets, they were celebrated and became superstars. And, oh gosh, yes, We can sort of understand. Poets have sort of dropped off the list, but back then poets, they were a big deal.  So you add to this a young, fresh faced, talented Canadian girl who knows and understands their country. She arrives in Oslo to play in the National Theatre, where Norway's very own Johan Halvorsen who's conductor and composer and violinist, he's conducting the country's largest professional orchestra. And that night for Kathleen's concert, she plays Brahms and some of  Halvorsen's compositions and the two, Kathleen Parloe and Halvorsen, they would go on to become quite good friends and Halvorsen regarded her very highly in saying, he said that her playing was superior almost to all the other famous soloists who made guest appearances in the city. So, I mean, a lot of people went through Oslo, so that was, you know, high praise.  And Kathleen quickly Becomes a admirer of his and she would become a driving factor in him finishing his violin concerto that he'd been dithering over for a very long time.  And this is Kathleen playing one of Halvorsen's compositions. It's not his concerto, it's Mosaic No. 4. So back to the theatre. And it was a magical night with the romantic music of Brahms to make you fall in love. And everyone did, just some more than others. And to finish off, there's music from their very own Johan Halvorsen to celebrate you know, a Norwegian talent. So Kathleen plays her heart out and when the concert ended, the crowd goes wild and the 17 year old soaks up the thunderous applause. She's holding on tight to her violin as she bows to adoring fans. Tonight she is the darling of Oslo.  In the uproarious crowd stands a man unable to take his eyes off this young woman. Her playing has moved him and her talent is unbelievable.  This man makes a decision that will change both their lives forever. So, Einar Bjornsson had fallen head over heels for the 17 year old Canadian there and then. She would turn 18 in a few months. And in that moment, he decided to give her the most beautiful gift she would ever receive.  So, who is Einar Bjornsson?  So what we were saying, poets, poets are less of a, you know, a hot shot today, but Einar was the son of a very, very famous poet. A Norwegian businessman and son of one of the most prominent public figures of the day, Bjørnstan Bjørnsson. He was a poet, a dramatist, a novelist, a journalist, an editor, a public speaker, and a theatre director. Five years earlier, in 1903, he was awarded the Nobel Prize for Literature, and one of his poems, called ‘Yes, We Love This Land', was put to music and is the Norwegian national anthem up to this day. So, you could say he was kind of famous in these parts, and his personality alone would have easily filled. A concert hall, that one in Oslo.  Einar's father here, we're talking about Einar's father, he's the poet. Einar himself doesn't appear to have written any poetry. And this, so this situation could have been just fine the whole infatuation, love at first sight thing, except for a few things that put a spanner in the works. To begin with, Einar Björnsson is somewhat older than the youthful Kathleen he's 26 years older.  Then her, in fact, and for a 17 year old, that is a big age gap. So he's 45, but that aside, there is a problem that he's also married and has two children. His daughter is actually almost the same age as Kathleen she's 16, but he doesn't really seem to  see that. All he can see is this violinist and her talent. And he's been just, he's besotted and he's going to make a grand gesture. So obviously, one way to support the arts is to, what patrons do is they will buy, a lovely instrument and lend it to someone. So that's your normal affair. Obviously, one way to show his devotion to her is to find her a better violin. Hers is absolutely not good enough for someone of her talent. And he has to find her something amazing because she is amazing. He's determined to give her the most wonderful gift she has ever received.  So he goes out and he's a businessman. And so he goes to his businessman contacts. And Kathleen would have spoken to her entourage. I imagine, and I now finally finds a violin worthy of Kathleen's virtuosity, and it happens to be one of the most expensive violins on the market in 1908, and it's a 1735 Giuseppe Guarneri Del Gesu violin. It had previously belonged to great violinists  such as Giovanni Battista Viotti and Pierre Baillot. So just to clarify in the violin making world Antonio Stradivari and Guarneri del Gesù are the two top makers. If you're comparing two instruments, if one was owned by no one not anyone that you know. And then another one was owned by Viotti and Pierre Baillot . The one that's owned by Viotti and Pierre Baillot is probably going to be worth more. Yeah. So Viotti, he was just huge. He had a lot of instruments. I think he did a little bit of teaching and dealing on the side, Viotti. Like with the number of instruments named after him, or he just went through a lot of instruments. So she buys this violin, and it's not all smooth sailing to get the violin. Because she, there's this, there's a big correspondence between her and Auer, and we see that actually there's this letter where it says from Auer saying, I saw Hamming very cross.  He says that the violin is compromised if he takes it back. So at one point, I think she may have changed her mind about this violin, but Hamming the dealer was not okay with this. All the I'm just trying to read his writing, it's not that easy. All the papers brought the news That Kathleen bought it so the newspapers have already, so the, you've got Hamming, that's annoyed, the papers have already said they've bought this violin and he could not, it says he could not sell it soon and repeat the sale, waiting till he finds something equal to the Guarneri. He showed me a Strad, indeed wonderful, asking 60, 000 livres, which must be pounds, right?  A nice fellow, isn't he?  And now, goodbye, write to me.  Love, Auer.  They do end up getting the violin. They, they don't get the 60, 000 Strad that Hamming Gets all upset about and offers, which I think he might have been exaggerating the price just to make him calm down about and to keep the del Gesu. Then Einar gives this to Kathleen. So this is a very kind of strange situation because normally you don't, you don't actually give, the patrons don't actually give their instrument to the No, absolutely. That's a remarkable gift. Just in terms of, I mean, the gesture is very magnanimous, but in terms of financial, there's just a financial cost or value of the gift is quite enormous. And  so really after only knowing her for a month, Einar transfers this money into her account and she travels, Kathleen travels to Germany to the Hamming workshop and purchases her del Gesu violin for two thousand pounds  and in today's money  according to an inflation calculator, that is three hundred thousand pounds. Almost four hundred thousand US dollars. More than half a million Australian dollars, which at the time was a lot for a violin as well. So we're not I mean, I, today you'd be kind of happy to buy a Del Gesu for half a million, but then it was, it'd be a bargain. So, it's interesting this, like, he buys this, this young violinist this very expensive present and it's a, and it's a grey area and it's fraught with debate ethically, really. And I feel like today musicians find themselves sometimes in this position where they're sort of indebted to the, to a benefactor. It's almost feudal. I I feel cause at the same time you're very happy that they're lending it to you, but got to keep an eye on if it's a healthy relationship to. To get the money he had to get, you know, half a million pounds pretty quickly. If you remember, Ina's father was a very famous poet who'd won a Nobel Prize in literature and part of the prize is that you win a large sum of money. And so, what does Einar do? He goes and asks Dad. So he asks, he borrows, he borrows most of the money actually. Goodness knows how he convinced him, but you know, he's a businessman. And also for the remaining, he's married, remember, and he's married to, actually, to an heiress, and he takes a bunch of her, her dowry money and transfers this to essentially a teenager he met a month ago. The purchase of this incredibly expensive violin attracted, it attracted the attention of the press internationally, but journalists It's never really questioned the fact that this, this gift was given to a young woman by a, by an established family man. So everyone was just like, Oh, isn't it amazing? Because normally in this circumstance, people don't often give the instrument. You buy it as an investment and you'll lend it to someone. I think I've heard of like very few, very few cases of things being gifted, but actually normally your standard practice is to, to lend it to people. And most people playing on strads, that's, that's what it is, someone's lent it to them. How would you feel about someone giving a 300, 000 instrument to your daughter, who's a teenager? Well, I'd be, I mean, I'd just hate the sort of obligation that would involve, because On one hand, it is a very wonderful gift if it is a gift, but you almost expect that  there is some expectation in return, don't you? Yeah. It's like he's bought her almost.  Kind of.  So, Einar, as, as I mentioned, he's, he's from a well known Norwegian family. They're very patriotic. His father's writings really established a sense of pride and meaning to what it was to be Norwegian. And he was. Like his father was this beloved figure in the country and he was quite frankly a hard act to follow. But his children gave it a good shot.  You have Einar was one of five children. His father Bjornstein Bjornsson was the poet and public figure. He worked in a theatre. His mother was an actress when he'd met her. Which is a little bit risque also for the time. So they're a bit more of sort of an acting bohemian theatre family. His older brother Bjorn Bjornsson, just to be complicated here, his brother's called Bjorn Bjornsson.  And not to be confused with Bjornstein Bjornsson, his father. So he was a stage actor and a theatre director.  Like his dad. He was a playwright and he was the first theatre director of the National Theatre. And that was the big theatre in Oslo where Kathleen played. He was also quite busy in his personal life, because his first wife was Jenny Bjornsson. I mean, another Bjornsson. Boarding house owner. So he married her for four years. So this is Einars older brother. He married her for four years, then he divorced her, then he married an opera singer. Called Gina Oselio for 16 years, but then he, they, they got divorced, and then he married in 1909 Aileen Bendix, who was actually Jewish, and that's an important point, that she was Jewish, because at this time, things are kind of soon things will start heating up in Europe. And then he was, then there was Einar's younger brother called Erling Bjørnson, and he was a farmer and a politician for the Norwegian Far Right Party. So he was extreme right. Bit of a fascist. The other brother. So he was elected to the parliament of Norway and he was very active during World War II. So his two brothers have very, like, polarized opinions. Einar himself, he was a passive member of the far right party, but during the war years at that time that was the only party that people were allowed to be part of, so you can't, it's hard to tell his political leanings from that. Then he has a younger sister.  Bergliot Bjornson, and she was a singer and a mezzo soprano, and she was married to a left wing politician Sigurd Ibsen, who was, he was the son of a playwright, and he becomes the Norwegian Prime Minister, so he plays a central role in Norway getting its independence. He met Einar's sister because he's a big patriot. Einar's father is a big patriot and that's how they were kind of family friends. It's not bad, you know, having your husband as the prime minister. Then he has another little sister called Dagny Bjornson and she was 19 when she marries a German publisher called Albert Langdon and so they're sort of like leftish as well. So Einar, he marries the sister of Albert Langdon. So they have this joint brother sister wedding. On the same day, the Bjornson brothers sisters marry the Langdon brothers sisters. But, the important thing to know is that the Langdons are very, very wealthy. They're orphans and they, they've inherited a lot of money. And so, but then Dagny, she ends up leaving her husband. Goes to Paris and works at another newspaper. And this is all in the, you know, the early 1900s.  So she had this amazing life and then and then she marries another man, a French literate called Georges Sartreau well he comes also from a very wealthy family. Then you have Einar, who's a businessman, and he marries Elizabeth and they have two children, and his life is like not that remarkable. I think the most exciting thing he does is fall in love with Kathleen, I suppose, and sort of runs after her and her violin. From Kathleen's diaries, we can see the day after this concert in Oslo on the 10th of January, it's written 10th January, Mr Bjornson, 11;30am She meets with him the day after skiing and tobogganing with the Bjornsons. She has a concert the next day, but the day after that it's dinner with the Bjornsons, then another concert. And then she plays for the King. Then she goes to dinner with the Bjornsons. So this is just an excerpt from her diary for those weeks. And the next day, it's just Mr. Bjornson. That's just her meeting him not with the family. And maybe this is where he says, you know, I'll get you a violin. Maybe that was that meeting. And then on the 28th of February, she's in Germany and, and he's there. Einar is there. He goes to see her. Then on the 6th of March, she's in Amsterdam and in her diaries, you know, Mr Bjornson, he's there. He's kind of like, I don't know if this is creepy. He's following her around and then, and it's around about this time that he buys the violin for her. So she finishes her tour and she goes back to England and a month later in her diary, who rocks up?  I know, he's there.  In England, and she's still only 17 there. It's like he's kind of shadowing her a bit. Yes, it's that next level patronage.  And then there's the, the aesthetic at the time, the, the pre-Raphaelite willowy type woman, which she fits perfectly into. And Kathleen, if you, if you see Kathleen, it's kind of like. John William Waterhouse, his paintings. There's women in these long flowy robes with flowers in their hair and long willowy postures and, they're often like, you know, they're flopping about on something like a chair or there's this one holding this pot of basil. And there's that famous painting, The Lady of Shalott, where you've got this woman float, is she, is she dead? She's floating in the water with her hair and, and all this fabric and flowers and.  In a promotional article, there was this quote from a review in the Evening Sun. “Kathleen Parlow, tall, straight, slim, and swaying as the white birch sapling of her native Canada, but a spring vision, but a spring vision all in pink from her French heels to her fiddle chin rest and crowned with parted chestnut hair of a deeper auburn than any Stradivarius violin made an astonishing impression of masterful ease”. I don't know if men were described like this, but they loved her. She's like a white birch.  Well she's very slender, she had beautiful long hair she was very thin, very fragile, and I think she sort of exemplified this pre Raphaelite beauty basically and that was so enchanting to have someone who  was almost from another world playing the violin divinely. I think she must have cut an incredibly attractive image  for the day. Absolutely. Yeah. And then she would have been like playing these like incredible romantic pieces. It would be juxtaposed with her playing. Yeah. And yeah. Yes. So she was this real William Waterhouse figure with her violin.  So she's lithe and willowy, and she has her touring schedule, which was phenomenal. She, so she tours England, Finland, Belgium, Germany, Poland, Denmark, Sweden, Norway. Just to name a few. It just kind of stopped after that. It was just never ending. And you have to remember it's the beginning of the 20th century,  and traveling, it's not like it is today. It was much more. Uncomfortable. I mean, it's incredible. You see one day she's in one country, the next day in another country. So this must have been quite fatiguing. And she's just playing night after night. Her mother, Minnie, she's her, she's, they're quite close. She's, and often like with these, with prodigies, often their parents. They're best friends, like they're the only constant in their life. So in the summers, she returns to Oslo every year for the summer school hour that's helping her for the next concerts. She spends quite a lot of time with Halverson, going to lunches and teas and rehearsals with him. You can see this in her diaries.  But is this, is this kind of the life of a musician as well? Like you have to, you have to go to a lot of teas and lunches with people to please patrons and so on. Yes, I think you do because musicians don't normally have much money and so to ingratiate themselves to patrons and sponsors they really had to coax them into help Yeah, because she's living this life sort of beyond her means, going to the theater, going to concerts and things, and sort of a balancing act. Back in Norway, and a week after she turns 18, there's an entry in her diary, play for Mr. Bjornson, and the next month her entries, they change slightly, and she'll now just call him E. B. For Einar Bjornson and the entries will say things like E. B. arriving and then often like a week later It's E. B. leaving and in her diaries, it's intermittently always though he'll be there for a week wherever she is often in England or and every few months He'll just pop up, you know in London in Germany in the Netherlands And he just always happens to be happens to be there and what's interesting is she has these hundreds of letters archived Of her writing to friends, to family, to her pianist. And it's really interesting that there's zero letters to Einar. There's no correspondence between them, which I think is maybe on purpose, they may be, they have to have been removed because she just writes letters to everyone, but we don't have these, any letters from them, so it just leaves things up to speculation. This brings us to the end of part one in the story of Kathleen Parlow. I would encourage you to keep listening to the music of Kathleen. To do this, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify, or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. I hope you have enjoyed her story so far, but stick around for part two to find out what will happen with her career, the violin, the man who gave it to her, and the mystery behind a missing concerto that Kathleen would, in part, help solve after her death.  Goodbye for now.   ​ 

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.

This week's episode is unusual because 4 musicians are featured, the members of the Euclid Quartet. They are a world-class string quartet celebrating their 25th anniversary with a fantastic album of short pieces, entitled Breve, and we are featuring several pieces from that album as part of this episode. Breve album: https://breve.hearnow.com/ You'll get to know each member of the quartet, which is in residence at Indiana University South Bend: Jameson Cooper, violinist and founding member originally from England; you'll hear about his experiences as a student of Dorothy Delay, and Roland and Almita Vamos. He also talked about the formative years of the quartet and the nuts and bolts of learning repertoire. The other violinist in the quartet is Aviva Hakanoglu, who holds degrees from Harvard, Indiana University and Stony Brook university and was a student of Philip Setzer, and it was really interesting to hear about her experience auditioning for the quartet and her perspectives on community outreach and as an educator. Violist Luis Enrique Vargas is a long-time member of the Euclid quartet, and started his life in music in Venezuela at the age of 14, and spoke about introducing Latin American composers to his colleagues. Finally cellist Justin Goldsmith is the newest member of the quartet. When he was completing his Master's degree at Indiana University he formed the Vera quartet which held residencies at both IU and the Curtis Institute of Music, where he was also a Community Artist Fellow. I was curious to learn more about the many roles the quartet plays in their capacities as performers, educators and collaborators, and to hear them speak about the special joys and challenges of being members of a full-time quartet.   Like all my episodes, you can also watch this on my YouTube channel, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/euclid-quartet Euclid Quartet website: https://www.euclidquartet.com/biography Please support this independant podcast! https://ko-fi.com/leahroseman Did you know that I send out a weekly email newsletter with Sneak Peeks of upcoming guests and lots more? Sign-up here: https://mailchi.mp/ebed4a237788/podcast-newsletter Timestamps:  (00:00) Intro (04:46) Jameson Cooper, getting into chamber music, putting the album Breve together (08:12) Luis Enrique Vargas Latin Amercian composers (10:07) Metro Chabacano by Javier Alvarez (14:05) American Masterpieces grant, diversity of representation in programming, youth outreach (16:50) the career of a string quartet incorporating outreach and education, Rehearsing Philadelphia (21:22) intro to Italian Serenade, Aviva on the challenge of recording (22:29) excerpt from Italian Serenade by Hugo Wolf (23:45) rehearsal process (25:20) Jameson the early years of the Quartet, Aspen (29:58) James Cooper studies with Dorothy DeLay, Roland and Almita Vamos, Masao Kawasaki (33:45) intro to Shostakovich Polka (36:18) Shostakovich Polka (36:16) Aviva audition experience joining the quartet (42:18) Aviva's advice for dealing with nerves (43:40) orchestral auditions and chamber music auditions, Jameson Cooper's experience as a conductor (47:48) please support this series!  (48:27) Luis conducting project, his love of whistling (51:55) Aviva intro to Four, for Tango  (53:22) Four, for Tango by Astor Piazzolla from live performance (58:23) Hugo Kauder (01:00:56) Luis Enrique Vargas how he became a violist  (01:03:15) Justin Goldsmith experience of joining the quartet (01:04:48) Schubert Quartettsatz Jameson Cooper (01:07:28) excerpt from Schubert's Quartettsatz (01:09:00) importance of chamber music in music education (01:12:23) Anna Clyne Fischoff Quarter Days (01:13:54) new audiences and different projects (01:20:11) string quartet life (01:26:26) Aviva Hakanoglu on teaching (01:28:54) the advantages of variety and versality for performers  --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Trumpeter Dave Bilger has had a stellar career as both a performer and also as an educator. He was principal trumpet with the Dallas Symphony, and following that, principal trumpet with the Philadelphia Orchestra for many years. In addition to the 27 years he's taught at the Curtis Institute of Music, he's also Professor of Trumpet at the Northwestern University Bienen School of Music and has given master classes around the world.As an example of how music can have a profound influence on a person's, and even a family's, life, we begin our conversation with my asking Dave about how he was able raise funds in order to bring Baset Azizi from Afghanistan to the United States and how that impacted not only Baset, but his family as well. Dave continues by talking about his two main teachers and their different approaches to teaching, David Hickman and Mark Gould... in addition to his week of study with Tom Stevens. As a student, Dave was a member of the summer student orchestra, the Colorado Philharmonic, and talks about what it was like to have Michael Sachs (principal trumpet, Cleveland Orchestra) and Doug Prosser (principal trumpet, Rochester Philharmonic) as room-mates during his second year. We end part one with an extended discussion of auditions, including musical preparation, mental approaches, and some current issues with the orchestral audition process.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

THE TOP SIX EPISODES OF 2023 It has been an amazing year at Podcast Talent Coach. On this episode, I want to share with you the best of 2023. These are the top six most downloaded episodes of 2023. DECREASED DOWNLOADS Have you seen a decrease in your downloads in the fourth quarter of 2023? It is probably due to a change with Apple Podcasts. Apple released iOS 17 in September of 2023. That update came with a change to Apple Podcasts and how episodes are downloaded. According to Apple, automatic downloads are paused when a device is out of available storage or when a listener hasn't played a show they follow. If a listener hasn't played one of the latest five episodes for more than 15 days, downloads are paused. Apple says pausing downloads is to preserve device storage. This change is communicated to listeners with a pause indicator on the follow icon located at the top right of the show page. If a listener resumes playing that show, or changes the download preferences for that show, Apple Podcasts will resume automatically downloading episodes. The big difference for your podcast is how previously unplayed episodes are handled with the listener resumes playing the show. Before iOS 17, when a listener would unpause automatic downloads, the system would automatically download all unplayed episodes. Your podcast would then get credited with those downloads. With iOS 17, Apple Podcasts will not download previous episodes and will only resume automatically downloading new episodes. BRING THEM BACK This change is why is it so critical to keep listeners coming back week after week, episode after episode. It isn't enough to simply get people to subscribe to your show. You need to get them to actually listen consistently. At the end of each episode, creatively tease your next episode. Create some intrigue and anticipation for the next show. Bring them back. When you publish your new episode, tell your tribe about it. Share it on social media. Send an e-mail to your list and invite them to listen. It is important that you tease here as well and not simply promote. Promoting next week is info only. When I say, "Next week we'll talk with Dan Miller", that's promoting. It does very little to create any anticipation for the episode. To creatively tease the episode, I need to create some intrigue. I might say, "Next week, Dan Miller joins us and will show you how to build a business with no money required." A powerful tease opens the loop and gives listeners something to get excited about. However, it shouldn't be something you can Google. I don't want to say, "Dan Miller will share his 48 Low- or No-Cost Business Ideas next week." You can Google "48 Low- or No-Cost Business Ideas" and find Dan's resource. There is no reason to come back to the episode to get the answers. No need to wait. You can go get them now. Tease effectively. SUBSCRIBE My downloads took a dip in fourth quarter like everyone else. It would really help if you would subscribe or follow this podcast right now. Grab your phone. Let's do this right now. On many podcast platforms, simply open the episode. Click that follow or subscribe button on the page. Even if you think you are already subscribed, please grab your phone and check. It would be a tremendous help to me. This week, get out and share your podcast with your tribe. Let's get those downloads coming back. Now, the top six episodes of Podcast Talent Coach in 2023. #6 BEST OF 2023 Number six is Creating a Custom Intro – PTC 433. The introduction of your podcast is probably the most critical part of your show. A custom intro takes it to a whole new level. A typical listener will give you between 90 seconds and a few minutes to entice them to stick around. Don't blow it. You can't catch up to a slow start. When you create your intro, tell your listener how they will be better after listening to an episode. Your listener is asking, "What's in it for me?" A custom intro adds show biz. It is unique to your show. And, it can be very affordable. The opening of your show will have 2 or 3 parts. You can use a highlight clip from the show, which is optional. It will be followed by the voiceover introduction of the podcast. Finally, you will give the introduction to this particular episode.   BEST OF EPISODE 433 On this episode, I want to show you how you can get your own custom theme music and voiceover without breaking the bank. Rick Stewart helps podcasters create their custom intro that is unlike any other podcast. Rick Stewart founded his own Jingle Company right out of college. He eventually moved to Nashville and spent years singing backup on recordings for Country Music Icons and Christian Artists. Rick has partnered with his son T.J. to create custom themes and voiceovers for podcasters. T.J. is a multi-instument musician and music producer. His writing and producing skills are amazing. Rick combines his skills in writing and producing jingles, and years of professional voiceovers, with T.J.'s mastery of writing, performing and producing music to create amazing custom intros and themes for your show. You will discover why you need a powerful intro, why a custom intro is so important and how to get started. Give it a listen at www.PodcastTalentCoach.com/episode433. #5 BEST OF 2023 The number five episode of 2023 is 6 Steps To Profitable Podcasting – PTC 429. It sounds so easy. So, why is it so difficult to create a profitable podcast? The gurus make more money by making it sound quick and easy for you. The truth is... It is easy to understand. However, the implementation becomes difficult when you are trying to do it yourself without a step-by-step system. YOUR PROFITABLE SYSTEM On this episode, I am going to give you the 6 steps to build a profitable podcast. Just keep in mind that it will take diligent, consistent effort to reach your goals. These 6 steps will sound easy. You will find yourself saying, "Everybody knows that, Erik. This doesn't sound like magic." That's because it isn't magic. It is a system. Stop throwing things against the wall to see what sticks. Instead, Focus. Follow one course until successful. At the end of this episode, I will invite you join me in a program that will walk you through this entire system to create your profitable podcast.   BEST OF EPISODE 429 You can get all six steps to profitable podcasting on this podcast. We also talk about the Podcast Profits Accelerator. In this program, you will... Grow your audience, increase your downloads and add subscribers to your podcast Increase your impact and influence in your niche to monetize your show Build a strategy that will attract your ideal clients on a consistent basis If you want real help building and implementing this podcast profit framework, you really need to be in the Podcast Profits Accelerator. You can get enrollment details at www.PodcastTalentCoach.com/accelerator. Give it a listen at www.PodcastTalentCoach.com/episode429. #4 BEST OF 2023 The fourth most downloaded episode of 2023 is The Magic Of Rapport – PTC 425. So many podcasters struggle to make money with their podcast. It is the primary challenge when coaches come to me for help. The thing they are missing is rapport. Building rapport is the biggest piece of the sales process. And most podcasters miss it with their podcast. On this episode, I want to help you refine your process, so you can make money with your podcast. Don't make it harder than it needs to be. STRATEGY You know how most podcasters don't make money with their show? They waste a lot of time on their podcast when it doesn't do anything to grow the business? I am a content coach. I help you build powerful, sales relationships with your podcast. If you ever want to try it, the process is really simple. First, we have a 30-minute conversation where we get clear on your podcast goals, what you hope to accomplish and how the podcast works into that plan. Next, we figure out where you are today, determine what you've tried in the past, and build the strategy to get you to your goals. And if you like what we've built, and you want some help implementing your strategy, I can show you what that would look like. You can only continue to dump so much time and effort into an ineffective podcast that isn't bringing you clients and growing your business. Doing what you're doing isn't getting you to your goals. My clients enjoy the freedom, success and financial gain by attracting clients through their podcast. They free up their time and relax with a real strategy to consistently and easily attract clients with their show. Implementation of the strategy we build helps them quickly and easily grow their revenue without the frustration, hard sales and guess work. I have a few slots on my calendar if you want to meet, find the holes in your strategy, and craft your strategy to make money with your podcast. Visit www.PodcastTalentCoach.com/apply and we'll talk.   BEST OF EPISODE 425 There are the 7 steps to building rapport with your podcast. Now it is time to get started. You can only continue to dump so much time and effort into an ineffective podcast that isn't bringing you clients and growing your business. Doing what you're doing isn't getting you to your goals. My clients enjoy the freedom, success and financial gain by attracting clients with their podcast. They free up their time and relax with a real strategy to consistently and easily attract clients with their show. Implementation of the strategy we build helps them quickly and easily grow their revenue without the frustration, hard sales and guess work. I have a few slots on my calendar if you want to meet, find the holes in your strategy, and craft your strategy to make money with your podcast. Visit www.PodcastTalentCoach.com/apply and we'll talk. Give it a listen at www.PodcastTalentCoach.com/episode425. #3 BEST OF 2023 The number three episode of 2023 is How To Make Money With Your Podcast – PTC 423. So, you want to make money with your podcast. Why? I know that sounds like a crazy question. Who doesn't want more money? Dig a little deeper. What is really driving your desire? What would more money do for your business, your family, your mission and your life? How could a successful strategy that helps you consistently make money with your show change your life? Let's look 5 years down the road. Imagine what you can accomplish in 60 months if you know where you're going and have a plan to follow. Can you see it? Can you see how your life is different? That's why you want to make money. It isn't the money. It's all about the transformation in your life that the money makes possible. One of my clients told me, "If we are able to generate leads, that is awesome. If we are helping change people's lives, and they are reaching out to us, that would be a success. Becoming a resource is the goal." Money makes the mission possible. What would that feel like if that transformation came to life 5 years from now? How great would it be to be clear on your actions and relieving all that stress? You know you have the expertise to change lives. Your success is just a matter of getting in front of your ideal clients. That is the power of an effective podcast strategy. I'm going to show you the four steps to make money with your podcast. If you are struggling, your strategy probably has a hole in one of these areas.   BEST OF EPISODE 423 Only 3% of your market is buying today. A fraction of your target market is actively looking to make a purchase right now. Another 7% could possibly be convinced they need it now. For 30% of your audience, the time isn't right. The next 30% don't believe they need it based on the info the currently have. They need more education. Your final 30% may never buy. They may be a user of different brand or have different needs. If you are spending all of your time closing, you are missing 97% of your target market. Even you convince that 7% that could be sold, 90% of your audience isn't looking to buy right now. You are missing a huge opportunity. We talk about an effective approach on this episode. Give it a listen at www.PodcastTalentCoach.com/episode423. #2 BEST OF 2023 The second most downloaded episode of 2023 is Why ChatGPT Means You Matter Even More – PTC 430. ChatGPT is all the rage. It's also the reason why you now matter even more than ever. As an oversimplified definition, Chat GPT uses artificial intelligence like Siri on your iPhone or your Alexa smart speaker. It is just much more powerful. GPT is short for Generative Pretrained Transformer. We'll get into a deeper definition in a bit. What I want you to understand is the impact it will have on your podcast. NOT ALL INFO Your podcast cannot simply be information. ChatGPT has nearly all the information anyone could ever need. It is the depth of the internet with the conversation of Alexa. It was an early Monday morning in March of 1995. I had just started my new job as Program Director of an alternative radio station in Lincoln, Nebraska. I was standing in the jock lounge. It was basically an open room with a countertop around the perimeter. All the DJs kept their stuff in there. Sitting on the countertop was a big, bulky, desktop computer. It was primarily used to schedule music logs for the stations. However, this particular computer was connected to the World Wide Web. The mid-90s was when the internet really started taking off. We would pull up a site called Webcrawler. It was the first search engine to be widely used. It was also the first to fully index the content on web pages. One of the primary investors in Webcrawler was Paul Allen of Microsoft. But, we'll get to that connection in a minute. As we played with Webcrawler, we could find anything we wanted. I typed in all sorts of words and phrases to see what would come up. Baseball, bullfrogs, blues music. It was all there. IT'S ABOUT TO CHANGE And that's when I realized the world was about to change. The Encyclopedia Britannica set and the World Books we had in the basement of my mom's house were no longer relevant. Why would I search the encylopedia when I could use Webcrawler? Now, I know you're probably thinking the use of an encyclopedia sounds ludacris. Or I just sound old. Either way, it was the dawn of a new day. This also meant my radio show could no longer be the interesting bits of trivia or music news I typically shared. I would need to serve my listeners something Webcrawler couldn't. That something turned out to be me, my story and my personality. Webcrawler couldn't copy that. Rather than sharing the tidbit that Bob Mould was once a member of Husker Du and then of Sugar, I needed to talk about the strange sounds coming from the apartment next door last night or the time Ozzy Osbourne wouldn't stop talking to my girlfriend. Thanks to Webcrawler and the World Wide Web in 1995, it was indeed a different world and time for a new approach. HERE WE GO AGAIN And that's where we are again today. ChatGPT has the information. If you are only serving information on your podcast, you are the new version of the Encyclopedia Britannica.   BEST OF EPISODE 430 In this episode, we talk a lot about sharing your story and personality to separate you from ChatGPT and make you unique. You can continue to deliver information episode after episode and end up fading away like the Encyclopedia Brittanica. Or you can share a little bit of you on every episode and build long-lasting, powerful relationships with your listeners. If you would like help developing stories for your show, grab my Story Development Worksheet at www.PodcastTalentCoach.com/story. Developing your personality is a little more involved. I would love to help you walk through that process. We can talk about that during your Podcast Strategy call. It is my gift to you. No charge. We just develop a powerful strategy for your show. Go to www.PodcastTalentCoach.com/apply, click the button and apply to have a chat with me. We will develop your plan and see how I can help and support you to achieve your podcast goals. Give it a listen at www.PodcastTalentCoach.com/episode430. #1 BEST OF 2023 The most downloaded Podcast Talent Coach episode of 2023 is Unique Podcast Business – PTC 426. Let's take a look at each of the six steps to build your podcast profits framework. Step one is your Podcast Platform. This is your foundation and your why. TaVona Denise worked with me to build a strong foundation and a powerful “why” for her show. She worked as a nurse, but no longer loved the profession. She transitioned out of nursing into a new career. Soon, she began coaching other nurses to do the same and find the career they loved. This quickly became her purpose in life and she built her show around helping nurses launch their own businesses. AUDIENCE ATTRACTION Step two is your Audience Attraction. This step helps people discover you. You get in front of new potential listeners and show them how you can help. This is all about partnerships, attraction and engagement. You want to find influencers who are already speaking to your ideal clients and partner with them. Greg Payne is the host of the Cool Grandpa podcast. He was around 350 downloads per month. After implementing the Audience Explosion Blueprint, his monthly downloads hit 854. When I put this step into place with my own show, I was able to double my downloads in the span of three months. I basically doubled my audience in 90 days. That was after 275 episodes as well.   BEST OF EPISODE 426 On this episode, we talk with Anne Sullivan about using her podcast to grow her harp teaching business. Anne Sullivan began her career as a concert harpist at age twelve when she appeared twice as soloist with the Philadelphia Orchestra. A native of the Philadelphia area and a graduate of the Curtis Institute of Music, she is in demand as a recitalist, chamber musician and symphonic soloist. Her orchestral appearances have included engagements with the Baltimore Symphony, the Delaware Symphony where she was principal harpist, the Pennsylvania Chamber Orchestra, and the Chamber Orchestra of Philadelphia.  In 2012, Ms. Sullivan founded Harp Mastery®, an online resource which now serves a worldwide community of harpists. Her creative approaches to teaching harp students of all ages focus on helping harpists achieve harp happiness, which she defines as "playing the music you want the way you want." Through her blogs, a podcast, online courses, challenges, live events, and proprietary coaching process, Harp Mastery® continues to empower every harpist to find fulfillment and joy in their harp playing. Learn more at harpmastery.com.  Anne now uses her podcast to grow her business and connect with her students. In our conversation today, you will get many nuggets to help you in your business as well. Anne shares with us how she launched her podcast, how she uses the podcast in the business and how her first episode turned out. Give it a listen at www.PodcastTalentCoach.com/episode426. ARE YOU READY? Are you ready to have a conversation with me? If you don't have a mentor who can take your hand and walk you every step of the way, go to www.PodcastTalentCoach.com/apply, click the button and apply to have a chat with me. We will develop your plan and see how I can help and support you to achieve your podcast goals. Next week we will talk with podcast lawyer Gordon Firemark and determine if your podcast is legal.

Composer and pianist Julius Eastman's personal philosophy was, “To be what I am to the fullest.” A graduate of the Curtis Institute, his music was highly acclaimed and challenged racist and homophobic stereotypes. Find out more in the 'Rhapsody in Black' podcast.

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Composer Steven Mackey has come a long way since his teenage years studying physics at the University of California, Davis, and learning blues-rock riffs on his guitar. Today Mackey stands as a celebrated composer and electric guitarist whose work is regularly performed by orchestras around the world — including the Los Angeles Philharmonic, the National Symphony, and the Boston Symphony. He's taught composition at Princeton University for nearly 40 years and has served as a composer in residence at the Curtis Institute of Music, Tanglewood, and the Aspen Music Festival. On his latest album, Beautiful Passing, Mackey brings together two works inspired by personal experiences that deeply informed his views on memory, life, and death: Mnemosyne's Pool, which Musical America called "the first great American symphony of the 21st century"; and Beautiful Passing, a violin concerto Mackey composed after watching his mother pass away from cancer. Despite the presence of death woven throughout both works, Mackey made sure to find moments for levity and humor in his music. "Part of death is a farewell to this joyous life and the energetic people my parents were," Mackey says on the latest episode of the Classical Post podcast. "There's a depth of emotion that music is really uniquely suited for. Where words are a struggle to come by, music bypasses those language centers and gives you a direct emotional response." In this episode, we talk more about the new album, and Mackey shares the profoundly moving story of his mother's death and how it influenced Beautiful Passing's title. Plus, he discusses the parallels he sees between filmmaking, cooking, and composition, and his go-to spot for Italian food on Manhattan's Upper West Side. Listen to Beautiful Passing on Spotify, Apple Music, Idagio, or wherever you stream and download music. — ⁠Classical Post⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠Gold Sound Media⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

Episode Notes Bio: Isaac Hurtado is a professional operatic tenor, voice teacher, non-profit founder, and business owner. He has performed over 30 leading tenor roles for opera companies across the country, specializing in Italian and French repertoire. He made his Carnegie Hall debut in June 2023, and performed the tenor solos on the award-winning recording of Mosaic for the Earth, released on the Tonsehen label earlier this year. Later this season he will star as the Prince in Dvorak's Rusalka for Opera Orlando, and as Don José in Carmen for Opera Southwest. He is an Associate Professor of Voice and Director of Opera at Utah Valley University, serves as General Director of Utah Valley Operafest, and is the owner of Utah Vocal Arts Academy. His students have gone on to perform with opera companies all over the world, including The Metropolitan Opera, and have been admitted into nearly every major vocal program in the country including The Juilliard School and Curtis Institute. He founded the UVAA Summer Opera Festival (now Utah Valley Operafest) in 2011, which brings young performers from around the world to Utah each July to train and perform for the community. Isaac and his wife, Kim, are the parents of eight children and three grandchildren- plus one more on the way!

Stanford Thompson is a musician and educator who serves as the Founder and Executive Director of Play On Philly and Founding Board Chairman of El Sistema USA and the National Instrumentalist Mentoring and Advancement Network. Recognized as a TED Fellow, Stanford believes that music is a powerful tool for positive personal and community change. Mr. Thompson serves on the faculty of the Global Leaders Program and regularly presents for major arts and business conferences, institutions, and stakeholders about leadership, entrepreneurship and social justice. As a principal of Goldsmith Strategies, he has guided the strategic development of dozens of organizations across the United States while collaborating with local and national initiatives to develop new strategies and programs that provide equitable access to the arts. As a professional trumpeter, Stanford has performed as a soloist and member with major orchestras around the world and continues to perform throughout the Philadelphia region. Stanford is a native of Atlanta, GA, a graduate of the Atlanta Symphony Orchestra's Talent Development Program and holds degrees from The Curtis Institute of Music and the New England Conservatory's Sistema Fellows Program. --- Support this podcast: https://podcasters.spotify.com/pod/show/artssalon/support

Meet Steve Hackman, a visionary composer, conductor, producer, and songwriter who is redefining art music in the 21st century.Steve is a graduate of the Curtis Institute of Music and the Juilliard School, where he honed his skills as a conductor and composer. He has been praised by The New York Times as "a rising star," and has received critical acclaim for his innovative fusion of classical music and popular genres such as hip-hop and rock.In this episode, we dive into Steve's background, his early interests, and how they still show up in his work today. We explore the role of a conductor and the key skills and attributes needed for success in the field. Steve also shares his creative process of merging two seemingly different genres and the challenges he faces in doing so.One of his most notable fusions is his mashup of Drake and Tchaikovsky, which garnered international attention. Steve walks us through his thinking behind this unlikely combination and the impact it had on audiences.We also discuss Steve's favorite fusion and what makes it stand out to him, as well as his exciting future projects that push the boundaries of music even further.Today's episode uncovers: The world of Steve Hackman, the visionary composer, conductor, producer, and songwriter renowned for his groundbreaking fusion of classical and popular music. Get ready to explore how he seamlessly blends these two genres, creating compositions that redefine musical boundaries. The diverse array of influences that drive Steve Hackman's extraordinary creativity. Through this episode, you'll gain insights into the sources that inspire his fusion works, ranging from the enchanting allure of film and the electrifying energy of sports to the deeply personal experiences that shape his musical vision. Steve Hackman's artistic process in this immersive podcast episode. Discover how he weaves the threads of improvisation, experimentation, and meticulous refinement to craft mesmerizing musical journeys. Be prepared to witness the magic of how these elements intertwine, resulting in cohesive and profoundly impactful compositions. Steve Hackman's musical evolution as he delves into his original works in this exciting podcast installment. Experience the artist's unyielding dedication to finding his unique musical voice and pushing the boundaries of art music. Join us as we witness firsthand the unfolding of a remarkable artistic journey that promises to challenge conventions and inspire fellow creators. Join us for an insightful thought-provoking discussion with Steve Hackman on "Truth in This Art", where we explore the innovative ways he's bridging the gap between classical and popular music. A must-listen for music enthusiasts and industry professionals alike!

Pianist Jeffrey Chappell reflects on his life and his formative mentorships first with pianist Jane Allen, and later with the legendary Leon Fleisher.  In this encore episode, Jeffrey reveals his early childhood genesis story with the piano; his studies at the Curtis Institute and Peabody Conservatory, and path that led him to an astounding last minute substitution for Claudio Arrau with the Baltimore Symphony. He addresses overcoming challenges and adversity and speaks about his lifelong meditation practice and his book Answers from Silence. Support the show

SynopsisOn today's date in 1933, the Philadelphia Orchestra was performing at its summer home at Robin Hood Dell. Conductor Alexander Smallens led the world premiere performance of a new work by a 23-year-old composer named Samuel Barber. It was his first orchestral composition to have a major public hearing, but oddly enough, young Mr. Barber himself was not in attendance. He was in Europe that summer, and so missed the premiere of his Overture to The School for Scandal, a musical romp inspired by the 18th century English Restoration comedy of the same name by Richard Sheridan.Even before he had left the Curtis Institute of Music, where he pursued a triple major in piano, composition, and voice, Barber had begun winning prizes that enabled him to study abroad. Until the outbreak of the Second World War, Barber's musical career was quite Euro-centric. His School for Scandal Overture, in fact, was written in Italy in 1931. Barber's First Symphony premiered in Rome in 1936, and the following year was played by the Vienna Philharmonic at the 1937 Salzburg Music Festival. That led to stateside performances and commissions from conductors like Bruno Walter and Arturo Toscanini.Music Played in Today's ProgramSamuel Barber (1910 – 1981) School for Scandal Overture Baltimore Symphony; David Zinman, conductor. Argo 436 288

Elizabeth Zharoff is an internationally acclaimed and world renowned opera singer, music producer, AI voice for self-driving cars, YouTuber and proud mother to a beautiful boy.  She has degrees in music and voice from Oberlin Conservatory, Berklee College of Music and the Curtis Institute of Music, has sung in over 18 languages across Europe, Asia, and North America, and produced music for over 20 video game titles.  On YouTube, she has amassed over 1.3 million followers analyzing voice across multiple genres, with over 240 million views and 30 million watch hours, focusing on vocal technique, performance and music composition. Elizabeth and I had a wonderful conversation about her musical training, career as an opera singer, transition in YouTube and all the success that followed, vocal technique, and much more. Please welcome Elizabeth Zharoff.

Michelle Cann – Revival: Music of Price and Bonds (Curtis Studio)Pianist Michelle Cann has had a pretty incredible journey. Her path into the world of piano led her to the Cleveland Institute and the Curtis Institute of Music, which is where she teaches. In 2022, she was the recipient of the Sphinx Medal of Excellence. Now, her journey goes down another life-changing path with the release of her debut recording, Revival: Music of Price and Bonds.“Growing up, I didn't play any music by any Black composers other than church music. Nothing in the classical field was really ever assigned to me. I wasn't really aware of anyone except for Scott Joplin,” Cann says. “And it wasn't until 2016 that I was introduced to the Florence Price Piano Concerto and I was asked to play it. I'd never heard of her, never heard of the piece, and I read through it. You can only imagine that moment and put yourself in my shoes. I've never been aware of somebody like her in this field.“And I remember, at that point, I was reading her story. I was looking for anything I could find about her. I was looking to see, ‘What else did she write?' And then one of the things that was out there at that time was her piano sonata. How have I never heard of this piano sonata? I'm a pianist!“I remember exactly where I was, sitting at the piano in my apartment at the time, and I was reading through it and there were tears going down my eyes. One of the most beautiful things ever written for piano is the second movement of that piano sonata. And I called my mother and I was emotional and my mom was getting emotional because I asked myself, ‘How could they deny this woman her place in history? Why did no one know to share this with me?'“It was from there that I came across Margaret Bonds. I read that Margaret Bonds was actually one of Florence Price's most successful students. They met because Price moved to Chicago alone. She moved from Little Rock, Arkansas. She had kids, was divorced and had no connections. She was just starting to make them. And one of them was with the Bonds family. They actually took her in.“And Margaret Bond, of course, had her own story. She went on to become a great composer and pianist, and she premiered many of Florence Price's works as a performer. She didn't write as much for solo piano, not like Price. One of her most influential and important works is the Spiritual Suite, which is on this album. I had to include the suite because it is just so great what she does with these spirituals.”What do you feel like you personally bring to their music as a pianist?“I feel that I am on this journey with these composers, and the final thing I feel is a huge sense of pride. I feel so honored to be one of the conduits of their story.“So being part of this rediscovery and excitement about their story and their music and their voice in America that is everything to me. And when I perform their music, I perform it with that knowledge and that pride.“Because if I can do anything with this album, it's to share this music with the world. These women deserve a place in the canon of great American classical music.” Spiritual Suite: I. Valley of the BonesTo hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts.ResourcesMichelle Cann – Revival: Music of Price and Bonds (Curtis Studio)Michelle Cann (official site)

Plongez au cœur de l'histoire de Nina Simone, grande prêtresse de la musique soul, racontée par l'historienne Virginie Girod dans un récit inédit en deux parties. Nina Simone, alias Eunice Waymon, pose ses doigts sur un clavier pour la première fois à l'âge de trois ans. Née en 1933 dans une Amérique où la ségrégation sévit, la petite fille a un don pour la musique. Poussée par sa patronne, la mère d'Eunice accepte que sa fille prenne des cours de piano chez Madame Mazzanovitch, une femme blanche. Cette collaboration dure plusieurs années, jusqu'à ce qu'Eunice intègre un conservatoire privé à New York. Passionnée par la musique classique et désireuse de devenir la première concertiste noire, la jeune fille postule au Curtis Institute of Music, la meilleure école de musique du pays… mais elle échoue. Cet épisode marquera sa vie. En 1954, Eunice a 21 ans et elle commence à se produire dans des bars pour gagner sa vie. C'est à ce moment-là qu'elle se rebaptise Nina Simone, son nom de scène. Son succès est tel qu'en 1959, elle signe son premier contrat pour un album avec un label de jazz.Sujets abordés : Musique - Jazz - Soul - États-Unis - Racisme - Ségrégation  "Au cœur de l'histoire" est un podcast Europe 1 Studio. Ecriture et présentation : Virginie Girod - Production : Camille Bichler (avec Florine Silvant)- Direction artistique : Adèle Humbert et Julien Tharaud - Réalisation : Clément Ibrahim - Musique originale : Julien Tharaud - Musiques additionnelles : Julien Tharaud et Sébastien Guidis - Communication : Kelly Decroix - Visuel : Sidonie Mangin