Podcasts about eastman wind ensemble

This week on The Sound Kitchen you'll hear the answer to the question about the climate change case at the International Court of Justice. There's The Sound Kitchen mailbag, “The Listener's Corner” with Paul Myers, Ollia's “Happy Moment”, and Erwan Rome's “Music from Erwan” – all that, and the new quiz and bonus questions too, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.WORLD RADIO DAY is coming up - it's on 13 February. As we do every year, we'll have a feast in The Sound Kitchen, filled with your voices.Send your SHORT recorded WRD greetings to thesoundkitchen@rfi.fr by 1 February. This year's theme is "Radio and Climate Change", but you don't have to talk about the theme – if you just want to say "hello!", that's fine, too.Be sure you include your name and where you live in your message.Most importantly, get under a blanket to record. This will make your recording broadcast quality.Bombard me with your greetings !!!!The RFI English team is pleased to announce that Saleem Akhtar Chadhar, the president of the RFI Seven Stars Listening Club in District Chiniot, Pakistan, won the RFI / Planète Radio ePOP video contest, in the RFI Clubs category. Bravo Saleem! Mubarak ho!Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner!More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos.Would you like to learn French? RFI is here to help you!Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard.Go to our website and get started! At the top of the page, click on “Test level”. According to your score, you'll be counselled to the best-suited activities for your level.Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it!Be sure you check out our wonderful podcasts!In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!This week's quiz: On 7 December, I asked you a question about the International Court of Justice (ICJ), which had just begun to hear evidence from 98 countries and 12 organizations about climate change, and how to establish rules for rich nations to support poorer ones, who are on the frontlines of climate change.It's a landmark case: brought by students in 2019 from the University of Vanuatu – the Pacific Island nation heavily impacted by climate change – led to a UN General Assembly resolution in 2023, asking the ICJ for a formal opinion on the legal obligations of states to protect the climate system. The court will also consider whether large polluting nations can be held liable for damages to vulnerable countries like small island states.You were to re-read Paul Myer's article “Small island nations lead fight for climate justice at UN's top court”, and send in the answer to this question: In addition to the small island states and developing countries, who else will the ICJ hear from?The answer is, to quote Paul's article: “The court will also hear from the United States and China – the world's top two emitters of greenhouse gases. The oil producer group OPEC will also give its views.The 15 judges at the ICJ will hear submissions until 13 December and deliver their decision next year.”In addition to the quiz question, there was the bonus question, suggested by Liton Ahamed Mia from Naogaon, Bangladesh: What do you remember about your first boat journey, and how did you feel when you were back on land?Do you have a bonus question idea? Send it to us! The winners are: Fatematuj Zahra, the co-secretary of the Shetu RFI Listeners Club in Naogaon, Bangladesh. Fatematuj is also this week's bonus question winnerCongratulations on your double win, Fatematju!Also on the list of lucky winners this week is A. K. M. Nuruzzaman, the president of the RFI Amour Fan Club in Rajshahi, Bangladesh, and two RFI Listeners Club members from India: Babby Noor al Haya Hussen from Baripada, and Radhakrishna Pillai from Kerala State.Rounding out the list of this week's winners is RFI English listener Liton Islam Khondaker from Naogaon, Bangladesh.Congratulations, winners!Here's the music you heard on this week's programme: Hungarian Folk Dances by Bela Bartok, performed by the Orpheus Chamber Orchestra; “Dance With Pennons” from Three Japanese Dances by Bernard Rogers, performed by the Eastman Wind Ensemble conducted by Frederick Fennell; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer; “Happy” by Pharrell Williams, and “The Intrepid Fox” by Freddie Hubbard, performed by Hubbard and the Freddie Hubbard Quintet.Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “'Exhausted' Frenchman held in Iran since 2022 reveals identity in plea for help”, which will help you with the answer.You have until 10 February to enter this week's quiz; the winners will be announced on the 15 February podcast. When you enter be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceClick here to learn how to win a special Sound Kitchen prize.Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

Records left off of earlier episodes and a tribute to musicians who passed away in 2024.  Performers include: Kate Smith, the Andrews Sisters, Jo Stafford, Bert Convey, Ezio Pinza, the Eastman Wind Ensemble and Hazel Scott. 

Mark Scatterday is the Professor of Conducting at the Eastman School of Music and the esteemed conductor of the legendary Eastman Wind Ensemble. Since taking the baton in 2002 as only the fourth conductor in the ensemble's storied history, Mark has continued the rich legacy of his predecessors, especially Frederick Fennell and Donald Hunsberger. Under his direction, the ensemble has toured the world, performing in Japan, China, Taiwan, Europe, Canada, and across the United States. As a passionate advocate for contemporary music, Mark has premiered numerous works, making his mark as a visionary leader. It was a real pleasure to sit down with Mark to talk about his unique approach to conducting, his philosophy on teaching, and how he keeps the Eastman tradition alive.We start by diving into Mark's early training as a trombonist, where he studied under the great Ed Anderson and Dennis Smith. He shares how studying scores during rehearsal breaks helped shape his understanding of music. Mark also talks about his early steps into conducting and how a fateful meeting with Donald Hunsberger led him to pursue his doctorate at Eastman. As we wrap up Part 1, we explore his "three-pronged recipe for success" and the role of fate in his career.In Part 2 (Exclusive Subscriber Content), we get into Mark's approach to rehearsals and auditions, especially for the Eastman Wind Ensemble's tours and recordings. We also delve into the fascinating history of the ensemble, starting with its founder, Frederick Fennell, and continuing through the influence of Mark's mentor, Donald Hunsberger. Finally, Mark reflects on his close friendship with renowned composer Karel Husa and their creative collaborations.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!

SynopsisIf you're a baby boomer, you probably remember exactly where you were and what you were doing on Nov. 22, 1963, the day President John F. Kennedy was assassinated in Dallas.On that day, American composer Warren Benson was just beginning to work on a commission he had received for a new work for wind band. Maybe the trauma of that day unleashed some creative power in Benson, but whatever the reason, the resulting music is both intense and moving. He titled his piece The Leaves Are Falling, a line from Rainer Maria Rilke's “Autumn,” a poem that evokes a sense of a passing season and a passing life. The Leaves Are Falling became Benson's best-known work and a landmark score in the wind band repertory.Born in 1924, Benson grew up in Detroit, studied at the University of Michigan and landed a job playing timpani in the Detroit Symphony. He served as a professor of percussion and composition at Ithaca College, and from 1967 until 1993, he taught composition at the Eastman School in Rochester, New York. He died in 2005.Music Played in Today's ProgramWarren Benson (1924-2005): The Leaves Are Falling; Eastman Wind Ensemble; Donald Hunsberger, cond. Centaur 2014

Bill Reichenbach grew up in the Washington, D.C. suburb of Takoma Park, Maryland where he studied trombone with Gene Brusiloff and Robert Isele. After high school, Bill was accepted to the Eastman School of Music in Rochester, New York. There, he studied with the great Emory Remington. While still a student, Bill began his recording career by playing lead trombone on several Chuck Mangione albums, a couple of albums with the Eastman Wind Ensemble (one on bass trombone and another one on euphonium), and the first recording of Leonard Bernstein's “Mass” (on bass trombone) which was composed for the opening of the Kennedy Center in Washington, D.C.  After graduation, Bill toured for while with the Buddy Rich Big Band on bass trombone. During this time, the band recorded an album called “Stick It” which featured Bill on an arrangement of Jobim's “Wave”.  In 1975, Bill moved to L.A. where he started playing the jazz tenor trombone chair on Toshiko Akiyoshi's big band. He made quite a few albums with the band over the next several years and was a featured soloist on all of them. At the same time, Bill was also the solo jazz trombone player on Don Menza's big band and he recorded solos on an album with the band. Don put together a sextet out of the big band and featured Bill on tenor and bass trombone on a recording with that band.  As a studio player, Bill has played on about 2000 records, 1000 motion pictures, and countless TV shows and jingles.  Bill's jazz quartet album "Special Edition" (Nothing But Bills Records) featuring Peter Erskine on drums, Jimmy Johnson on bass, and Biff Hannon on piano, reached number 10 on the national jazz radio play lists.  New York trombonist Mike Davis and Bill have done 4 albums together - “Bonetown”, “Brass Nation”, "New Brass" and most recently, “Absolute Trombone II” and have played concerts all over the United States, Canada, and Europe.  Bill has been a featured artist and clinician at several International Trombone Festivals including Utrecht (Holland), Nashville, Urbana (Illinois), North Texas State University, and most recently Las Vegas (2007), and Salt Lake City (2023).  Some of the artists Bill has recorded with:  Michael Buble, Harry Connick, Jr., The Jonas Brothers, Christine Aguilera, Seal, Mya, Quincy Jones, Barbra Streisand, Michael Jackson, Elton John, Toto, The Yellowjackets, Seawind, Frank Sinatra, Tony Bennett, David Foster, Aretha Franklin, Al Jarreau, Earth Wind and Fire, Dr. John, Arrowsmith, and Ray Charles.  Some of the motion pictures which Bill has played on are:  “Indiana Jones 5”  "Wolverine"   "Night in the Museum 2"  “Indiana Jones and the Curse of the Crystal Skull”  "Up"  “Sex in the City”  “Hancock”  “Ratatouille”  “Spiderman 3”  “Hairspray” “Dreamgirls”  “Transformers”  “American Gangster” “Wall-E”  “I Am Legend”  “Dreamcatcher”  “X-men II”  “Identity”  “The Core”  “Daredevil”  “Red Dragon  “Chicago”  “Men in Black II”  “XXX”  “Training Day”  “Spiderman”  “Collateral Damage” “Black Hawk Down” “Planet of the Apes” “Monsters, Inc”  “Don't Say a Word” “Zoolander”  “Princess Diaries”  “American Pie 2”  “Legally Blond”  “Scary Movie 2”  “The Mummy Returns” “Evolution”  “What Women Want” “Proof of Life”  "X-men"   "Space Cowboys"  "Remember the Titans"  "Meet the Parents"  "Family Man"   "Charlie's Angels"  “The Matrix”  “The General's Daughter” “The Green Mile”  “South Park”  “Sixth Sense'  “Deep Blue Sea”  “Toy Story 2”  “Magnolia”  “Stuart Little”  “Galaxy Quest' “Reindeer Games”  “U-571”  “Godzilla”  “Contact”  “Conspiracy Theory”  “The Jackal”  “Alien Resurrection”  “Men in Black”  “Air Force One”  “Batman and Robin”  “Forrest Gump”  “Independence Day”  “Mars Attacks”  “Hercules”  “Mission Impossible”  “Batman Returns”  “Twister”  “The Rock”  “Starship Troupers”  “The Frighteners”  “Jurassic Park”  “Nixon”  Bill is an Artist-clinician for the Greenhoe/Shilke Co. He has given master classes and clinics throughout the United States, Europe, New Zealand and Australia.  As a writer and arranger, Bill has worked on records for Michael Jackson, Quincy Jones, Aretha Franklin, Dr. John, Diana Ross and others. He has arranged many HBO Special Themes and composed the theme for the HBO “One Night Stand” comedy show. Bill also composed the theme for Fox's animated series “Peter Pan & the Pirates” as well as much of the underscoring. He contributed to such films and shows as “Licorice Pizza”, “I Love Trouble”, “Frank's Place”, “Baby Boom”, “Brand New Life”, “Snoops”, “Teen Wolf”, and the special “Cartoon All-Stars to the Rescue”. Bill composed the main title for a series of Kurt Vonnegut stories called “Welcome to the Monkey House” for Showtime. He composed a score for a documentary film about Frank Lloyd Wright called “A Very Proud House”.  Bill has also composed pieces for Wind Ensemble including "Streets of Paris" which was recently premiered by trombone soloist Larry Zalkind and The Riverside City College Wind Ensemble conducted by Kevin Mayse, “Atlantic Crossing”, “Streets of Paris”, “The Improbable Journey”, “Fanfares, Questions and Answers”, and “An American Dream”. Bill and family now live near Asheville, NC.  Bill plays the Greenhoe Bass Trombone  

Synopsis On today's date in 1959, the Duke University Band under Paul Bryan gave the premiere performance of a new work they had commissioned: the Symphony No. 3 for concert band by the American composer, Vittorio Giannini. With the growth of concert bands in the 1950s, and success of high-profile performing ensembles like Frederick Fennell's Eastman Wind Ensemble, composers like Giannini started getting commissions to write new works for these ensembles. In all, Giannini wrote five pieces for concert band, with his Symphony No. 3 the biggest and best known of the lot. Paul Bryan and Duke University were certainly pleased with the new work. Its resounding success encouraged other band directors to commission new concert works for wind band–and, in one fell swoop, the Duke Band achieved national recognition for its initiative. As for Giannini, in his later years he taught a younger generation of composers, first in New York City at Juilliard and the Manhattan School of Music, then in Philadelphia at the Curtis Institute, and finally at the North Carolina School of the Arts, where he served as that institution's first president. Giannini students included a number of successful composers, including David Amram, John Corigliano, Nicolas Flagello, Adolphus Hailstork, and Alfred Reed. Music Played in Today's Program Vittorio Giannini (1903 - 1966) Symphony No. 3 University of Houston Wind Ensemble; Tom Bennett, conductor. Naxos 8.570130

Synopsis In 1926, the German composer Paul Hindemith was the director of that year's Donaueschingen Music Festival, which, since its inception in 1921, had quickly established itself as an important showcase for new and progressive music. For the 1926 Festival, Hindemith decided to spotlight a genre of music overlooked by many composers, namely music for wind bands, and contributed a work of his own, entitled “Concert Piece for Wind Orchestra,” which premiered on today's date in 1926 and was published as his Opus 41. The critics of the day opined that the music was interesting, but lamented that such talented composers would waste their time writing for bands. In his book “Winds of Change,” a history of band music and its reception, Dr. Frank Battisti explains: “In 1926, serious works for band were of no interest to German and Austrian band directors, who preferred to continue performing the standard repertory of transcriptions, arrangements, and marches. Critics, after hearing these works, remained convinced that the wind band would never become a medium of artistic musical expression.” With the passage of time, and a dramatic change in the attitudes of band director and critics alike towards concert music for bands, Hindemith's 1926 concert programming seems downright prophetic. Music Played in Today's Program Paul Hindemith (1895-1963) – Concert Music for Winds, Op. 41 (Eastman Wind Ensemble; Donald Hunsberger, cond.) CBS MK-44916

Synopsis On today's date in 1990, the Czech-born composer Karel Husa returned to his hometown of Prague to conduct a concert of his own music after more than forty years in exile. Husa left Prague in 1948 after the post-War communist takeover of Czechoslovakia, and in 1954 accepted a teaching post at Cornell University. He was granted U.S. citizenship in 1959. At that festive 1990 homecoming concert in Prague's Smetana Hall, broadcast nationwide by Czech radio and TV, Husa conducted the Czech premiere of his “Music for Prague 1968,” a composition that had received thousands of performances all over the world, but none, until that night, in the city that inspired it. Husa had written it in the summer of 1968 after troops from the Soviet Union had invaded his homeland to suppress a growing Czech democratic movement. “Music for Prague, 1968” soon became a classic of wind band repertory. One of Husa's American students, composer Thomas Duffy, travelled to Prague to attend the concert. “Husa conducted vigorously,” Duffy recalled, and after the performance noted that, “Twice, when I felt that the volume of applause was already overwhelming, Husa presented the V for victory sign to the house – and the volume doubled.” Music Played in Today's Program Karel Husa (1921 - 2016) — Music for Prague 1968 (Eastman Wind Ensemble; Donald Hunsberger, cond.) CBS/Sony MK-44916

Synopsis Today a salute to a remarkable American composer and performer – the cornet virtuoso Herbert Lincoln Clarke. Clarke was born in Wolburn, Massachusetts on September 12, 1867, into a peripatetic musical family. He began to play his brother's cornet and was soon earning fifty cents a night playing in a restaurant band. At age 19, Clarke won first prize at a cornet competition in Indiana, and, in 1893, after many years on the road, Clarke got the call from John Philip Sousa to join his illustrious organization as its star soloist, a position he held for over 20 years. From 1900 on, Clarke began to compose and make recordings of his own music. In 1904, while on a return voyage from England with the Sousa Band, Clarke completed one of his best-known pieces, a work originally titled “Valse Brilliante.” While waiting to dock in New York, however, at Sousa's suggestion, Clarke changed the title to “Sounds from the Hudson.” Herbert L. Clarke eventually settled in California and died there on today's date in 1945. But the much-traveled composer and performer was buried on the opposite coast – in the Congressional Cemetery in Washington, D.C. – near the grave of his lifelong friend, John Philip Sousa. Music Played in Today's Program Herbert L. Clarke (1867 - 1945) — Sounds from the Hudson (Valse brillante) (Wynton Marsalis, cornet; Eastman Wind Ensemble; Donald Hunsberger, cond.) CBS 42137

Our sponsor: Houghton Hornswww.houghtonhorns.comHoughton Horns virtual equipment consultation video -Equipment consultationDr. J. Peyden Shelton has emerged as an accomplished performer, teacher, and clinician throughout the United States.  In 2014, he was the winner of the National Trumpet Competition's Graduate Soloist Division performing Joseph Turrin's Concerto for Trumpet and Orchestra. Since that time, he has performed recital and solo performances at numerous universities and music venues across North America. As an ensemble and chamber musician, Dr. Shelton has performed with ensembles including the Utah Symphony, Rochester Philharmonic, Washington Chamber Opera, Syracuse Symphony, New World Symphony, U.S. Army Field Band, and the Eastman Wind Ensemble. He is one of the newest members of the internationally renown, Mirari Brass Quintet (miraribrass.com), and is one of the founding members of both the electro-acoustic chamber ensemble, Fifth Bridge (fifthbridge.org),  Ascent (@ascentensemble), and the new Nova Trumpet Collective (novatrumpets.com).As an educator, Dr. Shelton currently serves as the Assistant Professor of Trumpet and the University of Utah's School of Music.  Dr. Shelton has also served on the faculties at the University of Rochester and Cornell University. He is a frequent guest at festivals and clinics throughout the United States providing a unique and effective approach to fundamental brass development. In addition, Dr. Shelton is a strong supporter of new music, especially that which reflects a contemporary compositional voice for trumpet and piano. If you have any interest of studying trumpet performance at the University of Utah or taking private lessons, please feel free to contact Dr. J. Peyden Shelton in the Contact Me section of this website, or find out more information at The University of Utah's School of Music website. Support the show (https://thatsnotspit.com/support/)

This week we welcome Jacob Caines to the Band Room! Jacob is a conductor, musicologist, and performer based in Halifax, Nova Scotia, where he is the director of the Dalhousie Wind Ensemble. We spoke with Jacob about his masters thesis on the Eastman Wind Ensemble, creative and collaborative programming approaches, the importance of expanding the canon, founding the ClassicalQueer blog/podcast, his PhD research related to Queer+ classical musicians, and so much more!Help support the Band Room Podcast by becoming a patron through Patreon: https://www.patreon.com/bandroompod Help support the Band Room Podcast by getting your merch at the BRP Storehttp://www.bandroompod.com/store Music used in this episodeBRP Theme Music: Skyline by EKR HammellPerforming Ensemble: University of Toronto Wind EnsembleDr. Gillian MacKay – ConductorLake Superior Suite - Pukakswa by Cait Nishimura Performing Ensemble: University of Toronto Wind EnsembleDr. Gillian MacKay – ConductorEpisode LinksJacob's Websitehttps://jacobcaines.com/ClassicalQueerhttps://classicalqueer.com/The ClassicalQueer Podcasthttps://open.spotify.com/show/7FiChqQbs4aKcbBbfupsMHDalhousie University - Fountain School of Performing Artshttps://www.dal.ca/faculty/arts/school-of-performing-arts/programs/music-programs.htmlLatest Issue of the Canadian Winds Journalhttps://www.canadianband.org/downloadSupport the show (https://www.patreon.com/bandroompod)

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Synopsis Pleyel and Company was a French piano firm founded in 1807 by the composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel–the “Pleyel room” in English, where Chopin once performed. In the 20th century, a roomier Salle Pleyel comprising some 3,000-seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the “Concert champetre” or “Pastoral Concerto” for harpsichord and orchestra by the French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist. “A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by–who else?–Pleyel and Company. Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba! Music Played in Today's Program Francis Poulenc (1899-1963) Concert champêtre/Pastoral Concerto Aimée Van de Wiele, hc; Paris Conservatory Orchestra; Georges Prêtre, cond. EMI Classics 69446 or 95584 On This Day Births 1886 - French organist and composer Marcel Dupré, in Rouen; 1920 - American composer and jazz pianist John Lewis, in LaGrange, Ill.; Deaths 1704 - Austrian composer Heinrich Biber, age 59, in Salzburg; Premieres 1831 - Hérold: "Zampa," at the Opéra-Comique in Paris; 1893 - Horatio Parker: oratorio "Hora Novissima," in New York City; 1917 - Bloch: "Schlemo" and "Israel" Symphony at Society of the Friends of Music Concert, Artur Bodanzky conducting; 1919 - Debussy: Clarinet Rhapsody (orchestral version), in Paris, with clarinetist Gaston Hamelin, at Pasdeloup Concert; 1929 - Poulenc: "Concert champêtre" for harpsichord and orchestra, at the Salle Pleyel in Paris, by the Paris Symphony with Pierre Monteux conducting and Wanda Landowska the soloist; 1934 - Bernard Rogers: "Three Japanese Dances," in Rochester, N.Y.; 1943 - Cowell: "American Melting Pot" (Set for Chamber Orchestra), at Carnegie Hall in New York, by the Orchestrette of New York, Frédérique Petrides conducting; 1952 - Vaughan Williams: "Romance" for harmonica and orchestra, in New York City; 1958 - Walter Hartley: Concerto for 23 Winds, at the Eastman School in Rochester, N.Y., by the Eastman Wind Ensemble, Frederick Fennell conducting; 1963 - Cowell: Quartet for Flute, Oboe, Cello and Harp, at the University of Miami, by John Bitter (flute), Julien Balogh (oboe), Hermann Busch (cello), and Mary Spalding (Mrs. Fabien) Sevitzky (harp); The work is dedicated to the conductor Fabien Sevitzky "in honor of his many services to American music"; 1969 - Shostakovich: Violin Sonata, in Moscow, with David Oistrakh and Sviatoslav Richter; 1989 - James MacMillan: "Visions of a November Spring" for string quartet, at University Concert Hall in Glasgowm Scotland, by the Bingham String Quartet; Others 1971 - Debut broadcast of National Public Radio's "All Things Considered" with an electronic theme by composer Don Voegeli of the University of Wisconsin (In 1974, Voegeli composed a new electronic ATC theme, the now-familiar signature tune of the program). Links and Resources Poulenc’s “Concert champêtre” played on a 1930 Pleyel harpsichord: 1st movement 2nd movement 3rd movement Wanda Landowska plays Bach Fantasia in C minor, BWV 906 (modern Pleyel harpsichord) Gustav Leonhardt plays Bach Fantasia in C minor, BWV 906 (on a “historic” 18th century harpsichord by Christian Zell, Hamburg, 1728)

Episode 20 is our conversation with Sue Kinne, historian of the Manchester Cornet Band. Sue has been researching the band for years, and we were thrilled to have her on to dive into the history of this extremely important brass band. We discuss their formation in the 1830's, service during the American Civil War, their organizations after the war, and much more.Show notes for this episode are available at https://eabbpodcast.com/show-notes-2/. Music in this episode comes from Our Musical Past from the Library of Congress and the 8th GM Regiment Band. You can get in touch with us on all social media platforms, and by emailing us at eabb.podcast@gmail.com.If you like the show, the best way you can support us is by becoming a patron at https://www.patreon.com/eabbpodcast. We appreciate any support you feel compelled to give!Episode Structure:2:15 - Sue's musical background13:25 - How Sue got involved with early American brass bands16:05 - Meeting Mark Elrod through her research18:27 - Meeting Jari Villanueva through her research19:24 - How Sue first learned about the Manchester Cornet Band22:13 - Beginnings of the Manchester Cornet Band23:51 - Walter Dignam, and how he factors into the Manchester Cornet Band27:01 - George Goodwin's role in the band29:25 - Dignam's collection of music in the Manchester Historical society34:22 - The band leading up to the Civil War43:30 - Enlisting in the 4th NH Regiment, the band's service during the war49:23 - The band's official muster out, and Walter Dignam forming a band that officers paid for52:00 - The band after the war1:09:41 - The importance of town bands in the 19th century1:18:25 - Wrap up, Featured Album: Homespun America, The Eastman Wind Ensemble

This episode focuses on Frederick Fennell and the Eastman Wind Ensemble's landmark 1960 recording The Civil War: Its Music and Its Sounds. We discuss Fennell's inspiration for the album, the musicians on the album, the instruments used for the recording, as well as the music on the album.If you like the show, the best way you can support us is by becoming a patron at https://www.patreon.com/eabbpodcast. We appreciate any support you feel compelled to give!Episode Structure:0:00 – 2:20 – Introduction2:20 – 8:42 – Background on the Eastman School of Music and Frederick Fennell8:42 – 11:43 – Origins and background of the Eastman Wind Ensemble11:43 – 16:10 – Fennell's inspiration for The Civil War: It's Music and It's Sounds16:10 – 20:33 – Recording dates and recording process for the album20:33 – 23:35 – Initial and subsequent releases23:40 – 29:00 – Musicians on the albumStephen was incorrect about Roger Bobo playing on the Jaws soundtrack. Tommy Johnson played tuba for that movie. Roger Bobo played tuba on the soundtracks for: Close Encounters of the Third Kind, Indiana Jones and the Temple of Doom, Meet the Applegates, Baby: Secret of the Lost Legend, The COlor Purple, and Robin Hood.29:00 – 42:06 – Instruments used on the album42:06 – 51: 46 – Music on the album51:46 – 56:06 – Interesting facts and other Civil War music recordings with which Frederick Fennell was involved56:06 – 58:14 – Featured album: The Civil War: It's Music and It's Sounds, Episode 3 teaser58:14 – 58:34 – Outro music

David Biedenbender is an Assistant Professor of Composition at Michigan State and a member of the Blue Dot Collective. He joins the show to talk about his music and share his thoughts about composing for band. Topics: David’s background growing up in Michigan and learning music by watching his mother play organ, and how a high school band director gave him his first big break that led to him studying music. Studying at Central Michigan University and how he didn’t write a single band piece while studying with David Gillingham The story of how he wrote Melodius Thunk and bringing in popular elements such as jazz and rock and roll into the concert band medium. Influences on his compositional style, a conversation about development in band music, and why he self-publishes his music and distributes it through Murphy Music Press. Links: David Biedenbender Murphy Music Press Biedenbender: Melodious Thunk Beidenbender: Cyclotron Abide With Me Biography: David Biedenbender (b. 1984, Waukesha, Wisconsin) is a composer, conductor, performer, educator, and interdisciplinary collaborator. David’s music has been described as “simply beautiful” [twincities.com], “striking” and “brilliantly crafted” [Times Argus] and is noted for its “rhythmic intensity” [NewMusicBox] and “stirring harmonies” [Boston Classical Review]. “Modern, venturesome, and inexorable…The excitement, intensity, and freshness that characterizes Biedenbender’s music hung in the [air] long after the last note was played” [Examiner.com]. He has written music for the concert stage as well as for dance and multimedia collaborations, and his work is often influenced by his diverse musical experiences in rock and jazz bands as an electric bassist, in wind, jazz, and New Orleans-style brass bands as a euphonium, bass trombone, and tuba player, and by his study of Indian Carnatic music. His present creative interests include working with everyone from classically trained musicians to improvisers, acoustic chamber music to large ensembles, and interactive electronic interfaces to live brain data. David has had the privilege of collaborating with many renowned performers and ensembles, including Alarm Will Sound, the PRISM Saxophone Quartet, the Stenhammar String Quartet (Sweden), the New Jersey Symphony Orchestra, the Aspen Contemporary Ensemble, the United States Navy Band, the Philharmonie Baden-Baden (Germany), VocalEssence, the Eastman Wind Ensemble, the Music from Copland House Ensemble, Detroit Symphony Orchestra bass trombonist Randall Hawes and pianist Kathryn Goodson, the Juventas New Music Ensemble, the Washington Kantorei, the Atlantic Chamber Ensemble, the Boston New Music Initiative, Ann Arbor Dance Works, Composer’s Inc. (San Francisco), and the Grand Valley State New Music Ensemble. dsc_3680Recent recognition for his work includes two ASCAP Morton Gould Young Composer Awards (2011, 2012) and the 2012 Suzanne and Lee Ettelson Composers Award. His music has been heard in many diverse venues, including Carnegie Hall, Gaudeamus Muziekweek/TivoliVredenberg (Netherlands), Symphony Space (New YorkCity), the Smithsonian Museum, the German Embassy (Washington, DC), the Antonín Dvořák Museum (Prague), the Old First Church (San Francisco), Harris Hall (Aspen Music Festival), the Interlochen Center for the Arts, Hill Auditorium (Ann Arbor, MI), the University of Michigan Museum of Art, as well as at numerous universities and conservatories, and it has been broadcast on NPR stations around the country, including on WNYC’s Soundcheck with John Schaefer and on Center Stage from Wolf Trap. David’s music can also be heard on many commercially available recordings, including recent albums by the U.S. Navy Band, Akropolis Reed Quintet, H2 Saxophone Quartet, Khemia Ensemble, PUBLIQuartet, and the North Texas Wind Symphony. Recent and upcoming commissions and projects include works for yMusic, the New York Virtuoso Singers, the Cabrillo Festival of Contemporary Music, San Francisco Symphony principal trombonist Tim Higgins, the Albany (NY) Symphony Orchestra, the Edge Ensemble, the Donald Sinta Saxophone Quartet, the Akropolis Reed Quintet, Kevin Sedatole and the Michigan State University Wind Symphony, and pianist Jeannette Fang. In addition to composing, David is a dedicated teacher. He is Assistant Professor of Composition in the College of Music at Michigan State University, and he previously taught composition and theory at Boise State University, Eastern Michigan University, Oakland University, Madonna University, the Music in the Mountains Conservatory, and the Interlochen Arts Camp. He has also taught an interdisciplinary course in creativity and collaboration in the Living Arts program at the University of Michigan. His composition students have achieved regional and national recognition for their creative work, including numerous awards and acceptance into renowned summer music festivals and undergraduate and graduate composition programs. He received the Doctor of Musical Arts and Master of Music degrees in composition from the University of Michigan, Ann Arbor and the Bachelor of Music degree in composition and theory from Central Michigan University. He has also studied at the Swedish Collegium for Advanced Study in Uppsala, Sweden with Anders Hillborg and Steven Stucky, the Aspen Music Festival and School with Syd Hodkinson, and in Mysore, India where he studied South Indian Carnatic music. His primary musical mentors include Stephen Rush, Evan Chambers, Kristin Kuster, Michael Daugherty, Bright Sheng, Erik Santos, Christopher Lees, David R. Gillingham, José Luis-Maurtúa, John Williamson, and Mark Cox.

Percussionist Cameron Leach and I have a great show for you today!  In addition to some great practice tips, Cameron elaborates on some very important topics, including how to clearly communicate to our audience through intentional and empathetic performing, why students must take ownership of their own learning experience, and why musicians need to be great friends to each other! I love Cameron's perspective on those topics, and I hope you enjoy our discussion! Cameron elaborates on: His journey to a solo career – starting in drumcor, doing a music education degree, and transitioning to performance after a chance encounter How he organizes his practice – having to handle so many instruments Why he likes to practice hungry What it is like to have to learn a wide variety of percussion instruments Ho he transfers the sound concepts from one instrument to the next Different practice modes in practice: Learning mode “Emoting” mode Why he thinks it's important to consider how you are sending your musical message and how it is received by your listeners Clear emotional communication How documenting his practice on video helped him release stress and was a creative outlet Why it's important to keep the sound of the hall in mind when we practice How recording ourselves helps us narrow our focus on specific elements in our practice His 3 key words – inquisitive, intentional, empathetic How students must take ownership of their learning experience (SCHOOLS CAN'T TECH YOU EVERYTHING!) during their degree and remain inquisitive AFTER they've graduated (Pssst! We're all lifelong learners!!!!)     More about Cameron: Website: www.cleachmusic.com YouTube channel: https://www.youtube.com/channel/UCVIL-V9LiebwHS_XbuRbTsw Facebook page: https://www.facebook.com/cleachmusic/ Instagram: https://www.instagram.com/cleachmusic/   Beyond Talent: Creating a Successful Career in Music by Angela Myles Beeching The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield   BIOGRAPHY American percussionist Cameron Leach is a bold, high-energy performer acclaimed for his expressive virtuosity, musical athleticism, and daring interpretations. An engaging and thoughtful soloist, Leach has concertized across the United States, Canada, and Europe. He frequently appears as a guest artist at some of the world's finest institutions, including the Royal Danish Academy of Music, Royal Northern College of Music, Estonian Academy of Music and Theatre, and Norwegian Academy of Music. Leach recently won both the Percussive Arts Society International Solo Artist Competition and Yamaha Young Performing Artist Competition, in addition to receiving the prestigious Performer's Certificate from the Eastman School of Music. Along with his active touring schedule, he regularly performs with the Columbus Symphony Orchestra, and serves on the faculty of Kent State University. Leach is endorsed by Black Swamp Percussion, Beetle Percussion, Sabian Cymbals, and Malletech. Highlights from the 2017-2018 season include the debut of his new electroacoustic solo show ELISION, a European Tour as Co-Principal of the World Percussion Group, the world premiere of Paul Lansky's Metal Light for the Percussive Arts Society, and a performance of Jennifer Higdon's Percussion Concerto with the Eastman Wind Ensemble. Additionally, he performed Peter Maxwell Davies' seminal Eight Songs for a Mad King with Ensemble id, a Rochester, NY-based chamber collective. His latest project, the Leach | Peters Percussion Duo, debuted on the Eastman Summer Concert Series in July 2018. Leach's 2018-2019 season is marked by a diverse array of solo appearances, guest artist engagements, and world premieres. Kicking off with a performance at the National Centre for the Performing Arts in Beijing, China, Leach then embarks on recital and clinic tours of California, Florida, and the Midwest, featuring newly commissioned solo works by David Skidmore and Matt Curlee. In March 2019, Leach will give the world premiere of Dave Maric's Percussion Concerto, commissioned for him by the Capital University Conservatory of Music. To close out the season, Leach will serve on faculty at the MalletLab Summer Intensive in West Palm Beach, FL, and will spend a week in residence as the featured artist for the Space City New Music Festival in Houston, TX. Devoted to the creation and performance of new music, Leach continues to commission diverse works for solo percussion, with a focus on the inclusion of electronics. During his time at the Eastman School of Music, the institution supported his vision through the Eastman/ArtistShare Partnership, allowing Leach to organize a commissioning consortium for Decay No. 2, a massive electroacoustic solo work by Matt Curlee. Other premieres include pieces by composers Michael Burritt, Paul Lansky, Jeff Tyzik, Alejandro Viñao, Annie Gosfield, Tim Feeney, Jon Lin Chua, and Frédéric Chiasson. Leach makes regular appearances at the Percussive Arts Society International Convention, having performed with the Eastman Percussion Ensemble and on the Competition Winner's Showcase Concert in 2017, on the Focus Day Series and as a member of the All-Star International Percussion Ensemble in 2015, and with the Rhythm X Indoor Percussion Ensemble in 2011. In addition to his work as a concert artist, Leach also has a strong background in marching percussion, having won world titles with the Blue Devils Drum & Bugle Corps and Rhythm X.   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/    

Just the fourth person to hold the position as conductor of the Eastman Wind Ensemble, Mark Scatterday joins the show to discuss that ensemble and his career, and to share advice about conducting and teaching. Topics: Mark's early years growing up as a musician and his path to becoming a music educator and conductor.  The importance of being prepared and how, as a high school band director in Ohio, a chance meeting with Donald Hunsberger changed his life and his career. A lengthy discussion of the program at Eastman including the challenge of programming up to 85 pieces of music every year. Practical tips for score study. Links: Mark Scatterday Eastman School of Music Husa: Music for Prague 1968 Biography: Mark Davis Scatterday is professor of conducting and chair of the Conducting and Ensembles Department at the University of Rochester’s Eastman School of Music. As only the fourth conductor of the Eastman Wind Ensemble, Scatterday joined a prestigious line of conductors – Donald Hunsberger, Clyde Roller, and Frederick Fennell – in the past 65 years of the famed ensemble. Since his appointment, he has led the EWE on tour to Japan, Taiwan, and China and conducted the EWE in highly acclaimed performances at Carnegie Hall, Canadian National Musicfest, and the Midwest Clinic. He has recorded five new CDs with the EWE, Eastman Virtuosi, and  Eastman Music Nova and led the Eastman Harmonie on a highly acclaimed tour of Germany, Austria, and the Czech Republic. Having received a doctor of musical arts in conducting at the Eastman School of Music, Scatterday has directed wind ensembles and orchestras throughout North America, Europe and Asia. Previous to his appointment at Eastman, he was professor and chair of the Department of Music at Cornell University. Scatterday maintains an active guest conducting schedule as well as researching and writing articles involving score analysis, performance practices, and conducting.  Scatterday has conducted the premiere recording of Roberto Sierra’s Cancionero Sefardi with members of the Milwaukee Symphony (2001), Judith Weir’s Consolations of Scholarship with Ensemble X (2005), Danzante with James Thompson and the EWE (2006), Barcelonazo with Musica Nova (nominated for a 2008 Latin Grammy), and Manhattan Music with the EWE and the Canadian Brass (2008, nominated for a 2009 JUNO). In 2012, he recorded with the EWE and the Eastman Virtuosi featuring Stravinsky’s music and celebrating the EWE’s 60th year (2013, AVIE, London) and most recently released a new live recording of Roberto Sierra’s music with the EWE (Summit, 2017).  

Former director of bands at Eastern Illinois University and current CEO and founder of the non-profit Music Guerrilla, Milt Allen joins me to speak about his own career and his views of music education and the band world. Topics: The problem of elitism in music and the need to eliminate placing value judgments on different genres of music. A discussion of the value of self-publishing versus commercial publishing for composers. Milt’s background growing up in Salina, Kansas and the lessons that he learned as a young musician including the importance of having a mentor. Why being vulnerable is unavoidable for all musicians. Quality is attracted to quality and raising the level and expectations of the music making as they key to building a program. "Unless you have the heart of a child and the soul of a musician you should never be in front of students." Suggestions for improving music teacher training in music education programs. Why conducting is the most important rehearsal tool that every band director has and why you need to be the best that you can be. Link: Music Guerrilla Biography: Dr. Milt Allen has worked with hundreds of schools and thousands of students, directors and community members during his career. He is often credited as being one of the most creative, innovative, inspiring and non-traditional music educators today. Conductor, clinician, speaker, author and tireless advocate on behalf of music education, his passion for reaching more musicians at a grass-roots level drove him to leave a 26-year career in education, including 17 years in the public school, to step outside the traditional rehearsal room to create The Music Guerrilla, allowing him – and eventually others – to harness the power of music through whatever avenues available. In so doing, “Doc” is also able to create a means to reach out to programs in need, as well as partnering with music programs in third-world countries, most recently in Rwanda, Zambia and Haiti. Milt brings a rare perspective to his roles as MG President and Executive Director. His cross-genre music interests effectively combine with previous teaching positions in rural/suburban, large/small and public/parochial environments to create a truly unique ability to connect to those he serves. His experiences range from teaching beginning band in a boiler room to premiering new works at the university level, to working with young African musicians learning to play an instrument. Yet always, from Glasgow, Scotland to Zambia, Africa, and at regional, state, national and international conferences, Milt’s humor, passion and experience combine to illuminate the possibilities of both music and the live art of performance. Milt’s articles and insights have appeared in music, parenting and educational magazines as well as various newspapers, including the San Francisco Chronicle, the Los Angels Times and the Chicago Tribune. He is also the author of Music, Artistry, and Education: A Journey Towards Musical Growth and Enlightenment, published by Meredith Music Publications/Hal Leonard. Dr. Allen’s online venture: “Milt’s Music Minute,” continues to gain in popularity, providing quick information and helpful hints for both music directors and parents. Ensembles under Doc’s direction have received numerous awards at local, state and national levels including recognition by the United States Congress for Musical Excellence. He is a two-time high school Teacher of the Year, a Kansas Teacher of the Year Semi-Finalist, and is listed in various Who’s Who publications. Other honors and distinctions include 5 awards from the Ohio State University School of Music recognizing his teaching and service and selection as a Conducting Fellow for the Eastman Wind Ensemble’s 40th Anniversary. In 2008, Dr. Allen became the first civilian in the history of the United States Air Force to tour as a featured conductor (USAF Heritage of America Band) and received an Eastern Illinois University Achievement and Contribution Award.

Florida State University percussion professor John W. Parks IV is really passionate about the importance of teaching and learning the "right way" and this becomes a recurring theme throughout this remarkable conversation. Topics: John's musical background Trophy hunting in music education and putting the students first The type of students John brings to FSU and how he disarms "problem" students Use the local college to find a percussion teacher to come into your band room. Qualities necessary to becoming a successful teacher and having a plan! Teach skills, not pieces Percussion resources for teachers 2000 Eastman Wind Ensemble Japan tour Garnet House Productions Why college football coaches need to stop cursing so much! Links: Daniel's Orchestral Music Raynor Caroll: Symphonic Repertoire Guide for Timpani and Percussion Black Swamp Percussion Videos Vic Firth Percussion Videos John teaches the Porgy and Bess xylophone solo Percy Grainger: Irish Tune from County Derry Anthony Iannaccone: Sea Drift (Mvmt I) 2017 Orange Bowl Bet with Jonathan Ovalle Garnet House Productions John W. Parks IV Biography: John W. Parks IV, Professor of Percussion at The Florida State University, holds degrees from the Eastman School of Music, Northwestern University, and Furman University and has studied with Patricia Dash of the Chicago Symphony Orchestra, John Beck of the Rochester Philharmonic, Michael Burritt, Paul Wertico (formerly of the Pat Metheny Group), and John Beckford. He is artist/clinician for Malletech, Avedis Zildjian Cymbals, Black Swamp Percussion, and Remo. ​ Parks made his Carnegie Hall solo recital debut in Weill Recital Hall in May of 2007, and has performed with diverse performing organizations ranging from the Eastman Wind Ensemble on their 2000 tour of Japan and Taiwan and the Schlossfestspiele Orchestra of Heidelberg, Germany to the Kansas City, Alabama, Key West, Jacksonville, and Tallahassee Symphony Orchestras as well as the Florida Orchestra, Naples Philharmonic, and Eastern Music Festival Faculty Orchestra. Dr. Parks also leads the FSU Percussion Ensemble, winners of the 2007 and 2011 Percussive Arts Society International Percussion Ensemble Competitions and the subject of four critically-acclaimed recordings (Volume One, Volume Two: Not Far From Here, Volume Three: Ten Windows, and Volume Four: Unknown Kind), and has appeared as performer/clinician at the 2011 Basilica Festival in Belgium, 2009 Thailand Brass and Percussion Conference in Bangkok, three Midwest Band and Orchestra Clinics, twelve Percussive Arts Society International Conventions, NACWPI, National Public Radio, and state MENC conventions. In 2006 he won a university-wide teaching award at FSU, and in 2013 was inducted into the Engineering Wing of the National Academy of Recording Arts and Sciences as a voting member of the Grammy Awards. 

Episode 49: Teaching to Their Strengths - A conversation with Max Matzen Noted for his sharp and persuasive playing (Jack Bowers, allaboutjazz.com), Max Matzen is steadily emerging as one of America's prominent trumpet artists. He maintains an international performing career as a soloist, and member of a variety of ensembles. Mr. Matzen has tallied performances on some of the world’s most prestigious stages and festivals. He has performed with the Eastman Wind Ensemble at Carnegie Hall, and has also performed at the famed North Sea, Vienne, and Montreaux jazz festivals. He has performed and assisted in master classes administered at the International Association of Jazz Educators (IAJE) conferences in Toronto, New York City, and New Orleans. In May of 2011, Matzen completed a solo recital tour in the Osaka and Kyoto areas of Japan. As a member of the Emerald Brass Quintet, he was a featured performer in the premier of Jim Stephenson’s Dodecafecta for brass quintet and wind ensemble, accompanied by the Eastman Wind Ensemble. The Emerald Brass Quintet was also a featured performing ensemble at the Frankenwald Brass Festival in Hof, Germany in July 2009. Notable jazz artists he has performed with include Terence Blanchard, Benny Green, Slide Hampton, Antonio Hart, The Heath Brothers, Conrad Herwig, Pat Martino, Bob Mintzer, James Moody, Eddie Palmieri, Maria Schneider, Ira Sullivan, and the legendary Clark Terry. In April 2011 Matzen completed the Doctor of Musical Arts at the Eastman School of Music where he studied trumpet with esteemed brass pedagogue James Thompson. He currently holds a Master of Music in trumpet performance and literature from the Eastman School of Music, and a Bachelor of Music in jazz studies from the University of North Florida. From 2010 until 2012 Matzen was the Assistant Professor of trumpet at Texas Tech University. Matzen joined the faculty at Utah State University in fall of 2012. Max Matzen is a Yamaha Performing Artist.

1 - Vinheta na voz de Glenn Gould (trecho de "A Glenn Gould Fantasy") 2 - "So you want to write a fugue?", de Glenn Gould. Com Elizabeth Benson-Guy, soprano. Anita Darian, mezzo-soprano. Charles Bressler, tenor. Donald Gramm, barítono. The Juilliard String Quartet. 3 - "O voo do besouro", de Rimsky-Korsakov. Com Wynton Marsalis, trompete. Eastman Wind Ensemble. 4 - Canto yanomami "Hutuyoma heã yarë" ("Balança roça") 5 - "Prelúdio", de Gilberto Mendes. Com Fábio Zanon, violão. 6 - Canto do curió Ana Dias 7 - "Suíte orquestral para os Jogos Panamericanos Rio 2007 sobre temas de Tom Jobim, Chico Buarque e Villa-Lobos" (trecho), de André Mehmari. Com Orquestra Sinfônica Brasileira. Roberto Minczuk, regente. 8 - "My heart belongs to daddy", de Cole Porter. Com Charlie Parker, saxofone. Walter Bishop, piano. Jerome Darr, guitarra. Teddy Kotick, baixo. Roy Haynes, bateria. Gravação ao vivo em 31 de março de 1954 em Nova York ========================= 1 - Glenn Gould´s voice (from "A Glenn Gould Fantasy") 2 - "So you want to write a fugue?" (Glenn Gould). Elizabeth Benson-Guy, soprano. Anita Darian, mezzo-soprano. Charles Bressler, tenor. Donald Gramm, baritone. The Juilliard String Quartet. 3 - "Flight of the Bumblebee" (Rimsky-Korsakov). Wynton Marsalis, trumpet. Eastman Wind Ensemble. 4 - Yanomami chant "Hutuyoma heã yarë" 5 - "Prelúdio" (Gilberto Mendes). Fábio Zanon, guitar. 6 - Brazilian Bird Curió Ana Dias 7 - "Orchestral suite to the Panamerican Games Rio 2007 - excerpt" (André Mehmari). Brazilian Symphony Orchestra. Roberto Minczuk, regente. 8 - "My heart belongs to daddy" (Cole Porter). Charlie Parker, saxofone. Walter Bishop, piano. Jerome Darr, guitar. Teddy Kotick, bass. Roy Haynes, drums. Recorded live on March 31st 1954, New York.