Podcast appearances and mentions of dan visconti

Composer Dan Visconti joins host Devin Patrick Hughes on One Symphony to discuss his innovative approaches to engaging new audiences with classical music. In this in-depth interview, Visconti shares valuable lessons from his wide-ranging collaborations, including projects with incarcerated youth, refugees, and interactive opera productions. He delves into his concept of "civic practice," which involves directly engaging communities in the artistic process to address social issues. Visconti also provides insight into his own boundary-pushing compositions, such as "Low Country Haze" and "Living Language," and the intricacies of cross-genre collaboration. Throughout the conversation, Visconti's deep commitment to expanding the reach and relevance of classical music is evident. He offers thought-provoking perspectives and practical strategies for how orchestras can adapt to the needs and interests of 21st-century audiences. This interview is essential viewing for anyone passionate about the future of classical music and its capacity to inspire positive social change. 00:00 Introduction and Visconti's Early Musical Influences 00:30 The Importance of Play and Discovery in Musical Development 01:47 Visconti's Transition from Violin Performance to Composition 03:30 The Impact of The Beatles and Classical Music on Visconti's Style 04:33 Strategies for Audience Engagement and Defying Conventions 05:02 Visconti's Projects and Experiences in Music and Social Impact 07:39 Harnessing the Power of Music in Civic Practice 08:53 A Case Study: Music Programs for Incarcerated Youth 17:18 The Significance of Music in Community Engagement Efforts 17:34 Designing Interactive Concert Experiences for Modern Audiences 32:43 Balancing Artistic Vision and Practicality in Composition 33:00 "Low Country Haze": A Musical Interpretation of the American Road Trip 38:03 The Dynamics of Collaboration in Music from a Composer's Perspective 42:58 Conclusion: Visconti's Vision for the Future of Music and Collaboration   Thank you for joining us on One Symphony. Thanks to Dan Visconti for sharing his music and wealth of knowledge.  You can find more info and connect with Dan at https://www.danvisconti.com Musical selections on this episode today include Music Box (River Silver) Fifth House Ensemble December 1952 Composed by Earle Brown David Tudor Deep Listening - Ione Pauline Oliveros, Stuart Dempster & Panaiotis Low Country Haze (Version for Chamber Orchestra) Scharoun Ensemble Berlin Drift of Rainbows Humble Pie Composed by Dan Visconti You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!  

Since their inception over a decade ago, the string quintet Sybarite5 has built a global audience, from Lincoln Center to The Cutting Room and the Museum of Sex; from the Apple Store to the Library of Congress, and a music salon-like residency at NYC's the cell, along with multiple international and national tours, residencies, and festivals. The five players (Sami Merdinian and Sarah Whitney, violins; Angela Pickett, viola; Laura Metcalf, cello; and Louis Levitt, bass) have made it their quest to champion new music by American composers along with other tunes that excite them: arrangements of Radiohead, Taraf de Haidouks, Led Zeppelin, and Astor Piazzolla. Their 2018 record, OUTLIERS, is a collection of new works composed just for them. The quintet plays some of these tunes in-studio. (Archives, 2018.) Set List: Black Bend by Dan Visconti Yann's Light by Shawn Conley Getting Home (I must be...) by Jessica Meyer

Sarah Whitney: Thriving Through Injury Today on the show, I'm really happy to bring you violinist Sarah Whitney to cover a VERY important topic: dealing with injuries as a musician! In this episode, Sarah talks to us about how you can not only prevent and treat injury, but also thrive in the aftermath – how to handle recovery, the ways she warms up to prevent injury, and how important the mental aspect of recovery is.  She also talks about how she helps musicians achieve their career goals and why life and career coaching can be a real game changer. And don't forget to share your injury story with us, and let us know what resonated with you in the episode! ALL ABOUT SARAH: Website: https://www.sarahwhitney.com Facebook : https://www.facebook.com/theproductivemusician/ Instagram: https://www.instagram.com/sarahwhitneyistall/ Sybaryte5: https://www.sybarite5.org/ https://www.facebook.com/SybariteFive/ https://www.instagram.com/sybarite5/ Trifecta String Trio https://www.trifectatrio.com/about https://www.instagram.com/trifectastringtrio/   The violinist Sarah Whitney is celebrated as a performer, teacher, entrepreneur, career coach, and musical maverick. Praised by The Washington Post for her “marvelous violin acrobatics,” Sarah has appeared on stages worldwide as a soloist and collaborative artist throughout North America, South America, Europe, Asia, and Africa. Comfortable in a wide range of settings and musical styles, she is fiercely dedicated to bringing fresh new ideas to classical music and empowering musicians to find their own voice. Sarah is a founding member of the acclaimed string quintet SYBARITE5, which won the Concert Artists Guild Victor Elmaleh Competition in 2011 and continues to perform extensively around North America. Sarah has also performed with SYBARITE5 at Carnegie Hall, Lincoln Center, Alice Tully Hall, the Library of Congress, the Aspen, Caramoor, Chautauqua, Grand Teton, and Ravinia Festivals, and on the CBS Early Show. Their latest album entitled Outliers reached No. 1 on the Billboard Charts, and they recently premiered Dan Visconti's Beatbox: Concerto for String Quintet & Orchestra with the South Carolina Philharmonic, Midland Symphony Orchestra, and Duluth-Superior Orchestra. Recognized as a pioneer in changing the perception of classical music and committing to building new audiences, in 2015, Sarah founded Beyond the Notes, an innovative concert series dedicated to breaking down the barriers between performers and the audience. The series is rooted in the Boston-area but has expanded in recent years to present performances throughout North America. She is also currently the Music Director for Lincoln Center Stage — an innovative partnership between Lincoln Center and the Holland-American Cruise Lines. This initiative organizes highly-coveted residencies for top young chamber musicians on board cruise ships elevating the performance level to that  heard in leading concert halls. Sarah's writing is featured regularly in for Strings Magazine and 21CM.org. Her widely-read blog The Productive Musician focuses on health and wellness, productivity, and strategies for developing and maintaining an effective mindset. She has served on the New York State Presenters Network Panel in discussions about progressive programming and innovation. Defying categorization and welcoming diverse collaborations, Sarah has collaborated with the Alvin Ailey and Jose Limon dance companies and has been featured on-stage with Adele, Ellie Goulding, the Transiberian Orchestra, Jeff Beck, Anne Murray, Andrew Wyatt, Tommy Lee, and with Father John Misty. Active as a recording artist, Sarah has performed on albums with Darlene Love, Josh Ritter, Stephen Kellogg, Mark Geary and Etienne Charles and can be heard on William Bolcom's Grammy-winning album ‘The Songs of Innocence and Experience'. She has also collaborated with DJ Doug E. Fresh and opened for Jennifer Hudson and Diana Ross. She recently recorded together with the legendary clarinetist Richard Stoltzman. Sarah also performs regularly in the Seeing Double Duo with violinist Julia Salerno, and the Trifecta Trio together with violist Angela Pickett and cellist Laura Metcalf. Sarah is co-founder of the Jingle Punks Hipster Orchestra that has been featured on Mashable, Perez Hilton, Revolt TV, as well as with the rapper NAS in Johannesburg, South Africa. Guiding students with an especially collaborative teaching approach, Sarah works nationally with students of all levels. She has given guest master classes and entrepreneurial workshops at the Curtis Institute, New England Conservatory, DePauw University, University of Oklahoma, University of Arizona, Grinnell College, Ohio University, University of North Florida, the Walnut Hill School, the Boston University Tanglewood Institute, among others, and has been guest artist-in-residence at Eastern Washington University. She has served on faculty at Music in Chappaqua, The Music School of New York City and the Walla Walla Suzuki Institute. She previously served as co-director of the Sato Center Outreach Group at the Sato Center for Suzuki Studies in Cleveland, and received Suzuki teacher training from the renowned pedagogue Kimberly Meier-Sims. Currently based in New York City, Sarah holds degrees from the University of Michigan School of Music, Theatre, and Dance and the Cleveland Institute of Music. Additional studies include at the Aspen Music Festival and School, the Music Academy of the West, and the Meadowmount School of Music. Her teachers included Paul Kantor, William Preucil, Kathleen Winkler, Aaron Berofsky, Cyrus Forough, Stephen Shipps and Irina Muresanu. Sarah performs on violin made by J.B. Vuillaume in 1850.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

I had a chance to speak with grammy award winning guitarist, Jason Vieaux a couple of weeks ago in light of his upcoming release with the Escher String Quartet. Our interview was not quite as long as some of the others, but we were able to cover several really interest topics. Grammy winner Jason Vieaux, “among the elite of today's classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. His most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo.Jason Vieaux has performed as soloist with over 100 orchestras in the U.S. and abroad. Additional recent and future highlights include performances at Caramoor Festival as Artist in Residence, Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society the National Gallery of Art, San Francisco’s Herbst Theatre, Buenos Aires’ Teatro Colon, Amsterdam’s Concertgebouw, New York's 92Y, Ravinia Festival, and many other distinguished series. A first rate chamber musician and programmer, he frequently collaborates with artists such as the Escher Quartet, harpist Yolanda Kondonassis,accordion/bandoneon virtuoso Julien Labro, and violinist Anne Akiko Meyers. His passion for new music has fostered premieres by Jonathan Leshnoff, Avner Dorman, Jeff Beal, Dan Visconti, David Ludwig, Vivian Fung, José Luis Merlin, and more.Vieaux’s latest CD release is a performance of Jonathan Leshnoff’s Guitar Concerto with the Nashville Symphony Orchestra (Naxos). He has two upcoming releases on Azica Records: a new album, Dance, with the Escher String Quartet (July 19, 2019), featuring works byBoccherini, Castelnuovo-Tedesco, and Aaron Jay Kernis; as well as a new solo Bach album. Recent recordings include Jeff Beal’s “Six Sixteen” Guitar Concerto with the Norrköping Symphony Orchestra (BIS); Infusion (Azica) with accordionist/bandoneonist Julien Labro; Ginastera’s Guitar Sonata, which is featured on Ginastera: One Hundred (Oberlin Music) produced by harpist Yolanda Kondonassis; and Together (Azica), a duo album with Kondonassis. In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an interface that provides one on one online study with Vieaux for guitar students around the world. In 2011, he cofounded the guitar department at the Curtis Institute of Music, and in 2015 was invited to inaugurate the guitar program at the Eastern Music Festival. Vieaux has taught at the Cleveland Institute of Music since1997, heading the guitar department since 2001. He has received a Naumburg Foundation top prize, a Cleveland Institute of Music Distinguished Alumni Award, GFA International Guitar Competition FirstPrize, and a Salon di Virtuosi Career Grant. His primary teachers were Jeremy Sparks and John Holmquist. Vieaux was also the first classical musician to be featured on NPR’s “Tiny Desk” series.You can find out more about his upcoming performances, appearances and recordings at jasonvieaux.comI caught up with Jason in between his busy family schedule. He was gracious with his time and we were able to chat about his upcoming releases, and some other really good things like how his approach to recording has changed over the years, his teaching career, balancing family life with performing, and much more.

This week I talk with COMPOSER Dan Visconti about his 1 Track, LONESOME ROADS

Dan Visconti is a composer, but he did not know that when he entered college. Dan talks to Kai about his weird path as an artist (13:50), what he learned from working jobs alongside his pursuits as a composer (30:50), and being vulnerable as an artist (57:50). They also discuss problems with music schools (20:20) and whether there will ever come a time when the works of composers still living will comprise the majority of the "core" repertoire (48:20). 

A special broadcast with Chicago's Kontras Quartet, a group that has been blending the line between classical and folk music since 2009. On this program we'll hear folk-inspired repertoire from South Africa to Japan back home to the Midwest. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Strum by Jessie Montgomery String Quartet No. 1 “White Man Sleeps”: Movement I. “First Dance” by Kevin Volans Exodus Quartet: I. “A Tale; Generations of Suffering” by Rudy Perrault Appalachian Polaroids by Steven Snowden Japanese Folk Song Suite No. 2: Movement I. Yagibushi & Movement II. Nambu ushioi otaby Hajime Komatsu – Komeng by Mokale Koapeng 8 Chinese folk songs: No. 5: Horse Herds Mountain Song & No. 8: Leaving Home by Zhou Long Shortnin' Bread by Florence Price String Quartet No. 3 “Old Time” by Mark O'Connor Black Bend by Dan Visconti

The first part of our trilogy vs trilogy series where the Mikes and special guest Dan Visconti take it upon themselves to answer one of humanity's most haunting questions....which nerd trilogy is better?

How do you tell a story without words? Why, with music of course! Richard Scerbo, founder and artistic director of DC-based Inscape Chamber Orchestra, explains how – and why – composers use music to tell tales. Walk through two very different kinds of musical “stories” in this episode. Watch out for dancing puppets and swamp ghosts. Richard Scerbo. Image courtesy of his website. All music in this episode performed by Inscape Chamber Orchestra: – Excerpts from their new album, Petrushka, by Igor Stravinsky. – “Black Bend” by Dan Visconti from the album American Aggregate. Audio production by Todd “Tiny T-Rex Arms” Hulslander with fleeing by Dacia Clay and editing by Mark DiClaudio. For more Inscape: www.inscape.org For more Richard Scerbo: www.richardscerbo.com

For the first time a soundtrack for a video game has been nominated for a Grammy Award in the category usually reserved for movie scores. The composer Austin Wintory's score for the wildly popular PlayStation 3 game "Journey" has been given a nod for "Best Score Soundtrack For Visual Media," pitting him against film-score giants like Ludovic Bource, Howard Shore, John Williams and Hans Zimmer. The awards take place this Sunday in Los Angeles. The nomination comes as video game scores play increasingly well with symphony orchestras. Concerts of music from "Final Fantasy," "Halo" and "Zelda" are staples of pops concert programming. In the past year, the London Philharmonic Orchestra and the Montreal chamber group La Pieta have released albums of game music, the former of which debuted at No. 23 on the Billboard 200 chart. One of the most popular violinists on YouTube is Lindsey Stirling, whose interpretations of video game scores have received hundreds of millions of views. All of this is possible because video games often feature full-length orchestral scores. Composers who once specialized in film music, including Danny Elfman and Howard Shore, are also applying their talents to the game medium. There are many potential benefits, said writer Dan Visconti. "One of the ways that orchestras can stay relevant," he said, "is engaging the same level of sensory stimulation that a lot of video game players are accustomed to already." The game scores also raise questions about the medium's artistic merits and its potential to build new audiences for classical music. In this podcast, host Naomi Lewin puts these questions to three guests: Austin Wintory, composer of the Grammy-nominated score to the game "Journey" Tanner Smith, a program director of the Atlanta Symphony Orchestra, which will be presenting a concert of music from the game “Final Fantasy" for the second time in June. Dan Visconti, a composer and writer who has covered the game music phenomenon for Symphony magazine Weigh in: Do you listen to video game scores? Do you find them as valid as traditional concert music? Leave your thoughts below.