Podcast appearances and mentions of douglas moore

Synopsis Today's date marks the original Columbus Day, honoring the Italian explorer who for decades was described as the man who “discovered America.” In recent years Native American leaders have pointed out that indigenous peoples had been living on the continent for thousands of years, and Columbus didn't “discover” anything — in fact, he didn't even know where he was, which is why he called the people he found here “Indians.” Some historians now think that Viking explorers from Scandinavia arrived in America long before Columbus – and others suggest the Chinese arrived before those Europeans. Even so, it's Columbus who has a national holiday (now always observed on the closest Monday in October), and concert music written to celebrate it. For example, there's a “Columbus Suite” by Victor Herbert, originally commissioned for the 1893 Chicago World Fair to celebrate the 400th anniversary of the Columbus voyage, but not actually premiered until 1903. A much more recent “Columbus-inspired” work, and much more elegiac in tone, is by the Native American composer James DeMars. It's titled: “Premonitions of Christopher Columbus” and is scored for Native American flute, African drum, and chamber orchestra. In this work, DeMars blends sounds of the various ethnic traditions that would come to make up modern America. Music Played in Today's Program Victor Herbert (1859-1924) Columbus Suite Slovak Radio Symphony; Keith Brion, cond. Naxos 8.559027 James DeMars (b. 1952) Premonitions of Christopher Columbus Tos Ensemble with R. Carlos Nakai, Native American flute Canyon 7014 On This Day Births 1686 - German composer and lutenist Silvius Leopold Weiss, in Breslau; 1713 - Baptismal date of German composer Johann Ludwig Krebs, in Butterstedt, Weimar; 1872 - English composer Ralph Vaughan Williams, in Down Ampney, Gloucestershire; 1880 - English-born Canadian composer and organist Healey Willan, in London; Deaths 1692 - Italian composer Giovanni Battista Vitali, in Bologna, age 60; Premieres 1910 - Vaughan Williams: "A Sea Symphony" (after Walt Whitman) at the Leeds Festival; 1924 - Mahler: Symphony No.10 (1st and 3rd movements only), arranged by Ernest Krenek (with additional retouching by Alexander von Zemlinksy and Franz Schalk), by Vienna Philharmonic, Franz Schalk conducting; The American premiere of these two movements was give on Dec. 6, 1949, by the Erie (Pa.) Philharmonic conducted by the composer's nephew, the Austro-American conductor Fritz Mahler (1901-1973); The English musicologist Deryck Cooke prepared the first performing edition of Mahler's entire Tenth Symphony which received its first performance on August 13, 1964, by the London Symphony conducted by Berthold Goldschmidt; Since then, Cooke has revised his arrangement, and several other musicologists have prepared their own rival performing editions of Mahler's surviving notation for this symphony; 1931 - Rachmaninoff: “Variations on a Theme of Corelli (La Folia)” for solo piano, in Montréal (Canada), by the composer; 1951 - Bizet: opera "Ivan le Terrible" (posthumously), in Bordeaux; 1951 - Dessau: opera "Die Verurteilung des Lukullus" (The Trial of Lucullus) (2nd version), in East Berlin at the Deutsche Staatsoper; 1961 - Douglas Moore: opera "The Wings of the Dove" (after the novel by Henry James), in New York; 1971 - Andrew Lloyd Webber: rock musical "Jesus Christ Superstar," in New York City; A choral version of this musical was performed in Kansas City, Kan. On May 15, 1971, and a touring company was launched to present the musical on July 12, 1971; Prior to any staged presentations, the work was first released as a double LP record album in October of 1970; 1984 - Olly Wilson: "Siinfonia," by the Boston Symphony, Seiji Ozawa conducting; 1984 - Ellen Taaffe Zwilich: "Celebration" for orchestra, by the Indianapolis Symphony, John Nelson conducting; 1997 - Sallinen: "Overture Solennel," in Monaco by the Monte Carlo Philharmonic, James DePreist conducting; 1998 - Philip Glass: opera "The Voyage," at the Metropolitan Opera in New York, Bruce Ferden conducting; 2000 - Rautavaara: Harp Concerto, in Minneapolis with harpist Kathy Kienzle and the Minnesota Orchestra, Omso Vänskä conducting; Others 1739 - Handel completes in London his Concerto Grosso in Bb, Op. 6, no. 7 (Gregorian date: Oct. 23). Links and Resources On Columbus Day On Victor Herbert On James DeMars

Today is the final regular episode of Season Three of Countermelody, as well as the last of my summer series documenting musical life in New York City during the years 1950 through 1975. I am thrilled to start what I hope will be an occasional series of episodes that will drop throughout Season Four, which begins in two weeks. I present to you a small sampling of the extraordinary singing actors that peopled the stage of New York City Opera during the years in question. The most famous of these, of course, is Beverly Sills, and she is aptly represented in her most radiant early prime. But there are many other singers as well, including African American divas Carol Brice and Veronica Tyler, preceded by Camilla Williams (the first Black singer to be awarded a standing contract with a major US opera company… in 1946!). City Opera was celebrated for presenting an absolute slew of new American work in its heyday, and we hear works by Carlilse Floyd, Robert Ward, Douglas Moore, Marc Blitzstein, and Jack Beeson in performances by Phyllis Curtin, Frances Bible, Brenda Lewis, and Ellen Faull. Other divas strutting their stuff include Olivia Stapp, Johanna Meier, and the three mesdames Patricia: Brooks, Wells, and Wise. The episode is capped by some of the rarest live recordings from the stage of City Opera by three singers who made their mark during their heyday, and would be the biggest stars in the world were they singing today: Gilda Cruz-Romo, Maralin Niska, and Carol Neblett, all of whom will be featured in her own episode during Countermelody's upcoming season. A fitting way to end Season Three, as well as a harbinger of vocal delights to come! (Next week will be a preview of the upcoming season!) Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Dear ones, I present to you today the extraordinarily versatile bass-baritone and my fellow native Milwaukeean Donald Gramm (1927-1983), one of the central house singers at both the Metropolitan Opera and New York City Opera from the 1960s through his premature death at the age of 56. Gifted with an intrinsically beautiful voice, an impeccable technique and an expansive range, he also was a crackerjack musician whose repertoire easily encompassed musical styles from florid Baroque music through the thorniest contemporary idioms. He is probably best celebrated these days for his commitment to American art, and this episode features him singing songs by Ned Rorem, John Duke, Richard Cummings, Douglas Moore, and Paul Bowles, with a particular emphasis on texts by Walt Whitman. What is perhaps less well-remembered today is how versatile an opera singer he was, singing roles from Osmin to Scarpia, with a strong emphasis on both bel canto and buffo roles by Rossini and Donizetti. The episode also explores his collaborations with Igor Stravinsky, Glenn Gould, and, perhaps most significantly, Sarah Caldwell, another important musical figure from that era who is strongly deserving of reappraisal. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Synopsis On today's date in 1956, one of the most successful of all American operas had its first performance at the Center Opera House in Colorado. “The Ballad of Baby Doe” was created by composer Douglas Moore and librettist John Latouche, and was based on a real-life tale of love and loss that had played out in that state. Elizabeth McCourt Tabor, better known as “Baby Doe,” became the second wife of the Colorado prospector, businessman, and politician Horace Tabor in 1883. Tabor's messy divorce and remarriage to the young and beautiful Baby Doe was a major scandal at the time. Tabor was immensely wealthy, and had built an Opera House that bears his name and still stands in Leadville, Colorado, where he met Baby Doe. In 1899, Tabor had lost his entire fortune, and after his death, Baby Doe lived on in a poor miner's shack near Leadville, where she was found frozen to death in 1935. And it was on a cold winter's day – a year before the premiere of their new opera – that Moore and Latouche paid a visit to Tabor's Opera House in Leadville, and stood on its stage for inspiration. A witness of their visit recalled: “I was intensely aware of a great and eerie silence that suddenly came over the building. If ever there were ghosts of the past in the Tabor Opera House I could believe that they were there at that moment!” Music Played in Today's Program Douglas Moore (1893-1969) – The Ballad of Baby Doe (Jan Grissom, sop; Central City Opera Orchestra; John Moriarty, cond.) Newport Classics 85593

What is life, and where does it come from? These are two of the deepest, most vexing, and persistent questions in science, and their enduring mystery and allure is complicated by the fact that scientists approach them from a myriad of different angles, hard to reconcile. Whatever else one might identify as universal features of all living systems, most scholars would agree life is a physical phenomenon unfolding in time. And yet current physics is notorious for its inadequacy with respect to time. Life appears to hinge on information transfer — but, again, what do we mean by “information,” and what it is relationship to energy and matter? If humankind can't settle fundamental issues with these theoretical investigations, we might be missing other kinds of life (and mind) — not just in outer space, but here on Earth, right beneath our noses. But new models that suggest a vastly wider definition of life offer hope that we might — soon! — not only learn to recognize the biospheres and technospheres of other living worlds, but notice other “aliens” at home, and even find our place amidst a living cosmos.Welcome to COMPLEXITY, the official podcast of the Santa Fe Institute. I'm your host, Michael Garfield, and every other week we'll bring you with us for far-ranging conversations with our worldwide network of rigorous researchers developing new frameworks to explain the deepest mysteries of the universe.This week on the show, we speak with SFI External Professor Sara Walker (Twitter, Google Scholar), Deputy Director of The Beyond Center at ASU, where she acts as Associate Professor in half a dozen different programs. In this conversation, we discuss her pioneering research in the origins of life and the profound and diverse implications of Assembly Theory — a new kind of physics she's developing with chemist Leroy Cronin and a team of SFI and NASA scholars.  Sara likes to speculate out loud in public conversation, so strap in for an unusually enthusiastic, animated, and free-roaming conversation at the very bleeding edge of science. And be sure to check out our extensive show notes with links to all our references at complexity.simplecast.com.If you value our research and communication efforts, please subscribe, rate and review us at Apple Podcasts or Spotify, and consider making a donation — or finding other ways to engage with us — at santafe.edu/engage.Thank you for listening!Join our Facebook discussion group to meet like minds and talk about each episode.Podcast theme music by Mitch Mignano.Follow us on social media:Twitter • YouTube • Facebook • Instagram • LinkedInMentioned Papers:Intelligence as a planetary scale processby Adam Frank, David Grinspoon & Sara WalkerThe Algorithmic Origins of Lifeby Sara Imari Walker & Paul C. W. DaviesBeyond prebiotic chemistry: What dynamic network properties allow the emergence of life?by Leroy Cronin & Sara WalkerIdentifying molecules as biosignatures with assembly theory and mass spectrometryby Stuart Marshall, Cole Mathis, Emma Carrick, Graham Keenan, Geoffrey Cooper, Heather Graham, Matthew Craven, Piotr Gromski, Douglas Moore, Sara Walker & Leroy CroninAssembly Theory Explains and Quantifies the Emergence of Selection and Evolutionby Abhishek Sharma, Dániel Czégel, Michael Lachmann, Christopher Kempes, Sara Walker, Leroy CroninQuantum Non-Barking Dogsby Sara Imari Walker, Paul C. W. Davies, Prasant Samantray, Yakir AharonovThe Multiple Paths to Multiple Lifeby Christopher P. Kempes & David C. Krakauer Other Related Videos & Writing:SFI Seminar - Why Black Holes Eat Informationby Vijay BalasubramanianMajor Transitions in Planetary Evolutionby Hikaru Furukawa and Sara Imari Walker2022 Community Lecture: “Recognizing The Alien in Us”by Sara WalkerSara Walker and Lee Cronin: The Alien Debateon The Lex Fridman ShowIf Cancer Were Easy, Every Cell Would Do ItSFI Press Release on work by Michael LachmannThe Ministry for The Futureby Kim Stanley RobinsonRe: Wheeler's delayed choice experimentWikipediaOn the SFI “Exploring Life's Origins” Research ProjectComplexity Explorer's Origins of Life Free Open Online CourseChiara Marletto on Constructor TheorySimon Saunders, Philosopher of Physics at OxfordRelated SFI Podcast Episodes:Complexity 2 - The Origins of Life: David Krakauer, Sarah Maurer, and Chris Kempes at InterPlanetary Festival 2019Complexity 8 - Olivia Judson on Major Energy Transitions in Evolutionary HistoryComplexity 17 - Chris Kempes on The Physical Constraints on Life & EvolutionComplexity 40 - The Information Theory of Biology & Origins of Life with Sara Imari Walker (Big Biology Podcast Crossover)Complexity 41 - Natalie Grefenstette on Agnostic Biosignature DetectionComplexity 68 - W. Brian Arthur on Economics in Nouns & Verbs (Part 1)Complexity 80 - Mingzhen Lu on The Evolution of Root Systems & Biogeochemical CyclingAlien Crash Site 015 - Cole MathisAlien Crash Site 019 - Heather GrahamAlien Crash Site 020 - Chris KempesAlien Crash Site 021 - Natalie Grefenstette

Synopsis Crossword puzzle solvers know the three-letter answer to the clue “Composer Brian” is: E-N-O. But even fans of this British composer, performer, and producer might not know his full name, which is Brian Peter George St John le Baptiste de la Salle Eno. Brian Eno was born in Suffolk, England, on today’s date in 1948. He studied painting and music, and in his early 20s played synthesizer with the glam rock band Roxy Music before embarking on a solo career. In 1978, he released an album entitled “Music for Airports,” which was, quite literally, meant as calming music that could be played in airports, since Eno was so annoyed by the inane, perky muzak he usually heard there. Eno coined the term “ambient music” to describe his album, whose release coincided with the early days of minimalist movement, itself a reaction to music deemed too complex and complicated. “I was quite sick of music that was overstuffed,” said Eno, commenting, “In the late ’60s and early ’70s, recording went from two track to four track to eight track to 16 track to 32 track, and music got more and more grandiose, sometimes with good effect, but quite often not.” Music Played in Today's Program Brian Eno (b. 1948) — Music for Airports (Brian Eno, synthesizers)Polydor 2310 647 On This Day Births 1567 - Baptismal date of Italian composer Claudio Monteverdi, in Cremona; 1808 - Irish composer Michael William Balfe, in Dublin; 1908 - Swedish composer Lars-Erik Larsson, in Akarp (near Lund); 1941 - American composer and pianist Richard Wilson, in Cleveland; Premieres 1913 - Debussy: ballet "Jeux" (Games), at the Théâtre des Champs-Elysées by the Ballet Russe, Pierre Monteux conducting; 1920 - Stravinsky: ballet "Pulcinella," by Ballet Russe; at the Paris Opéra, with Ernest Ansermet conducting; 1939 - Douglas Moore: opera "The Devil and Daniel Webster," in New York City; 1949 - Hindemith: Concerto for Winds, Harp and Orchestra, in New York; 1949 - Randall Thompson: Symphony No. 3, Columbia University, in New York, Thor Johnson conducting; 1958 - Cage: Piano Concerto, in New York City; 1960 - Shostakovich: String Quartet No. 7, in Leningrad, by the Beethoven Quartet; 1972 - Rochberg: String Quartet No. 3, at Tully Hall in New York City, by the Concord Quartet; 1992 - Stephen Paulus: "Air on Seurat (The Grand Canal)", for cello and piano, at the National Cello Competition at Arizona State University in Phoenix, Ariz.; 1993 - Steve Reich: opera "The Cave," in Vienna at the Wiener Festspielhaus; Others 1750 - First documented report of an audience standing during the "Hallelujah" chorus of Handel's "Messiah"; On May 1 and 15 in 1750, "Messiah" had been performed as a benefit for the Foundling Hospital charity (Gregorian dates: May 12 and 26, respectively).

Synopsis Crossword puzzle solvers know the three-letter answer to the clue “Composer Brian” is: E-N-O. But even fans of this British composer, performer, and producer might not know his full name, which is Brian Peter George St John le Baptiste de la Salle Eno. Brian Eno was born in Suffolk, England, on today’s date in 1948. He studied painting and music, and in his early 20s played synthesizer with the glam rock band Roxy Music before embarking on a solo career. In 1978, he released an album entitled “Music for Airports,” which was, quite literally, meant as calming music that could be played in airports, since Eno was so annoyed by the inane, perky muzak he usually heard there. Eno coined the term “ambient music” to describe his album, whose release coincided with the early days of minimalist movement, itself a reaction to music deemed too complex and complicated. “I was quite sick of music that was overstuffed,” said Eno, commenting, “In the late ’60s and early ’70s, recording went from two track to four track to eight track to 16 track to 32 track, and music got more and more grandiose, sometimes with good effect, but quite often not.” Music Played in Today's Program Brian Eno (b. 1948) — Music for Airports (Brian Eno, synthesizers)Polydor 2310 647 On This Day Births 1567 - Baptismal date of Italian composer Claudio Monteverdi, in Cremona; 1808 - Irish composer Michael William Balfe, in Dublin; 1908 - Swedish composer Lars-Erik Larsson, in Akarp (near Lund); 1941 - American composer and pianist Richard Wilson, in Cleveland; Premieres 1913 - Debussy: ballet "Jeux" (Games), at the Théâtre des Champs-Elysées by the Ballet Russe, Pierre Monteux conducting; 1920 - Stravinsky: ballet "Pulcinella," by Ballet Russe; at the Paris Opéra, with Ernest Ansermet conducting; 1939 - Douglas Moore: opera "The Devil and Daniel Webster," in New York City; 1949 - Hindemith: Concerto for Winds, Harp and Orchestra, in New York; 1949 - Randall Thompson: Symphony No. 3, Columbia University, in New York, Thor Johnson conducting; 1958 - Cage: Piano Concerto, in New York City; 1960 - Shostakovich: String Quartet No. 7, in Leningrad, by the Beethoven Quartet; 1972 - Rochberg: String Quartet No. 3, at Tully Hall in New York City, by the Concord Quartet; 1992 - Stephen Paulus: "Air on Seurat (The Grand Canal)", for cello and piano, at the National Cello Competition at Arizona State University in Phoenix, Ariz.; 1993 - Steve Reich: opera "The Cave," in Vienna at the Wiener Festspielhaus; Others 1750 - First documented report of an audience standing during the "Hallelujah" chorus of Handel's "Messiah"; On May 1 and 15 in 1750, "Messiah" had been performed as a benefit for the Foundling Hospital charity (Gregorian dates: May 12 and 26, respectively).

Synopsis For the 1965-1966 season of the New York Philharmonic, Leonard Bernstein planned a series of concerts titled “Symphonic Forms in the 20th Century,” programming works by Mahler, Sibelius and other great European masters. Bernstein also included American symphonies, including, on today’s date in 1966, the belated premiere performance of David Diamond’s Symphony No. 5. Diamond began work on his Fifth Symphony in 1947, and its original inspiration was two-fold: Diamond wanted to compose a symphony for Bernstein to premiere and to translate into music the vivid emotions he experienced after attending a performance of Sophocles’ tragedy, Oedipus the King. But Diamond found recreating the Oedipus story harder than he thought. He ended up putting his Fifth aside, and finished and premiered his Sixth, Seventh, and Eight Symphonies before coming to the realization that, “Program symphonies were just not for me.” Years later, when Bernstein asked him “What ever happened to that symphony you were going to write for me,” Diamond explained all this to Bernstein, who replied, “Well, it’s about time you did something about it—it’s silly to have one symphony that just isn’t there!” And so, Diamond set to work completing a non-programmatic Fifth, dedicated to Leonard Bernstein. Music Played in Today's Program David Diamond (1915-2005 ) Symphony No. 5 Juilliard Orchestra; Christopher Keene, cond. New World 80396 On This Day Births 1892 - American folksinger and folksong collector John Jacob Niles, in Louisville, Ky.; Premieres 1865 - Meyerbeer: opera "L'Africaine" (The African Woman), at the Paris Opéra; 1892 - Dvorák: "In Nature's Realm" Overture, Op. 91, in Prague; 1892 - Sibelius: symphonic poem/oratorio "Kullervo" for vocal soloists, chorus and orchestra, in Helsinki, with the composer conducting; 1928 - Cowell: "Sinfonietta," in Boston, Nicholas Slonimsky conducting; 1938 - Diamond: "Elegy in Memory of Maurice Ravel," in Rochester, N.Y. 1948 - Stravinsky: ballet "Orpheus," by the American Society in New York City; 1966 - Douglas Moore: opera "Carrie Nation," in Lawrence, Kan.; 1981 - John Williams: "Pops on the March" by the Boston Pops with the composer conducting. 2005 - Arne Nordheim: “Fonos” for trombone and orchestra, in Bergen, Norway, by the Bergen Philharmonic. Links and Resources On Diamond

Synopsis For the 1965-1966 season of the New York Philharmonic, Leonard Bernstein planned a series of concerts titled “Symphonic Forms in the 20th Century,” programming works by Mahler, Sibelius and other great European masters. Bernstein also included American symphonies, including, on today’s date in 1966, the belated premiere performance of David Diamond’s Symphony No. 5. Diamond began work on his Fifth Symphony in 1947, and its original inspiration was two-fold: Diamond wanted to compose a symphony for Bernstein to premiere and to translate into music the vivid emotions he experienced after attending a performance of Sophocles’ tragedy, Oedipus the King. But Diamond found recreating the Oedipus story harder than he thought. He ended up putting his Fifth aside, and finished and premiered his Sixth, Seventh, and Eight Symphonies before coming to the realization that, “Program symphonies were just not for me.” Years later, when Bernstein asked him “What ever happened to that symphony you were going to write for me,” Diamond explained all this to Bernstein, who replied, “Well, it’s about time you did something about it—it’s silly to have one symphony that just isn’t there!” And so, Diamond set to work completing a non-programmatic Fifth, dedicated to Leonard Bernstein. Music Played in Today's Program David Diamond (1915-2005 ) Symphony No. 5 Juilliard Orchestra; Christopher Keene, cond. New World 80396 On This Day Births 1892 - American folksinger and folksong collector John Jacob Niles, in Louisville, Ky.; Premieres 1865 - Meyerbeer: opera "L'Africaine" (The African Woman), at the Paris Opéra; 1892 - Dvorák: "In Nature's Realm" Overture, Op. 91, in Prague; 1892 - Sibelius: symphonic poem/oratorio "Kullervo" for vocal soloists, chorus and orchestra, in Helsinki, with the composer conducting; 1928 - Cowell: "Sinfonietta," in Boston, Nicholas Slonimsky conducting; 1938 - Diamond: "Elegy in Memory of Maurice Ravel," in Rochester, N.Y. 1948 - Stravinsky: ballet "Orpheus," by the American Society in New York City; 1966 - Douglas Moore: opera "Carrie Nation," in Lawrence, Kan.; 1981 - John Williams: "Pops on the March" by the Boston Pops with the composer conducting. 2005 - Arne Nordheim: “Fonos” for trombone and orchestra, in Bergen, Norway, by the Bergen Philharmonic. Links and Resources On Diamond

Welcome back! Super cool episode today, we start off by announcing our new blog and let everybody know that we are officially selling our hats that we giveaway earlier. If you want a hat please DM us on Instagram @justakickback to reserve yours because we only have a limited quantity. After that we have a HUGE interview with Victory Brewing Brewer Doug Moore who goes into detail about how our favorite beverage is made. We talk to Doug about the ins and outs of brewing, his favorite beer, and settle a year long debate on our podcast. If you like what you hear please follow, subscribe, or like. If you are on Apple Podcasts please feel free to leave us a 5 star rating and a review it is free and takes 15 seconds. However it is the fastest way you can help us grow. Til next week, DYE UP! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/justakickback/message

Quincy Porter bridges many of the themes we've seen so far in the podcast: he was the last student of nineteenth-century American composer Horatio Parker (who also taught 1947 prize  winner Charles Ives), he taught composition at an Ivy League school (Yale, in this case) for many years, and he was celebrated for his orchestral music during his lifetime, but is virtually forgotten today. From that list, and from our previous episodes on Howard Hanson, Walter Piston, and Douglas Moore, you might think you have a good sense of what Porter's Ivy League New England musical style might be, but are you right? Join us to find out.   For more about Quincy Porter: 1) https://composers.com/composers/quincy-porter 2) https://necmusic.edu/archives/quincy-porter

Phebe Berkowitz-Tanners grew up in the Central City Opera House. Her family made a second home in our magical, old western town during the summers of 1953-1963 when her father, Metropolitan Opera violist David Berkowitz, played the Festival season with the Central City Opera Orchestra. Now a dedicated supporter of the company, Phebe reminisces with CCO Director of Development Katie Nicholson about mounting backyard opera productions with other children of the Festival company (attended by famous singers and actors of the main stage!), experiencing the world premiere of The Ballad of Baby Doe from behind the scenes and the expansive and international Central City Opera community that she found throughout her career as an opera stage director and production professional. Guest host Katherine (Katie) Nicholson was recently featured on the Central City Opera blog, take a read get to know her better! Those of you watching the video version of this interview will notice the poster for Central City Opera’s Voice Your Dreams Endowment Campaign behind Katie. If you want to learn more and/or contribute to the Campaign to help our company endure long into the future, contact Katie at knicholson@centralcityopera.org or 303-331-7015! Special thanks to Central City Opera Office Administrator Wanda M. Larson who’s helped us keep in close contact with our guest, Phebe, throughout the years and continues to show her passion for unforgettable Central City Opera experiences and community. You’ll probably recognize her if you’ve been up to the summer Festival, she’s the Gift Shop Admin/Buyer, too! Historical preservation is a pillar of Central City Opera’s mission. Learn about the dozens of historic properties we own and maintain. Explore more Central City history, and even schedule a tour at www.gilpinhistory.org. “The famous ghost town” of Nevadaville is just up the street from Central City. Learn more about it at www.uncovercolorado.com. Like many patrons and visitors, Phebe mentions paranormal experiences in and around our properties. Have you encountered something ghostly in Central City? Phebe talks about many exciting moments and incredible figures from Central City Opera, including: Phebe spent her first summer at Central City Opera in 1953, the production was Bizet’s Carmen. She was 7 and her sister was 9. They fell in love with the music, sitting in on every rehearsal, and they began the tradition of performing their own versions of the season’s operas in their backyard with the other children of the Festival company. They’d string up a sheet to make a stage curtain, and star actors and singers would even come to see their shows! According to Phebe, these “parodies” and performances went on to inspire the tradition of our famous singing ushers. You’ll hear the famous Risë Stevens recording of Carmen that Phebe and her sister loved so much as background music during this podcast. Wonderful performers Phebe recalls knowing as a child—some of whom attended her backyard productions—were Julie Harris, Tammy Grimes, Shirley Booth, Arlene Saunders. One of Phebe’s favorite memories of Central City Opera was the world premiere of The Ballad of Baby Doe in 1956. She was 10 years old at the time, and she remembers all the excitement and artistry of composer Douglas Moore, librettist John La Touche, director and renowned choreographer Hanya Holm, director Edwin Levy and starring sopranos Dolores Wilson and Leyna Gabriele, all working together on this brand new opera. Read more about Baby Doe Tabor as a historical figure and the opera based on her life on the Central City Opera blog! Cyril Richard—perhaps best remembered as Captain Hook in the Mary Martin musical production of Peter Pan—played Don Andres in La Perichole at Central City Opera in 1958. Phebe talks about how he kindly reassured her little brother, who had made a loud mistake on stage while playing a non-singing role in the production. Over her summers at Central City Opera, Phebe memorized 17 operas along with the other children. “It was incredible musical education,” she says, “it was all about the music.” Phebe points out, “in those days all the operas [in Central City] were performed in English.” Throughout history it’s been common practice for operas to be adapted to the vernacular of the place they’re being performed. In recent years—especially in the United States—operas are more commonly performed in their original language. Wonder where the performance trends in this 400-year-old artform will take us next! Since various opera companies and orchestras perform during different times of the year, many musicians play in multiple ensembles like Phebe’s dad. For instance many orchestra members at Central City Opera also played with the Metropolitan Opera, and today our orchestra shares many musicians with the Colorado Symphony. The Berkowitz family stayed in a historic house that, during those years, was named after Gypsy Rose Lee (1911-1970). Famous for her burlesque act, Lee was also an actor, author, playwright and all-around fascinating figure that inspired and captured the kids’ imagination. As an adult, Phebe went on to build a career as an opera director and production professional, herself. Learn more about some of the figures and references she makes in this interview: She snagged a job as an intern in makeup and costumes with Hamburg State Opera as a young woman. As she was such a keen observer during rehearsals, Gian Carlo Menotti—the composer of the world-premiere production of Help, Help, the Globolinks! they were producing—asked her to call the light cues. Even with her very limited German vocabulary, she was up to the task! After that, Hamburg State Opera Artistic Director Rolf Liebermann hired her on as lighting stage manager. Later, he took Phebe with him as a stage director when he joined Paris Opera as Artistic Director. Phebe enjoyed many years as a part of the Metropolitan Opera Company, as an assistant stage director, director for revivals and Executive Stage Director (1974-2016). Her time with the Met Opera began when August Everding brought her along as his personal assistant for Tristan und Isolde (1971), which was Rudolf Bing’s last new production. Central City Opera Artistic Director Emeritus John Moriarty is also a close friend and mentor to Phebe. While they didn’t cross paths at CCO, he taught her to stage manage at Lake George Opera—now Opera Saratoga—where they worked together for three years. Read Phebe’s general bio at centralcityopera.org/opera-central Join Phebe in supporting the community and artistry of Central City Opera for many years to come. Find all kinds of ways to donate at centralcityopera.org/support-us Thanks for listening! Musical excerpts featured in this podcast: Carmen by Georges Bizet. Mezzo-soprano Risë Stevens (1913-2013) sings the Act 1 “Habanera.” Recording with the Metropolitan Opera Orchestra in approximately 1948 and conducted by Erich Leinsdorf. The Ballad of Baby Doe by Douglas Moore, Act 1, Scene 2 “Willow Song.” Recorded in 1959 at the New York City Opera Company with soprano Beverly Sills (1929 – 2007) as Baby Doe and Walter Cassel (1910-2000) as Horace Tabor. Conducted by Emerson Buckley (1916-1989). (Cassel and Buckley were part of the original 1956 production at Central City Opera in these same roles.) The Girl of the Golden West by Giacomo Puccini, Act 1 with soprano Eva-Maria Westbroek as Minnie and tenor Yusif Eyvazov as Dick Johnson. Recorded at the Metropolitan Opera and featured on PBS’s Great Performances.

Douglas Moore is a name we've encountered before on Hearing the Pulitzers because he was instrumental in helping establish the Pulitzer Prizes. A decade later, he finally won his own Pulitzer for an opera based on Ole Edvart Rølvaag's novel Giants in the Earth. The opera follows the triumphs and tragedies of Norwegian settlers in the Dakota Territories of 1873, but there isn't even a recording today and the score is hard to find. Is its obscurity warranted? If you'd like to learn more about Moore, we recommend: Jerry L. McBride's Douglas Moore: A Bio-bibliography The website dedicated to his more famous and much more performed opera The Ballad of Baby Doe

Join us while we talk about the three young men killed by pedophile and murder Douglas Moore. Let’s great some coffee and talk about crime follow us on IG @sisters.coffee.and.crime and on Twitter @sisters_crime sources are murderpedia, CTV and global news

Composers Recordings, Inc (also known as CRI) was founded in 1954 by Otto Luening, Douglas Moore and Oliver Daniel. The label's mission was the discovery, distribution and preservation of the finest in contemporary American music. Hundreds of American composers had their first recording released on CRI, making the label a mainstay of career development for several generations of composers — over 600 full-length recordings were released by CRI on LP, cassette and CD. CRI was also particularly successful in recording important talents early in their careers: of the thirty-seven Pulitzer Prize-winning composers on the label, twenty-seven were recorded by CRI before they won the prestigious award. The episode features: Charles Dodge, The Serpent, Space Guitars, James Tenney, Alice Shields, Priscilla Mclean, Earle Brown, Christian Wolff and Frederic Rzewski.

The Hamilton C-A-S has decided it knows best removing 2 little girls from the care of two loving gaurdians who provided a safe and happy home. The problem? These caregivers are devout Christian's, and these days, targeting that faith is just fine. So what have these parents done that is so awful? Well, according to the C-A-S lawyers-- these parents won't lie to the girls and tell them Santa or the Easter bunny are real. The girls, according the government agency, are in “imminent danger” that the magic of the holiday-- might be destroyed. Yes. You heard that right. Imminent danger if they don't believe in a floppy eared chocolate carrying fantasy or a fat guy in a red suit who flies around the world in a sleigh led by flying reindeer. According to the lawyers now arguing the case in a Hamilton court room the children are “entitled” to believe that while they sleep “Santa clause comes down the chimney and puts gifts under the tree.” This would be laughable if it weren't for the fact that the C-A-S has a very real and lengthy record of failing vulnerable children by putting them in actual dangerous situations that have either killed or destroyed them. Need proof? I covered a Peel CAS case involving two boys yanked from their home during an acrimonious divorce and placed into the care of a foster family that allowed serial killer Douglas Moore to babysit. Uncle Dougy- as the kids called him, sodomized the boys regularly and then killed 3 men. There was 7 yr old Randal Dooley whose parents used him as a whipping boy. His tiny body bludgeoned black and blue, covered in soars and broken bones. After a year of abuse his body gave up and he died brother's arms. Jeffery Baldwin, whose grandparents beat and starved him for years until his emaciated body gave up. 7 yr old Katelelyn Samsson who was tortured and killed by her care givers. Where were the C-A-S in all of those cases? In a court arguing that children were in imminent danger if they don't believe Halloween witches really fly?? These are just a few of the kids in government care that were destroyed by a system rife with head shaking failures. And yet here they are wasting precious resources arguing about the need for children to believe in pipe dreams? This Hamilton family was upfront with the CAS about their beliefs, that they DO NOT endorse Santa and the Easter bunny. And that they won't lie to the kids. Isn't it better not to lie to a child than to perpetuate a myth they will figure out in time? They did buy gifts and celebrate each occasion. And it was good enough for the birth mom who thanked them for giving them what she couldn't. And yet the parents have been fired, the kids yanked out of a stable home by an agency that clearly has an ideology it feels it has the right to indoctrinate Would they dare do this to a Jewish or dare I say Muslim caregiver? Not.A.Chance. Who the hell is the government to tell anyone what they should believe? Last I check Canada is a country where freedom of religious belief still exists. No? In 2015- the Auditor general revealed 47 of the provinces Children aids society are chronically failing society's most vulnerable children. Bonnie lysik called the system “profoundly dysfunctional” recommending a thorough house cleaning top to bottom. Yes- most of those who had a hand in these tragedies have kept their jobs. Worse? The Liberal government, has done literally nothing to fix it. At a time when there is a care giver shortage in Ontario, it is clear that those in the business of government care for the most vulnerable in society truly live in a fantasy world. No wonder they believe in the Easter bunny. After all it's part of the same government that believes money grows on tree's.

In this week's episode of Music for Life, Music from DePauw...Jayme Stone and the Lomax ProjectMatt Champagne chats with Eric Edberg about his and May Phang’s recent performance of Albert Schnittke’s second cello sonata... with our fall musical right around the corner, Hannah Gauthier has a special audience with His Royal Highness Arthur, King of the Britons and his assistant, Patsy... we share some performances from the stages of Thompson Recital Hall and Kresge Auditorium... and Burke Stanton talks to series director Professor Ron Dye about this week’s Performing Arts Series guests, Jayme Stone’s Lomax Project, a group which brings together terrific roots musicians to revive, recycle and re-imagine traditional American music! SOURCES From the 2015 CD “Jayme Stone’s Lomax Project,”  “Hog Went Through the Fence Yoke,” "Lazy John," and "Sheep Sheep Don’tcha Know the Road.”From her Junior Recital on September 19th, 2015, soprano Kristin Daines and pianist Tony Weinstein perform “Willow Song” from Douglas Moore’s opera The Ballad of Baby Doe.From the original cast recording of Spamalot, we offer for your approval “Always Look on the Bright Side of Life.”From their recital of Wednesday, September 16, 2015, cellist Eric Edberg and pianist May Phang perform Alfred Schnittke’s second sonata for cello and piano.

On this episode, Bob Wilcox and Gerry Kowarsky review (1) SENSE AND SENSIBILITY, adapted from Jane Austen by Jon Jory, at the Repertory Theatre of St. Louis, (2) THE MOUNTAINTOP, by Katori Hall, at The Black Rep, (3) SPEED-THE-PLOW, by David Mamet, at the New Jewish Theatre, (4) PSYCHO BEACH PARTY, by Charles Busch, at Stray Dog Theatre, (5) CONNECTED, by Lia Romeo, at HotCity Theatre, (6) THE BALLAD OF BABY DOE, by Douglas Moore, at Winter Opera St. Louis, (7) ENGAGING SHAW, by John Morogiello, at West End Players Guild, and (8) OEDIPUS AT COLONUS, by Sophocles, at Washington Univ.

Scenes from a truly beautiful opera, "The Ballad of Baby Doe" by Douglas Moore. The conductor is Emerson Buckley and this recording features Beverly Sills in one of her great roles.It also features Walter Cassell and Frances Bible. I know you will enjoy it.   (69 min.).