Podcast appearances and mentions of Elliott Carter

In the words of The New Yorker, Charles Neidich “is an artist  of  uncommon merit -- a master of his instrument and, beyond that, an  interpreter  who keeps listeners hanging on each phrase.”        Charles is the artistic  director of the Wa Concert Series at  the Tenri Cultural Institute in New  York, which he founded with his wife, clarinetist Ayako Oshima, in September 2017. This concert series is inspired by the  Japanese concept “wa”—  meaning circle, but also harmony and completeness; each  performance is  thus paired with visual arts and offers a variety of culinary delicacies prepared by Ayako Oshima. In recent seasons, Charles has added conducting to his musical accomplishments. He has led the Cobb Symphony Orchestra and Georgia Symphony in performances of the Franck Symphony in D Minor and Mozart's Clarinet Concerto (also playing the solo clarinet part). Charles commands a repertoire of over 200 solo works, including pieces commissioned or inspired by him, as well as his own transcriptions of vocal and instrumental works. With a growing discography to his credit, he can be heard on the Chandos, Sony Classical, Sony Vivarte, Deutsche Grammophon, Musicmasters, Pantheon, and Bridge labels. His recorded repertoire ranges from familiar works by Mozart, Beethoven, Weber, and Brahms, to lesser-known compositions by Danzi, Reicha, Rossini, and Hummel, as well as music by Elliott Carter, Gyorgy Kurtag, and other contemporary masters. Although Charles became quite active in music at an early age, he opted against attending a music conservatory in favor of academic studies at Yale University, where he graduated with a Bachelor of Arts, cum laude, in Anthropology. In 1975 he became the first American to receive a Fulbright grant for study in the former Soviet Union, and he attended the Moscow Conservatory for three years where his teachers were Boris Dikov and Kirill Vinogradov. Charles Neidich has achieved recognition as a teacher in addition to his activities as a performer, and currently is a member of the artist faculties of The Juilliard School, the Manhattan School of Music, the Mannes College of Music. During the 1994-95 academic year he was a Visiting Professor at the Sibelius Academy in Finland where he taught, performed and conducted. Mr. Neidich is a long-time member of the renowned chamber ensemble Orpheus.

Su longevidad, que abarca más de un siglo, le permite recorrer un inmenso arco de escuelas, estéticas y estilos. Su catálogo reúne centenares de obras, incluidos grandes cuartetos de cuerda, varios conciertos y una única ópera, que escribe con 90 años._____Has escuchadoCaprices. Lauds II. Riconoscenza per Goffredo Petrassi (1984). Irvine Arditti, violín. Alpha (2017)Figment I: For Solo Violoncello (1994). Thomas Demenga, violonchelo. ECM (2003)String Quartet No. 5. V. Adagio Sereno (1995). Juilliard String Quartet. RCA (2014)Symphony of Three Orchestras (1976). New York Philharmonic; Pierre Boulez, director. Columbia Masterworks (1995)_____Selección bibliográficaBERNARD, Jonathan, “The Evolution of Elliott Carter's Rhythmic Practice”. Perspectives of New Music, vol. 26, n.º 2 (1988), pp. 164-203*—, “An Interview with Elliott Carter”. Perspectives of New Music, vol. 28, n.º 2 (1990), pp. 180-214*BOLAND, Marguerite y John Link (eds.), Elliott Carter Studies. Cambridge University Press, 2017BORETZ, Benjamin, “Conversations with Elliott Carter “. Perspectives of New Music, vol. 8, n.º 2 (1970), pp. 1-22*CARTER, Elliott, Collected Essays and Lectures, 1937-1995. Editado por Jonathan W. Bernard. University of Rochester Press, 1997—, Harmony Book. Editado por Nicholas Hopkins y John Link. Carl Fischer, 2002EMMERY, Laura, Compositional Process in Elliott Carter's String Quartets: A Study in Sketches. Routledge, 1989HARVEY, David I. H., The Later Music of Elliott Carter: A Study in Music Theory and Analysis. Garland, 1989LINK, John F., Elliott Carter: A Guide to Research. Garland, 2000—, Elliott Carter's Late Music. Cambridge University Press, 2024MARTÍN, Fernando, “Tiempo, narratividad, organicismo y uso de conjuntos en el último estilo de Elliott Carter”. Quodlibet: Revista de Especialización Musical, n.º 37 (2007), pp. 66-83*MEYER, Felix y Anne SHREFFLER, Elliott Carter. A Centennial Portrait in Letters and Documents. The Boydell Press, 2008SCHIFF, David, The Music of Elliott Carter. Faber and Faber, 1998WIERZBICKI, James, Elliott Carter. University of Illinois Press, 2011 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

durée : 00:13:33 - Concerto pour hautbois "Esprit rude, esprit doux" : Elliott Carter - Pierre Boulez - Elliott Carter est né en 1908 à New York (USA). Dans les années 1930, sous l'influence de d'Igor Stravinski notamment, il se rapproche du néoclassicisme.

Het Tweede strijkkwartet van Heinz Holliger dateert uit 2007 en is niet minder geavanceerd als het eerste. Het tweede kwartet was een opdracht van het strijkkwartet van meesterviolist Thomas Zehetmair, en werd opgedragen aan de in dat jaar honderdjarige Elliott Carter, die nog steeds nieuwe noten schreef. Als uitgangspunt dienden voor Holliger de vele heftige […]

durée : 00:13:33 - Concerto pour hautbois "Esprit rude, esprit doux" : Elliott Carter - Pierre Boulez - Elliott Carter est né en 1908 à New York (USA). Dans les années 1930, sous l'influence de d'Igor Stravinski notamment, il se rapproche du néoclassicisme.

durée : 00:13:33 - Concerto pour hautbois "Esprit rude, esprit doux" : Elliott Carter - Pierre Boulez - Elliott Carter est né en 1908 à New York (USA). Dans les années 1930, sous l'influence de d'Igor Stravinski notamment, il se rapproche du néoclassicisme.

This episode discusses claims that Minimalism (and minimal music more widely understood) boils down to advertising and propaganda (riffing on interviews by Elliott Carter and Philip Glass). I look at some pop songs that were clearly influenced by Minimalism, some that are parallel to it, and some that are simply minimalist in some manner.

WBCQ/The Planet airdate - 4/6/24 Interview conducted on 3/20/24 Welcome to Fluxedo Junction! Each episode we bring you the best music of all genres from throughout the world, and this week we'll be speaking with guitarist, record producer, composer, writer, and filmmaker David Starobin. David Starobin is a highly honored figure in the world of classical guitar. Called "arguably the most influential American classical guitarist of the 20th century by Soundboard magazine), Starobin was inducted into the Guitar Foundation of America's Hall of Fame in 2011, was awarded Lincoln Center's Avery Fisher Career Award (in 1988), and is the dedicatee of more than three hundred new compositions including music by composers Elliott Carter, George Crumb, Poul Ruders and Gunther Schuller. A native of New York City. Starobin performs on both nineteenth century and modern guitars, and has received Grammy nominations as guitarist and as Classical Producer of the Year. In 1981, he founded Bridge Records, a record company which has been honored with 36 Grammy nominations. Starobin is a co-founder of the guitar department at the Curtis Institute of Music, and also teaches at Manhattan School of Music, where he was the holder of MSM's Andres Segovia Chair. Starobin studied guitar with Manuel Gayol, Alberto Valdes Blain and with Aaron Shearer at the Peabody Institute. His musical compositions are published by Editions New Rochelle (New York) and Edition Wilhelm Hansen (Copenhagen). His latest release on Bridge Records, Virtousi, is an homage to seven leading composer/guitarists of the past two centuries. Virtuosi presents eight previously unissued tracks, alongside remastered versions of five Starobin classics. More information is available at bridgerecords.com

SynopsisAt Carnegie Hall on today's date in 2015, the Met Chamber Ensemble gave the posthumous premiere of a new work by American composer Elliott Carter, who died in November 2012, a month or so shy of what would have been his 104th birthday.The debut of The American Sublime marked the last world premiere performance of Carter's 75-year-long composing career.Hearing Igor Stravinsky's Rite of Spring at Carnegie Hall in the 1920s inspired Carter to become a composer. A high school teacher introduced him to Charles Ives, who became a mentor. By the mid-1930s, Carter was writing music in the “populist modern” style, à la Copland, but during a year spent in the Arizona desert in 1950, Carter finished his String Quartet No. 1 — 40 minutes of music uncompromising in both its technical difficulty and structural intricacy."That crazy long first quartet was played in Belgium," Carter recalled. "It was played over the radio, and I got a letter from a coal miner, in French, who said, 'I liked your piece. It's just like digging for coal.' He meant that it was hard and took effort."Music Played in Today's ProgramElliott Carter (1908-2012): Horn Concerto (2006); Martin Owen, fh; BBC Symphony; Oliver Knussen, cond. Bridge 9314

Composer and librettist Scott Eyerly has won acclaim across a wide range of genres. From The House of the Seven Gables (praised by Opera News for its "maximum drama and melodically memorable set pieces") to Missa Brevis No. 2 (called by Choral Journal "a study in beauty and simplicity"), Eyerly brings to all his works a direct, American lyricism.  Eyerly notes, "I grew up singing hymns, but also show tunes. Then at college, I studied with composers from opposite corners of the ring, William Bolcom and Elliott Carter. In those days, after a lesson with Carter in the morning, I'd rush to rehearse songs for a theater revue that afternoon!  Later I taught musical theater courses at Juilliard, interviewing masters like Sondheim, Harnick, and Burton Lane. My love of musicals has always 'balanced' my love of the longhairs."  An active lecturer, Eyerly is on the faculty of The Juilliard School where he teaches sold-out courses on opera, musical theater and classical music. Since 2007 he has given popular talks at the Mahaiwe Theater in the Berkshires to introduce each Metropolitan Opera HD broadcast, a series which continues to grow and is now available online. Born in a suburb of Chicago, he and his wife live in New York City. POOCH is a zany musical set in present day Manhattan, based on real events. A once-proud classical music label has been taken over by a conglomerate that makes dog food. The head office installs a new C.E.O. who knows nothing about music. He hears that one classical artist is making a fortune – so he orders Samantha, his new Sales Director, to set up dinner with Puccini... who's been dead 100 years. Sam vows to meet the challenge – and expose her sexist boss. To do so, she enlists the help of Clark, a shy colleague so smitten he writes poetry about her. In their quest to prevail over corporate madness, Sam and Clark encounter snooping journalists, unexpected judo, a missing dog, and an oversupply of fake mustaches. All roads lead to the climax in a Village opera café, where Sam & Clark & C.E.O. sit down to… dinner with Puccini!  

Vandaag twee late kwartetten van componisten die in de jaren vijftig tot de voorhoede behoorden: William Schuman en Elliott Carter, al was de eerst genoemde gematigder dan de tweede. Het gehele Vijfde kwartet van Schuman is een opvallend ingetogen en intieme compositie, die op een concertprogramma uitstekend zou passen naast een laat kwartet van Beethoven, […]

SynopsisIn September 2001, American composer Elliott Carter was just a few months shy of his 93rd birthday, but still busy composing new works both large and small.On today's date that year, Carter's Cello Concerto received its premiere in Chicago with cellist Yo-Yo Ma and Daniel Barenboim conducting the Chicago Symphony.Now, Carter's music is technically challenging for performers, and its complexity can make it equally challenging for audiences, especially at first hearing. Despite all that, Carter's comments on his music were usually quite straightforward:“In this score I have tried to find meaningful, personal ways of revealing the cello's vast array of wonderful possibilities,” he wrote. “My Concerto is introduced by the soloist alone, playing a frequently interrupted cantilena that presents ideas later to be expanded into movements.”A month after its premiere, Ma, Barenboim, and the Chicago Symphony brought the new work to Carnegie Hall, and the New York Times reviewer Anthony Tommasini wrote:“For all its complexities … the cello part has a rhapsodic, improvisatory quality …. At its conclusion, when Mr. Carter, who is 92, climbed the steps to the stage with a cane to steady him, he received a prolonged standing ovation.”Music Played in Today's ProgramElliott Carter (1908 – 2012) Cello Concerto Alisa Weilerstein; Staatskapelle Berlin; Daniel Barenboim cond. Decca 478 2735

Walter Piston en Elliott Carter zijn tegengestelde figuren in de Amerikaanse muziek. De eerste academisch, de tweede avontuurlijk en grensoverschrijdend. Walter Pistons Derde strijkkwartet dateert uit 1947 en bestaat uit drie relatief beknopte strak opgebouwde klassieke gevormde delen in de tempo-opeenvolging snel-langzaam-snel. Het Eerste strijkkwartet van Elliott Carter is in 1951 geschreven, in een tijd […]

Synopsis On today's date in 1953, at New York's 92nd Street “Y,” the Walden String Quartet tackled the difficult First String Quartet of American composer Elliott Carter.   Carter's Quartet was as densely-packed with ideas as a page from James Joyce— – an author the composer cited as an influence. But, writing for the Herald Tribune, composer Virgil Thomson gave the work a glowing review: “The piece is complex of texture, delicious in sound, richly expressive, and in every way grand— – the audience loved it,” wrote Thomson. That same year Carter's Quartet won First Prize in the International String Quartet competition in Belgium -- – a contest Carter entered almost as an afterthought. “My First Quartet was written largely for my own satisfaction and grew out of an effort to understand myself,” he said. To escape from the distractions of New York, Carter retreated to the desert near Tucson to write it. No one had commissioned the Quartet, and Carter initially feared its complexity would baffle performers and audiences. His next quartet, equally challenging, won a Pulitzer Prize. Complexity would characterize Carter's music for the next 50 years—although the composer himself insisted that fantasy and invention, rather than difficulty for its own sake, had always been his goal. Music Played in Today's Program Elliott Carter (1908 - 2012) String Quartet No. 1 The Composers Quartet Nonesuch 71249

The Gents of the EstoBro TV Podcast are excited to celebrate their 100th episode with all their dedicated program listeners. After a handful of episodes and a frozen winter in the Empire State, TV has officially returned to the microphone. EstoBro celebrated with his cohost after his long-awaited hiatus as they reflect on what brought them to this milestone. The Gents recognize what attracts their listeners to the program, and they announce a new show format that enables those segments to move forward for future episodes. The Gents get to work celebrating one of their favorite topics with music, discussing Miami Music Week and Ultra Music Festival setting off the EDM festival circuit as they prepare for Bonnaroo in the summer. EstoBro reminds TV about his horrible fantasy sports skills in terms of being the commissioner of the basketball league they have held as the playoffs were out of wack. In addition to March Madness carrying on and the Gents celebrating the school they met at; Florida Atlantic. EstoBro is also extremely passionate about the World Baseball Classic as a major component of saving the sport, and he will not tolerate other sports media outlets condoning it in any way, shape, or form. Major congratulations to the Japan national team for defeating the United States for the title championship! As an Opening Day present to all baseball fans, listen to these major contributors that have helped make the EstoBro TV Podcast what it is today with special interviews held by EstoBro as they celebrate the 100th episode:Lebanon Don (49:05)Weezy F. "Young" Jaimé (1:02:55)Sailor Luña (1:22:35)Ian "The Controversity" Elliott-Carter (1:34:45)Omar Rios (1:54:50)El Train (2:14:45)DJ 4Site (2:53:50)D-Truth the Professional (3:19:10)4Nerds; Rob the Noob, Producer Abz, and Izzy Takamono (3:37:55)Commissioner Comic Book (4:23:45)Bryan "King of the Short Porch" Cohen (4:35:50)Interact with the Gents of the podcast on the following social media platforms:TwitterInstagramFacebookTumblrEmail: estobrotvpod@gmail.com

In this special bonus episode, Dave and Andrew talk with Pulitzer Winner Ellen Taaffe Zwilich. What did she learn studying at Florida State University and with former Pulitzer winners Roger Sessions and Elliott Carter? And why does she have a framed "Peanuts" cartoon in her studio? We hope you enjoy hearing from her about these insights and more!  

Synopsis On today's date in 1994, at Orchestra Hall in Chicago, the Chicago Symphony and conductor Daniel Barenboim gave the world premiere performance of Partita by the American composer Elliott Carter, specially commissioned in honor of the composer's 85th birthday. It was a major work, and a major occasion – but, as the Chicago Tribune's music critic John von Rheim put it, that date “will forever be known as the Night the Lights Went Out on Elliott Carter.” Just as the orchestra was playing the final pages of Carter's complex score, the house lights went out. The audience gasped. The orchestra stopped playing. Not sure what to do, the audience started applauding. Then, after a moment or two the lights came back on. After breathing a sigh of relief, Barenboim and the orchestra prepared to pick up where they had left off – and then the lights went out again! Turning to the audience, Barenboim quipped, "It's a good thing we and Mr. Carter are not superstitious." Well, eventually the lights came back on – and stayed on, enabling the Orchestra to finish the premiere of Carter's Partita. But, perhaps as a kind of insurance policy – later on Barenboim and the Chicago Symphony also made a live recording of the new work. Music Played in Today's Program Elliott Carter (1908 – 2012) Partita Chicago Symphony; Daniel Barenboim, conductor. (live recording) Teldec CD 81792 On This Day Births 1653 - Italian composer Arcangelo Corelli, in Fusignano (near Imola); 1820 - Belgian composer Henri Vieuxtemps, in Verviers; 1862 - English composer Edward German (Jones) in Whitechurch; 1887 - Finnish composer Leevi Madetoja, in Oulu (Uleaborg); 1920 - American composer Paul Fetler, in Philadelphia; 1926 - Austrian composer Friedrich Cerha, in Vienna; 1926 - American composer Lee Hoiby, in Madison, Wis.; Deaths 1732 - French composer and organist Louis Marchand, age 63, in Paris; 1841 - Italian composer and guitarist Ferdinando Carulli, age 70, in Paris; 1924 - Finnish composer Oskar Merikanto, age 55, in Hausjärvi-Oiti; 1970 - American composer and conductor Alfred Newman, age 69, in Los Angeles; 1982 - American Jazz composer and pianist Thelonious Monk, age 64, in Englewood, N.J.; Premieres 1728 - Handel: opera “Siroe, re di Persia” (Cyrus, King of Persia), in London at the King's Theater in the Haymarket (Gregorian date: Feb. 28); This was the first Handel opera with a libretto by Metastasio; 1792 - Haydn: Symphony No. 93, conducted by the composer, at the Hanover-Square Concert Rooms in London; 1855 - Liszt: Piano Concerto No. 1 in Eb, in Weimar, with the composer as soloist and Hector Berlioz conducting; 1859 - Verdi: opera "Un Ballo in Maschera" (A Masked Ball), in Rome at the Teatro Apollo; 1889 - Franck: Symphony in d, in Paris; 1901 - Mahler: oratorio "Das Klagende Lied" (Song of Lamentation), in Vienna, with composer conducting; 1904 - Puccini: opera “Madama Butterfly,”in Milan at the Teatro alla Scala; 1914 - Ernst von Dohnányi: "Variations on a Nursery Song" for piano and orchestra, in Berlin, with the composer as soloist; 1927 - Deems Taylor: opera "The King's Henchmen," at the Metropolitan Opera in New York; 1943 - Copland: "Music for Movies," at a Town Hall Forum concert in New York City; 1947 - Copland: "Danzón Cubano" (orchestral version), by the Baltimore Symphony; 1948 - David Diamond: Violin Sonata No. 1, at Carnegie Hall in New York, by Joseph Szigeti (violin) and Josef Lhevinne (piano); 1952 - Henze: opera "Boulevard Solitude," in Hanover at the Landestheater; 1961 - Elie Siegmeister: Flute Concerto, in Oklahoma City; 1977 - Elliott Carter: "A Symphony of Three Orchestra," by the New York Philharmonic, Pierre Boulez conducting; 1982 - George Perle: "Ballade" for piano, at Alice Tully Hall in New York, by Richard Goode. Links and Resources On Carter

Synopsis The first Piano Concerto by Brahms received its premiere public performance on today's date in 1859 with the Hanover Court Orchestra under the direction of Brahms's close friend Joseph Joachim and its 25-year composer as soloist. That first night audience had never heard anything quite like it. In his biography of Brahms, Jan Swafford describes what was expected of a piano concerto back then, namely “virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and nothing] too tragic.” “To the degree that these were the rules,” writes Swafford, “[Brahms] violated every one of them.” His concerto opens with heaven-storming drama, continues with deeply melancholic lyricism, and closes with something akin to hard-fought, even grim, triumph. Rather than a display of flashy virtuosity, Brahms's concerto comes off as somber and deeply emotional. A second performance, five days later in Leipzig, was hissed. "I am experimenting and feeling my way,” Brahms wrote to his friend Joachim, adding, "all the same, the hissing was rather too much." Now regarded a dark Romantic masterpiece, it's important to remember how long it took audiences to warm to Brahms' music. The American composer Elliott Carter recalled that even in the 1920s, Boston concert goers used to quip that the exit signs meant, "This way in case of Brahms." Music Played in Today's Program Johannes Brahms (1833-1897) Piano Concerto No. 1 in D Minor, Op. 15 - I. Maestoso - Poco più moderato Maurizio Pollini, piano; Berlin Philharmonic; Claudio Abbado, cond. DG 447041 On This Day Births 1899 - Russian-born American composer Alexander Tcherepnin, in St. Petersburg (Julian date: Jan. 9); Deaths 1851 - German opera composer Albert Lortzing, age 49, in Berlin; 1948 - Italian composer Ermanno Wolf-Ferrari, age 72, in Venice; Premieres 1713 - Handel: opera "Teseo" (Julian date: Jan. 10); 1725 - Bach: Sacred Cantata No. 111 ("Was mein Gott will, das g'scheh allzeit") performed on the 3rd Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1816 - Cherubini: "Requiem," in Paris; 1880 - Rimsky-Korsakov: opera "May Night," in St. Petersburg, Napravnik conducting (Julian date: Jan. 9); 1904 - Janácek: opera "Jenufa" in Brno at the National Theater; 1927 - Roussel: Suite in F for orchestra, in Boston; 1929 - Schreker: opera "Der Schatzgräber" (The Treasure Hunter), in Frankfurt at the Opernhaus; 1930 - Shostakovich: Symphony No. 3 ("May First"), in Leningrad; 1936 - Gershwin: "Catfish Row" Suite (from the opera "Porgy and Bess"), by the Philadelphia Orchestra, Alexander Smallens conducting; 1947 - Martinu: "Toccata e due canzona" for chamber orchestra, in Basel, Switzerland; 1968 - Bernstein: song "So Pretty" (a song protesting the Vietnam War) at Philharmonic Hall (now Avery Fisher Hall) in New York City, with singer Barbra Streisand and the composer at the piano; 1968 - Allan Pettersson: Symphony No. 6, in Stockholm; 1988 - Christopher Rouse: Symphony No. 1, by the Baltimore Symphony, David Zinman conducting; Links and Resources On Brahms

Synopsis The American composer Ned Rorem liked to classify music as being either French or German – by “French” Rorem meant music that is sensuous, economical, and unabashedly superficial; by “German” Rorem meant music that strives to be brainy, complex, and impenetrably deep. On today's date the Boston Symphony gave the premiere performances of two important 20th century piano concertos. The first, by Francis Poulenc, had its premiere under the baton of Charles Munch in 1950, with the composer at the piano. Poulenc's Concerto is a light, entertaining with no pretension to profundity. It is quintessentially “French” according to Rorem's classification. The second Piano Concerto, by the American composer Elliott Carter, had its Boston premiere in 1967, conducted by Erich Leinsdorf, with soloist Jacob Lateiner. Carter's Concerto was written in Berlin in the mid-1960s when the Wall dividing that city was still new. Carter said he composed it in a studio near an American target range, and one commentator hears the sounds of machine guns in the work's second movement. Carter himself compared woodwind solos in the same movement to the advice given by three friends of the long-suffering Job in the Bible. Needless to say, Rorem would emphatically classify Carter's Concerto as “German” to the max! Music Played in Today's Program Francis Poulenc (1899 –1963) Piano Concerto Pascal Roge, piano; Philharmonia Orchestra; Charles Dutoit, conductor. London 436 546 Elliot Carter (b. 1908) Piano Concerto Ursula Oppens, piano; SWF Symphony; Michael Gielen, conductor. Arte Nova 27773

Synopsis Take one flute, one oboe, and mix well with one each of a clarinet, bassoon and French horn —and you have the recipe for the traditional wind quintet. In the 19th century, this tasty musical mix was perfected by Europeans like the Czech composer Anton Reicha, who produced 24 wind quintets in his lifetime. In the 20th century, American composers like Samuel Barber, Elliott Carter, and John Harbison have all written one wind quintet each—matching Reicha's in quality, if not in quantity. But other American composers HAVE returned to the wind quintet for a second helping. On today's date in 1993, the Wind Quintet No. 2 of the Californian composer David Ward-Steinman received its premiere in Sacramento by the Arioso Quintet. Ward-Steinman titled his second quintet Night Winds, and asked his five players to occasionally double on some non-traditional instruments such as bamboo or clay flutes, a train-whistle, and even the traditional wind instrument of Indigenous Australians, the didgeridoo—all to create some atmospheric “night-wind” sounds. In addition to wind quintets, David Ward-Steinman composed orchestral works, chamber music and pieces for solo piano. A native of Louisiana, Ward-Steinman studied with Darius Milhaud in Aspen, Milton Babbitt at Tanglewood, and Nadia Boulanger in Paris. Music Played in Today's Program Antonin Reicha (1770-1836) Wind Quintet No. 23 in a No. 23, Op. 100 Albert Schweitzer Quintet CPO 999027 David Ward-Steinman (1936-2015) Woodwind Quintet No. 2 (Night Winds) Arioso Quintet Fleur de Son Classics 57935

My odyssey with Elliott Carter's Piano Sonata (1945-1946) began in the Summer of 201 7. While this work is widely regarded as an early example of his mature style, Carter's Piano Sonata still sounded incredibly modern to me at first. With that said, beneath its remark­ ably contrapuntal complexity, I discovered a highly dramatic work encompassing a deeply profound emotional depth. As the work was composed with World War II in recent memory, I can only continue to speculate how it affected Carter, and in turn, the Piano Sonata.Carter: Piano SonataHo: Inner States of MindRachmaninoff: Piano Sonata No. 2 in B-flat minor, Op. 36Purchase the music (without talk) at:Nicholas Ho - Illumine (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Synopsis It was on this day in 1913 that the French Academy of Fine Arts – for the first time in its history – presented its highest award, the Prix de Rome, to a woman. The honor was awarded to Lili Boulanger, who was just 19 years old at the time. She was born in Paris in 1893, the younger sister of Nadia Boulanger, who would become the most famous teacher of composition in the 20th century, numbering an amazing array of famous American composers among her students, ranging from Aaron Copland to Philip Glass. Nadia's sister Lili, however, suffered from poor health. Her tragically short career was interrupted by World War I, when she volunteered to nurse wounded soldiers. She died before the great conflict was over, on March 15th, 1918, at the age of 24. Nearer to our own time, another woman, Ellen Taaffe Zwilich, made history when she became the first woman composer to be awarded the Pulitzer Prize in Music. That was in 1983, and the piece was her Symphony No. 1. Born in Miami, Florida, in 1939, Zwilich studied composition with Elliott Carter and Roger Sessions at Juilliard, and accomplished another “first” by becoming the first woman to earn the Doctor of Musical Arts degree in composition at the famous school. Her Third Symphony was commissioned in 1992 to celebrate the 150th anniversary of the New York Philharmonic. Music Played in Today's Program Lili Boulanger (1893-1918) – Hymne au Soleil (New London Chamber Choir; James Wood, cond.) Hyperion 66726 Ellen Taaffe Zwilich (b. 1939) – Symphony No. 3 (Louisville Orchestra; James Sedares, cond.) Koch International 7278

In this episode, Dave and Andrew revisit Elliott Carter, who won his first Pulitzer in 1960. They awarded his String Quartet No. 2 two big thumbs up. Will they be as enthusiastic about Carter's String Quartet No. 3? If you'd like more information about Elliott Carter and his String Quartet No. 3, we recommend: This performance of the String Quartet No. 3 by the Jack Quartet. Andrew W. Mead's article "Pitch Structure in Elliott Carter's String Quartet No. 3" in Perspectives of New Music,  vol. 22, no. 1/2 (Autumn, 1983 - Summer, 1984): 31-60 Laura Emmery's book Compositional Process in Elliott Carter's String Quartets: A Study in Sketches (Routledge, 2020)

Sunday 26 June: the late works of Elliott Carter, the composer who worked until he was 103

Synopsis The American composer Elliott Carter lived to be 103 and remained amazingly productive, publishing more than 40 works between ages 90 and 100, and over 20 more AFTER he turned 100 in the year 2008. On today's date in 2012, a new chamber work by Carter with an odd title received its first performance at a concert in the New York Philharmonic's CONTACT! Series. The work was titled “Two Controversies and a Conversation” and showcased the percussive aspects of the piano, highlighting that instrument alongside a solo percussionist. The premiere was an international triple-commission from the New York Philharmonic, the Aldeburgh Festival in England, and Radio France. An earlier version of part of the new work, titled just “Conversations,” had been premiered in the UK the previous year. The composer explained the title as follows: “How does one converse?” asked Carter. “One person says something and tries to get the other person to respond, or carry on, or contradict a statement. Those conversing are also all the time playing a kind of game with each other. I tried to put all that into my music … After the premiere of ‘Conversations' at the Aldeburgh Festival in June of 2011, [the British composer] Oliver Knussen suggested I expand this piece. I decided to add two more movements, which became the two ‘Controversies.'" Music Played in Today's Program Elliott Carter (1908 – 2012) –“Conversation,” from “Two Controversies and a Conversation” (Eric Huebner, piano; Colin Currie, percussion; New York Philharmonic; David Robertson, cond.) NYP 20120112

Synopsis In 1935, a 26-year-old American named Elliott Carter returned to the States after composition studies in Paris with Nadia Boulanger. Carter found work as the music director of Ballet Caravan, an ambitious and enterprising touring ensemble whose mission was to present specially-commissioned new dance works on quintessentially American themes. Virgil Thomson, for example, wrote a ballet entitled "Filling Station," and Carter himself, decades before the animated Disney movie, wrote a ballet version of the story of Pocahontas and John Smith. While on tour, these new scores were presented in two-piano versions, but on today's date in 1939, the orchestral version of Carter's "Pocahontas" Ballet was presented by the Ballet Caravan at its home base at the Martin Beck Theater in New York. The New York Times reviewer didn't much care for the staging or Carter's music: "The costumes are in the manner of the old-fashioned cigar box Indian," he wrote, "and after the first amusing glimpse their psuedo-naiveté begins to grow irksome. Mr. Carter's music is so thick it is hard to see the stage through it." The Times reviewer DID like another new ballet also receiving its orchestral debut that same night. This was Aaron Copland's "Billy the Kid.” "A perfectly delightful piece of work," enthused the same critic, concluding, "Aaron Copland has furnished an admirable score, warm and human, and with not a wasted note about it anywhere." Music Played in Today's Program Elliott Carter (1908 - 2012) — Pocahontas Ballet (American Composers Orchestra; Paul Dunkel, cond.) CRI 610 Aaron Copland (1900 - 1990) — Billy the Kid Ballet (St. Louis Symphony; Leonard Slatkin, cond.) EMI 73653

Synopsis On today's date in 2003, a new orchestral work by the American composer Elliott Carter had its premiere in Boston. Carter was then 94 years old – he would live to be a month shy of 104, and, even more remarkable, he was composing new works almost to the end of his days. When you live that long, you experience a lot of changes. Carter had studied English and Greek at Harvard, and recalled a time when at Boston Symphony concerts conservative members of the audience would joke that the emergency exits signs should read “Exit – in case of Brahms.” Apparently, even in the 1920s, for some Boston Brahmins, Brahms was still “difficult music.” For his part, Carter felt the complexity of his own music reflected the complex world into which he was born – the world of Proust, Picasso, and Stravinsky. His music was technically very, very difficult, but Carter always insisted it was all in service of the greater freedom and fantasy of his imagination, not difficult for difficulty's sake. Carter's “Boston Concerto” was dedicated to the memory of his wife, Helen, who died shortly before its premiere. Carter prefaced his score with the opening lines from a poem entitled “Rain” by William Carlos Williams: “As the rain falls So does your love bathe every open Object of the world—“ Music Played in Today's Program Elliott Carter (1908 - 2012) — Boston Concerto (BBC Symphony; Oliver Knussen, cond.) Bridge 9184

Synopsis The American composer Elliott Carter has a reputation for writing some of the thorniest, most abstract and most technically difficult orchestral scores of the 20th century. But for a few moments at least, during the opening of Carter's “Symphony of Three Orchestras,” which had its premiere performance on today's date in 1977 at a New York Philharmonic concert conducted by Pierre Boulez, audiences must have been surprised by an impressionistic, almost Romantic tone. In notes for the new piece, Carter admitted the opening of the new work was inspired by the poetry of Hart Crane, specifically Crane's description of the New York harbor and the Brooklyn Bridge. Both those New York landmarks were a short walk away from Carter's lower Manhattan apartment. Carter's 15-minute “Symphony of Three Orchestras” quickly shifts into his more recognizably dense style, however, and, as the title indicates, employs three orchestras on one stage, playing with and against each other at various points. As the New York Times reviewer wrote: “It will take many hearings for the relationships of the score to assert themselves, though one can be confident that Mr. Carter, one of the most accomplished constructionists of the age, has assembled everything with pin-point logic.” Music Played in Today's Program Elliot Carter (1908 - 2012) — Symphony for Three Orchestras (New York Philharmonic; Pierre Boulez, cond.) Sony 68334

“The point is obviously not the colonoscopy, the point is what we remember. And music is all about memory. When you write music, if you don't appeal to the person's memory at all, it's not going to have much of an impact.”I was very excited after receiving an email from Alan that he would be happy to join me on the podcast. His work as a composition instructor - through the articles and books he has produced - has really impacted the way I understand how music is experienced. These concepts are all explained in his book titled Music Composition: Craft and Art (linked below), where he lays out various principles that are style-neutral and designed to enhance the emotional impact of your music: what features of an opening invokes curiosity in the listener; how do you maintain interest in a way that makes sense to the character of the piece; what degree of novelty vs. invariance is an appropriate balance, etc. We talk quite a bit about many of these concepts in this episode, as well as realizing how music is perceived by learning about psychology, Alan's experience studying with Elliott Carter, his YouTube channel - where you will find videos about these topics, I would highly recommend subscribing to! - and so much more on episode 21 of the Making Noise Podcast. I hope you enjoy it!—-Follow Alan's Work: www.alanbelkinmusic.com Subscribe to his YouTube Channel www.youtube.com/channel/UCUQ0TcIbY_VEk_KC406pRpg Purchase his book, Music Composition: Craft and Art, on Amazon www.amazon.com/Musical-Composition-Craft-Alan-Belkin/dp/0300218990/ref=sr_1_3?dchild=1&keywords=music+composition+craft+and+art&qid=1630336515&sr=8-3 —-Watch the podcast on YouTubeListen to the podcast on Spotify, Apple Podcasts, Stitcher, iHeartradio, and my website - www.adamkennaugh.com - where you can listen to music, purchase scores, and learn how to commission a new piece for your ensemble.

EstoBro returns the favor by having Ian "The Controversity" Elliott-Carter on the podcast after being featured on his channel! The pair look back on how they met each other, especially when EstoBro highlights a tweet that discusses relative subjects on the matter (2:55). TV comes in hot to break down the remainder of the NBA Finals, hinting that the Milwaukee Bucks will definitely come back from being down two games (9:15), which they accomplish post-recording of the show. The focus of basketball remains the primary topic of the show after discussing the release of Space Jam: A New Legacy (17:05) and how EstoBro and the Controvesity have their own review about the film. The Gents come together to discuss the finale of Loki and the grand reveal of Kang the Conqueror (45:45) and make predictions on what the villain's impact will be on the MCU. The show wraps with the return of the Food Wars (63:30), as the Gents decide which hot sub-sandwich is more superior: the French dip or the Philly Cheesesteak.Subscribe to Ian's YouTube channel "The Controversity" where you can also find an episode that features EstoBro that holds a discussion on Seinfeld. You can also find the Controversity on Twitter, Instagram, and Facebook under the same name on all platforms of social media. YouTube: https://www.youtube.com/channel/UC0iNo9Ne7S0oRg5ERr4S9rQTwitter: @i_ControversityInstagram: i_controversity

Robert van Altena in gesprek met filmmaker Frank Scheffer. Frank Scheffer presenteerde onlangs 'De waarneming' een documentaire over schilder Robert Zandvliet. De filmer bekijkt de schilder die zijn doek bekijkt terwijl hij het transformeert tot een schilderij. Wij, kijkers worden deel van een sensitief spel van beeld en geluid en muziek dat doet nadenken over de rol van de schilder en die van de filmer, over het schilderij en de film. Dit zintuigelijk spel van correspondenties, echo's, varianten en afwijkingen zal nog worden verrijkt met wat Scheffer een juxtapositie noemt, een nieuwe film over de chinese schilder He Duoling. Het œuvre van Scheffer is bijna volledig gewijd aan films met en over componisten zoals John Cage, Elliott Carter maar ook Frank Zappa en recenter Guo Wenjing. Met Guo Wenjing presenteerde hij  'The inner landscape' op het Holland Festival. De verregaande samenwerking van de filmer met de componist komt het duidelijkst tot uiting in dit project waarbij de documentaire het muzikale en theatrale podium deelt met de opera. De documentaire wordt daar zou je kunnen zeggen deel van zijn onderwerp. SPRINGVOSSEN redactie + presentatie: Robert van Altena contact: springvossen@gmail.com INSTAGRAM www.instagram.com/springvossen FACEBOOK www.facebook.com/springvossen HOMEPAGE www.amsterdamfm.nl/springvossen Foto: still uit The inner landscape (2015) Frank Scheffer

Synopsis The American composer Elliott Carter lived to be 103, completing more than 40 works between ages 90 and 100, and some 20 more AFTER he turned 100 in the year 2008. On today's date in 2012, a new chamber work by Carter with an odd title was premiered at a concert in the New York Philharmonic's CONTACT! Series. The work was titled “Two Controversies and a Conversation” and showcased the percussive aspects of the piano, highlighting that instrument alongside a solo percussionist. The premiere was an international triple-commission from the New York Philharmonic, the Aldeburgh Festival in England, and Radio France.  An earlier version of part of the work, titled “Conversations,” had been premiered in the UK the previous year.  The composer explained the title as follows: “How does one converse?” asked Carter. “One person says something and tries to get the other person to respond, or carry on, or contradict a statement. Those conversing are also playing a kind of game with each other. I tried to put all that into my music … After the [Aldeburgh] premiere of ‘Conversations,' [the British composer] Oliver Knussen suggested I expand this piece. I decided to add two more movements, which became the two ‘Controversies.'" Music Played in Today's Program Elliott Carter (1908 – 2012) “Conversation,” from “Two Controversies and a Conversation” (Eric Huebner, piano; Colin Currie, percussion; New York Philharmonic; David Robertson, cond.) NYP 20120112

Synopsis The American composer Elliott Carter lived to be 103, completing more than 40 works between ages 90 and 100, and some 20 more AFTER he turned 100 in the year 2008. On today's date in 2012, a new chamber work by Carter with an odd title was premiered at a concert in the New York Philharmonic's CONTACT! Series. The work was titled “Two Controversies and a Conversation” and showcased the percussive aspects of the piano, highlighting that instrument alongside a solo percussionist. The premiere was an international triple-commission from the New York Philharmonic, the Aldeburgh Festival in England, and Radio France.  An earlier version of part of the work, titled “Conversations,” had been premiered in the UK the previous year.  The composer explained the title as follows: “How does one converse?” asked Carter. “One person says something and tries to get the other person to respond, or carry on, or contradict a statement. Those conversing are also playing a kind of game with each other. I tried to put all that into my music … After the [Aldeburgh] premiere of ‘Conversations,' [the British composer] Oliver Knussen suggested I expand this piece. I decided to add two more movements, which became the two ‘Controversies.'" Music Played in Today's Program Elliott Carter (1908 – 2012) “Conversation,” from “Two Controversies and a Conversation” (Eric Huebner, piano; Colin Currie, percussion; New York Philharmonic; David Robertson, cond.) NYP 20120112

In this episode, Dave and Andrew discuss the first Pulitzer winner of the 1960s, Elliott Carter for his Second String Quartet. Carter's work has been frequently performed, widely celebrated, and heavily analyzed, but will it be a hit or a miss for our hosts?     If you're interested in learning more about Carter or his Second String Quartet, we recommend: David Thurmaier's "'A Disturbing Lack of Musical and Stylistic Continuity'? Elliott Carter, Charles Ives, and Musical Borrowing" Current Musicology, 96 (Fall 2013), 97-124. Tiina Koivisto's "Multilayered Rhythms, Meter, and Notated Meter: Temporal Processes in Elliott Carter's Second String Quartet" Theory and Practice, 34 (2009), 141-171. Elliott Carter's website, a well-maintained source of information about his music and recent recordings and performances. Laura Emmery's study on the string quartets (including the 3rd, which will win the Pulitzer Prize in 1973): Compositional Process in Elliott Carter's String Quartets

Dušan Bogdanovič is literally the most interesting classical guitarist / composer. I can't begin to describe the influence and inspiration he's given me over the past decade or so. In this episode, Dušan and I talk espresso before we dive into aspects of his career ranging from improvisational adventures in 1990's Los Angeles to his recent retirement from the Geneva Conservatory and forthcoming book Harmony for Classical Guitar. We follow this up with another hour or so of shop talk about poetry, modern devaluation of form and meter, Balkan rhythmic asymmetry, African divisive rhythm, "multiple modernities", systematizing his polymetric and polyrhythmic pursuits, the qualitative experience of his internal clock(s), the intellectual potential of Elliott Carter's exhaustive set theoretic materials vs. the emotional potential of modal harmony, the extra spicy lydian flavors of Unconscious in Brazil, counterpoint with a less academic framing, recording with James Newton and Charlie Haden on the "very European" Early to Rise, the music of Egberto Gismonti, Dušan's thoughts guitarists like McGlaughlin/Metheny/etc, the microtonal works of Jeffrey Holmes, our mutual affection for Taoist esoterica, and a few thoughts on computer music. This conversation is a definite highlight of my year and I hope you enjoy listening!SHOW LESS

One of the best-loved works of classical music, Handel’s oratorio “Messiah,” had its first performance on today’s date in Dublin, Ireland, in the year 1742. Handel wrote “Messiah” in a period of only four weeks, then put it aside until he received an invitation to present a new work in the Irish capital. Dublin gave “Messiah” an enthusiastic reception, but it took a few years before London recognized that ‘Messiah” was a masterpiece. Baroque composers like Handel freely borrowed materials from previous works or even other composers to use in new ones, and among Handel’s own instrumental works, the Concerti “Due Cori,” for example, contain melodies familiar from “Messiah.” The American composer Ellen Taaffe Zwilich harks back to this Baroque custom in her own “Concerto Grosso 1985,” in which she quotes directly from Handel’s Violin Sonata in D—which in turns quotes from no fewer than four of Handel’s own earlier compositions. Born in Miami, Florida in 1939, Ellen Taaffe Zwilich studied at Juilliard with two noted American composers, Roger Sessions and Elliott Carter, and in 1983 became the first woman to win the Pulitzer Prize for her Symphony No. 1.

John and I chat about the American ultra-modernist composer Elliott Carter as well as coffee, composition, set theory, continuity, modernism, algorithms, technology, and more. I particularly enjoyed the stories John shared about his time spent with Carter which gave me a little more insight into Carter's personality, disposition, affect, and drives. I also very much enjoyed getting a window into John's composition process and strategies. Carter's music has a sort of academic bent and comes with a daunting catalog of materials usually reserved for doctoral music theory classes but I feel like his musical language should be easy enough to get a feel for if you skim some wikis on set theory, combinatorics, permutations, etc. His rigorous methodology is pretty impressive and I wanted to learn more regarding his approach to internalizing such a vast swath of material.

At Carnegie Hall on today’s date in 2015, the MET Chamber Ensemble gave the posthumous premiere of a new work by the American composer Elliott Carter, who died in November of 2012, a month or so shy of what would have been his 104th birthday. The 2015 Carnegie Hall debut of “The American Sublime” marked the last world premiere performance of Carter’s 75-year-long composer career. Hearing Stravinsky’s “Rite of Spring” at Carnegie Hall in the 1920s inspired Carter to become a composer. A high school teacher introduced him to Charles Ives, who became a mentor. By the mid-1930s, Carter was writing music in the “populist modern” style, ala Copland, but during a year spent in the Arizona desert in 1950, Carter finished his String Quartet No. 1–forty minutes of music uncompromising in both its technical difficulty and structural intricacy. "That crazy long First Quartet was played in Belgium," Carter recalled. "It was played over the radio, and I got a letter from a coal miner, in French, who said, 'I liked your piece. It's just like digging for coal.' He meant that it was hard and took effort."

At Carnegie Hall on today’s date in 2015, the MET Chamber Ensemble gave the posthumous premiere of a new work by the American composer Elliott Carter, who died in November of 2012, a month or so shy of what would have been his 104th birthday. The 2015 Carnegie Hall debut of “The American Sublime” marked the last world premiere performance of Carter’s 75-year-long composer career. Hearing Stravinsky’s “Rite of Spring” at Carnegie Hall in the 1920s inspired Carter to become a composer. A high school teacher introduced him to Charles Ives, who became a mentor. By the mid-1930s, Carter was writing music in the “populist modern” style, ala Copland, but during a year spent in the Arizona desert in 1950, Carter finished his String Quartet No. 1–forty minutes of music uncompromising in both its technical difficulty and structural intricacy. "That crazy long First Quartet was played in Belgium," Carter recalled. "It was played over the radio, and I got a letter from a coal miner, in French, who said, 'I liked your piece. It's just like digging for coal.' He meant that it was hard and took effort."

Today, I speak with a wonderful storyteller of sound, Assistant Principal Clarinetist of the Chicago Symphony John Bruce Yeh. In our conversation, John shares how his artistic journey unfolded.  He takes us on an amazing trip, featuring great musical figures, which shows the various elements that go into the making of a world-class musician. He also talks about how to prepare fully for an audition (it involves “raiding” the stage... in a way!), how to enter the professional life, and he gives us amazing insight on music-making in general. This was a great conversation and I know you'll walk away inspired and motivated!   Frustrated with your playing?  Unsatisfied with you career?  Ready for a change? Whatever your challenge, you don't have to go at it alone, and I can help.    THE MUSIC MASTERY EXPERIENCE is back in June 2021 This is a LIFE CHANGING, highly personalized group coaching program where I show you how to implement mindful & effective practice techniques, how to make them habits, and get RESULTS! The Music Mastery Experience gives you all the tools you need to start performing at your best! Save your spot now here and get access to all the early bird bonuses   MORE ABOUT JOHN BRUCE YEH:   Website: https://cso.org/about/performers/chicago-symphony-orchestra/clarinet1/john-bruce-yeh/ YouTube channel: https://www.youtube.com/channel/UCXbWXWXVo6xV7jn4GE5oyig Facebook: https://www.facebook.com/chicagopromusica Instagram: https://www.instagram.com/jyehcondor/ Twitter: https://twitter.com/jyehcondor   The first Asian musician ever appointed to the Chicago Symphony Orchestra, as well as the longest-serving clarinetist in CSO history, John Bruce Yeh joined the CSO in June of 1977, having been appointed solo Bass Clarinet of the Orchestra at the age of nineteen by Sir Georg Solti. Two years later, he was named Assistant Principal and solo E-flat Clarinet. He served as Acting Principal Clarinet of the CSO from 2008-2011. Recently he has also performed as Guest Principal Clarinet of The Philadelphia Orchestra as well as of the Seoul Philharmonic in Korea and the Guangzhou Symphony Orchestra in China. Yeh has performed concertos with the CSO on several occasions, including the 1998 American premiere of Elliott Carter's Clarinet Concerto with Pierre Boulez conducting, and the 1993 performance of Carl Nielsen's Clarinet Concertowith Neeme Järvi. A concert recording of the Nielsen was released on the CSO CD set Soloists of the Orchestra II: From the Archives, vol. 15. In 2004, Yeh was featured in Leonard Bernstein's Prelude, Fugue and Riffs in collaboration with the Hubbard Street Dance Company and the CSO conducted by David Robertson. An enthusiastic champion of new music, John Bruce Yeh is the dedicatee of new works for clarinet by numerous composers, ranging from Ralph Shapey to John Williams. A prizewinner at both the 1982 Munich International Music Competition and the 1985 Naumburg Clarinet Competition in New York, Yeh continues to solo with orchestras around the globe. His more than a dozen solo and chamber music recordings have earned worldwide critical acclaim. In 2007, Naxos International released a disc titled “Synergy,” of single and double concertos with clarinet and symphonic wind ensemble featuring John, his wife Teresa, his daughter Molly, and the Columbus State University Wind Ensemble conducted by Robert Rumbelow. Yeh is director of Chicago Pro Musica, which received the Grammy Award in 1986 for Best New Classical Artist. He frequently appears at festivals and on chamber music series worldwide, and he has performed several times with Music from Marlboro; the Guarneri, Ying, Colorado, Pacifica, Calder, and Avalon string quartets; as well as the Chamber Music Society of Lincoln Center. With his wife, clarinetist Teresa Reilly, erhu virtuoso Wang Guowei, and pipa virtuoso Yang Wei, Yeh formed Birds and Phoenix an innovative quartet dedicated to musical exploration by bridging Eastern and Western musical cultures. In their debut performance in September 2006, the group performed works by Victoria Bond, Pamela Chen, Lu Pei, and Bright Sheng, all commissioned for them by Fontana Chamber Arts in Kalamazoo, Michigan. Passionately committed to music education, Yeh served for twenty-six years on the faculty of DePaul University's School of Music, and he joined the faculty at Roosevelt University's Chicago College for the Performing Arts in 2004. He has taught master classes at many universities and conservatories including the Juilliard, Eastman and Manhattan Schools of Music, The Cleveland Institute of Music, Northwestern University, and the University of Michigan. In addition, he is on the faculty of Midwest Young Artists in Fort Sheridan, Illinois. Born in Washington, D.C., and raised in Los Angeles, John Bruce Yeh pursued premedical studies at UCLA, where he also won the Frank Sinatra Musical Performance Award. He entered the Juilliard School in 1975 and attended music schools in Aspen, Marlboro, and Tanglewood. He cites Gordon Herritt, Gary Gray, Michele Zukovsky, Harold Wright, Ray Still, Marcel Moyse, Allan Dennis, and Mehli Mehta as influential mentors.         Join the Mind Over Finger Tribe for access to my weekly live videos and to exchange with a community of like-minded musicians!   Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to an exceptionally productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights!   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works so hard to make the podcast sound as good as possible for 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. Thank you to Susan Blackwell for the introduction!  You can find out more about Susan, her fantastic podcast The Spark File, and her work helping creatives of all backgrounds expand their impact by visiting https://www.susanblackwell.com/home. 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/    

Rolf Schulte is one of the most riveting violinists performing contemporary classical music. He is widely acknowledged as a passionate and exacting soloist, a champion of Elliott Carter's music, and has worked closely with composers Gyorgy Kurtag, Milton Babbitt, and Charles Wuorinen. Rolf reflects on 50-plus years of interpreting the headiest music of the 20th Century, as we discuss his experiences and his approach to this fiercely modern music.

Kone 104-ių metų sulaukęs Amerikos muzikos klasikas kūrė nepaprastai intensyviai: parašė 40 kompozicijų tarp 90-ies ir 100 metų, ir dar virš 20, jau perkopęs šimtmečio jubiliejų.Laidos autoriai ir vedėjai Šarūnas Nakas ir Mindaugas Urbaitis

Un día como hoy, 11 de diciembre: 1803, nace Hector Berlioz. 1854, nace Ernesto Elorduy. 1890 o 1887, nace Carlos Gardel. 1908, nace Elliott Carter. 1916, nace Dámaso Pérez Prado. 1963, nace Jon Brion. 1973, nace Valentina Lisitsa. Una producción de Sala Prisma Podcast. 2020

Frédéric Hutman a eu le très grand plaisir d'interviewer la violoncelliste Astrig Siranossian qui évoque son dernier disque « Dear Mademoiselle » consacré à la figure de Nadia Boulanger et à six de ses élèves : Astor Piazzolla, Igor Stravinsky, Elliott Carter, Michel Legrand, Philip Glass et Quincy Jones. Elle interprète des œuvres de ces compositeurs ainsi que 3 pièces pour violoncelle et piano de Nadia Boulanger aux cotés de Daniel Barenboim. Pour les autres oeuvres, Astrig Siranossian est aux côtés du pianiste Nathanaël Gouin. -- Générique de l'émission : Concert pour violon, piano et quatuor à cordes en ré majeur op. 21 (Sicilienne) de Ernest Chausson Par Itzhak Perlman, Jorge Bolet et le Juilliard String Quartet

The mission of New York City-based Phoenix Ensemble is resolute and clear: to bring diverse chamber music to diverse audiences. For this new release, clarinetist and artistic director Mark Lieb has chosen to contrast late Romanticism with modernity in two clarinet quintets that in some ways could not be more different, yet in other ways are surprisingly similar. Here, the expansive clarity of Johannes Brahms' Clarinet Quintet in B Minor, op. 115 is set against the angular narratives of Elliott Carter's Clarinet Quintet written more than a century later. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p760/Phoenix_Ensemble_Clarinet_Quintets_%28digital_download%29.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

Un día como hoy, 5 de noviembre: 1494, nace Hans Sachs. 1619, nace Philip de Koninck. 1701, nace Pietro Longhi. 1895, Walter Gieseking. 1921, nace György Cziffra. 1956, fallece Art Tatum. 1989, fallece Vladimir Horowitz. 2012, fallece Elliott Carter. Una producción de Sala Prisma Podcast. 2020

####Bio- Born 1894 in Rockland, Maine, and eventually the family moved to Boston. - Early on, Piston considered becoming an artist instead of a musician. He actual finished his degree in painting at the Massachusetts Normal Art School. He spoke of the transition quote > “I went to art school and earned money on the side playing the violin and the piano. I kept getting more and more interested in music, and by the end of the senior year I was entirely devoted to it; but by then I was so near to graduation I decided to finish up school and I got my diploma as a painter.”- Since the Piston's didn't have a piano around until they moved to Boston, Walter picked up the violin and reportedly practiced so much his mother complained. That is ABSOLUTELY not something that would have happened in my house growing up! Quite the opposite...- One quote of Piston is just funny on its own, but also shows his continuous curiosity. Before he began his studies at Harvard, he seems to have wanted to get ahead of the draft, entering the Navy Band at MIT. He explained quote “when the war cam, the First World War, that is, and it became obvious that everybody had to go into the service, I wanted to go in as a musician. I couldn't play any band instrument, but I knew instruments and I knew that the saxophone was very easy.” HAHAHAHA! Oh, but he wasn't done. “So I... bought a saxophone, and stopped by at the public library to get an instruction book. I learned enough to play by ear. In a very short time I was called and I tried out for the band. I didn't pretend to read the part but just played notes that went with the harmony, and I was accepted.” So that's it?? Not only, in his own version of the story anyway, did he prove that quote “saxophone was very easy”... really? That was the standard for getting into the Navy Band at MIT in the early 20th century? No need to actually read the music, just play something that sounds like music, based on what they put in front of you... Were I a comedian I'm sure that whole thing would be ripe for material!- Piston married Kathryn Nason, who kept her maiden name. She was an artist, and though it seems she rarely exhibited her work, she was very involved in the advocacy for her medium.- The couple had no interest in and never had children. Instead they tended gardens and raised dogs and cats. In fact, Piston actually once confessed “Some of my best musical ideas come to me while I'm spreading manure.”- Now, Piston and his wife seemed to be of the Bohemian sort, passionate about art and music, preferring life exploration to outright money and security. They were part of a free-living group of people that lived in an un-urbanized area of Belmont, Maine, called “The Hill”. They got drunk often, discussed visual art, and even regularly held nude sketching parties. Since mostly you will only find pictures of the SENIOR Mr. Piston, this is an unfortunate image to have... but I digress. Though it may seem a youthful time, this was Piston's way of life while he did a great deal of his serious composing.- While teaching at Harvard, Piston maintained quite a furtive compositional pace. In all, he wrote nearly 80 works that ran the gamut of the art music medium.####Culture- If you have ever had life kick you in the teeth, you understand the Einstein quote “The more I learn, the more I realize how much I don't know.” In a way, Walter Piston had this figured out for himself early on when he reluctantly decided he was going to be a composer. Admitting to a reunion of the Harvard Class of 1924:> After graduation I spent two years in Paris... I discovered [then] that I would probably become a composer. Now it is not from choice that one becomes a composer but rather, it seems, one does it in spite of everything even against one's better judgement. But writing long-haired music is not a way to make a living...- Concurrent with teaching and composing, he wrote four academic texts that are still discussed and argued about to this day: Principles of Harmonic Analysis, Harmony, Counterpoint, and Orchestration.- The fact that Piston developed, published, and continuously edited his academic texts would suggest that he is by and large of an analytical mindset. However, even in those texts he offers warnings and nuggets of wisdom along the way, cautioning against taking theoretical study too far. In Counterpoint, Piston spends the first chapter discussing “melodic curve”, instructing that “the outline of a melody may be perceived by simply looking at the music” and that “the word curve is useful to suggest the essential quality of continuity”. Then, after giving many examples and explaining his methodology, Piston makes sure to point out “it is important to see that in the process of analysis and simplification we do not destroy or lose sight of those details of a melody which are the essence of its individuality and expressive quality.” This statement is telling of his own philosophy on composition itself. Putting it succinctly, from the preface to Harmony, “[music theory] tells not how music will be written in the future, but how music has been written in the past.” So, as much as Piston wrote about theory, about theories about theory, and edited the books he wrote about those theories on his own theory... he held the perspective that composition is an organic event, not to follow a prescribed path. This concept absolutely plays out in his work, as we will see with his Symphony No. 2.- Musicologist and biographer Howard Pollack does a great job of getting to the core of Piston's compositional individuality. In his book _Walter Piston and His Music_, Pollack says “One steady and important aspect of Piston's music is his ability to give an advanced twentieth-century idiom the sort of motion and direction one finds in eighteenth and nineteenth-century classics, and this he does by asserting such principles as pulse, melodic curve, harmonic rhythm, tonal design, and symmetrical form. In fact, all the musical elements, including dynamics and color, are responsive to form and movement.”- An interesting thing Piston said himself about what it is like to compose a piece gives us a bit of incite into his thinking. Quote “I used to tell my students, as soon as you put down one note you've changed the conditions, and then you have to consider the others in relation to this, whereas before you put it down, you're free. On the other hand, you've got to be ready to throw that away, and that takes courage...” I'm sure this mirrors the writing process quite closely.- Symphony No. 2, written 1943, premiered by the National Symphony Orchestra in 1944.- Obviously, the timing of completion and premiere can't be separated from WWII. Whether or not Piston intended it, this 2nd Symphony draws American patriotic association. Personally, I am not in agreement that the external factors effecting the composer him or herself will by default manifest itself literally in the music. Though, a few musician quotes from early performances show a strong emotional response. Hans Kindler, who conducted the premiere, said “[The Symphony] is without even the shadow of a doubt one of the half dozen great works written during the last ten years. It sings forever in my heart and in my consciousness, and Dow not want to leave me. Even Erich Leinsdorf wrote “The performance of your Symphony which took place last night was, to me personally, the most gratifying experience with any score that has seen daylight within the last ten or fifteen years.” Well, we have to hear some of it after reviews like that!###Analysis of piece####Overall scope- Piston's Symphony No. 2 is written in 3 movements: Moderato, Adagio, Allegro. 3 movement symphonies are a less used format. Usually 4 movements is standard, as established by Haydn and Mozart. But, it was not uncommon, and knowing Piston's knowledge of form we can confidently assume he had strong reasoning to go this route. Even the movements themselves are basically in sonata form, though the sound and inflection is undeniably Pistonian.####Excerpts- In the first movement Moderato, the opening theme is a serious, lyrical unfolding from the very beginning, presented at first in unison with little accompaniment.- The second theme is a dramatic contrast to the first, playful, off kilter, almost tongue-in-cheek.- In the recap, Piston brings this theme back in a bigger, more filled out capacity adding brass and more percussion to boost the moment.- However, to close the movement this sort of fanfare becomes a calm brass chorale, ending just with the same seriousness as he began.- The Adagio movement, on the other hand, has a completely different feeling. Like home, down to earth. After a brief introduction to set the soft texture, syncopated pulses in the strings accompany a gorgeous clarinet solo, crafted and presented with simple delicacy.- Throughout this movement, even as it expands to climaxes and contracts back from them, the tenor of sensuousness never gives way. Even as the sound slowly builds to the ultimate moment of tension, the feeling is of complete organic overflow.- Incidentally, it was this 2nd movement that Leonard Bernstein conducted as a tribute to Piston upon his death.- The final movement, Allegro, begins with a pop, racing energy, and a characteristic Piston horn call, followed by a semi-fugue, all setting the stage for a quick, intense closing.- When this same material is repeated it is appropriately right at the height of excitement as Piston barrels into the recap.- Then to close out the whole of the symphony, Piston pushes forward the motion while letting out all the energy. He even pulls back the tempo for one brief moment, and then like a slingshot shoots off to the rousing finish!###Closing- Honestly, most of the orchestral pieces in Piston's portfolio deserve to be heard, analyzed, and enjoyed, most notably including his 8 numbered symphonies, the ballet _The Incredible Flutist_, _Three New England Sketches_, and Serenata for Orchestra. Carrying on his legacy, not only will his theory texts continue to be discussed for many decades to come, after teaching at Harvard for 34 years, his long list students include some recognizable names such as Samuel Adler, Leroy Anderson, Arthur Berger, Leonard Bernstein, Elliott Carter, and Colon Nancarrow.- Piston's music is moving and on the edge of what came to be a new sound in American music. Even now, his pieces have a distinctiveness of both depth and quality. As we continue to perform and hear his music, we will come to know more of the character of this great composer.Music:Symphony No. 2By: Walter PistonPerformed By: Gerard Schwarz, Seattle Symphony OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In September of 2001, the American composer Elliott Carter was just a few months shy of his 93rd birthday, but still busy composing new works both large and small. On today’s date that year, Carter’s Cello Concerto received its premiere in Chicago with cellist Yo-Yo Ma and Daniel Barenboim conducting the Chicago Symphony. Now, Carter’s music is technically challenging for performers, and its complexity can make it equally challenging for audiences, especially at first hearing. Despite all that, Carter’s comments on his music were usually quite straightforward: “In this score I have tried to find meaningful, personal ways of revealing the cello's vast array of wonderful possibilities,” he wrote. “My Concerto is introduced by the soloist alone, playing a frequently interrupted cantilena that presents ideas later to be expanded into movements.” A month after its premiere, Ma, Barenboim, and the Chicago Symphony brought the new work to Carnegie Hall, and The New York Times reviewer Anthony Tommasini wrote: “For all its complexities … the cello part has a rhapsodic, improvisatory quality …. At its conclusion, when Mr. Carter, who is 92, climbed the steps to the stage with a cane to steady him, he received a prolonged standing ovation.”

In September of 2001, the American composer Elliott Carter was just a few months shy of his 93rd birthday, but still busy composing new works both large and small. On today’s date that year, Carter’s Cello Concerto received its premiere in Chicago with cellist Yo-Yo Ma and Daniel Barenboim conducting the Chicago Symphony. Now, Carter’s music is technically challenging for performers, and its complexity can make it equally challenging for audiences, especially at first hearing. Despite all that, Carter’s comments on his music were usually quite straightforward: “In this score I have tried to find meaningful, personal ways of revealing the cello's vast array of wonderful possibilities,” he wrote. “My Concerto is introduced by the soloist alone, playing a frequently interrupted cantilena that presents ideas later to be expanded into movements.” A month after its premiere, Ma, Barenboim, and the Chicago Symphony brought the new work to Carnegie Hall, and The New York Times reviewer Anthony Tommasini wrote: “For all its complexities … the cello part has a rhapsodic, improvisatory quality …. At its conclusion, when Mr. Carter, who is 92, climbed the steps to the stage with a cane to steady him, he received a prolonged standing ovation.”

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     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/    

1. Mark-Anthony Turnage's Blood On The Floorhttps://open.spotify.com/album/4xHOUUef30vZftklRI0JRO2. Nina C. Young's Rising Tidehttps://youtu.be/K42sIHsHW6o3. Karlheinz Stockhausen's Klang 13. Stunde: Cosmic Pulseshttps://youtu.be/8HaqC_DuLRIPanelists:Sonya Alexandra Knussen runs Go Compose! – North America, providing online workshops encouraging kids ages 11-18 to start or continue composing during the 2020 global pandemic. Additionally, she teaches in Maryland and on online platforms. As a singer, Sonya has been praised by The New York Times for her “gracefully shaped vocal lines” and The Washington Post for her “confident and penetrating account of line.” She has premiered many works at festivals in the U.S. and U.K and, as a featured soloist, she has worked with ensembles including the Washington Bach Consort, Bang on a Can Summer Music Festival, Tanglewood Festival Chorus and the Baltimore Symphony. She is a seasoned ensemble singer and founder of hexaCollective, an ad hoc vocal ensemble based in Maryland. Media experience includes blind direction of cameras throughout live performances at Elliott Carter’s Centenary Celebrations at Tanglewood, producer for recordings of Carter’s Boston and Cello Concertos, music assistant on recordings of works by August Read Thomas, Oliver Knussen and Hans Werner Henze, score-reader for LWT/Channel 4’s series on 20th-century orchestral music with Simon Rattle entitled Leaving Home and researcher for Sounds from the Big White House for BBC 4.Elizabeth Milligan is a musician and arts administrator in the Baltimore/D.C. metro area. A versatile flutist and piccolo player, they enjoy a wide variety of traditional and contemporary collaborations, from Stravinsky dance raves to J.S. Bach marathons. Their research has explored and documented the progression of flute techniques and performance standards from late 19th century to present day. They currently serve as the Admissions and Recruitment Coordinator for the University of Maryland School of Music. A graduate of The Peabody Institute and UMBC, they have earned a Bachelor of Arts, a Post Baccalaureate Certificate in Contemporary American Music, and a Master of Music. Their primary teachers have included Laurie Sokoloff, Lisa Cella, Lori Kesner, and Gina Eichman.Rudolf Kämper has performed as a trumpet player with symphonies in Mexico, Omaha, Baltimore, as well as in Germany. He studied trumpet with Jim Darling, Ed Hoffman, Mauro Maur, and Jack Sutte. As a composer, Kämper’s works have been performed both in the U.S. and in Germany. He studied composition with Loris Chobanian and attended workshops by Karlheinz Stockhausen, Lucas Foss, and John Corigliano. He has also been a director for complete performances of Stockhausen’s works, including Klang at the Metropolitan Museum of Art and in Montreal at the SAT. Kämper is the founding director of ANALOG arts ensemble, a musicians’ and artists’ collective dedicated to a fresh perspective of the arts. Dolf Kämper also runs North Coast Imports, Sternreiter, and Suburban Clock, a family of companies devoted to the design and restoration of complicated timepieces and mechanical musical curiosities.More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

Even in a king-sized bed, McBain takes up the space equivalent of a horse. Paired with loud neighbors in the suburbs, Jake got a terrible night of sleep.Music recommendations are “Summer Music” by Samuel Barber, “Woodwind Quintet” by Elliott Carter, and “Six Bagatelles” by György Ligeti (all performed by the Berlin Philharmonic Wind Quintet).Wake & Jakehttps://www.auxchicago.com/wake-jakehttps://www.instagram.com/wakeandjakepod/https://twitter.com/WakeandJakePodJake Fisherhttps://www.instagram.com/kennyg.g.allin/https://deathbotrecords.bandcamp.com/Music Composed by Jake FisherLogo by Baitul Javid

In this episode, Dave and Andrew explore the winner of the sixth Pulitzer Prize in Music, Walter Piston for his Symphony No. 3. Walter Piston was a long-time teacher at Harvard University (Leonard Bernstein and Elliott Carter count among his students) and author of several influential textbooks, including Principles of Harmonic Analysis (1933) and Orchestration (1955). He was also, according to Aaron Copland, “one of the most expert craftsmen American music can boast.” His Symphony No. 3, premiered by the Boston Symphony Orchestra in 1948, displays that craftsmanship but also the rich, sonorous sound he could pull from the orchestra. But how does it stand up today? If you'd like more information about Walter Piston we recommend: Carol Oja's essay "Reappraising Walter Piston" Elliott Carter's summary of his teacher's music "Walter Piston" in The Musical Quarterly, vol. 32, no. 3 (July 1946): 354-375. Howard Pollack's book Harvard Composers: Walter Piston and His Students, from Elliott Carter to Frederick Rzewski (Scarecrow Press, 1992). The first recording of the piece: https://www.youtube.com/watch?v=18IybqdI5dw

On today's date in 1953, at New York's 92nd Street "Y," Walden String Quartet tackled the difficult First String Quartet of American composer Elliott Carter. In Carter's 45-minute Quartet, the four voices enter one by one, in the style of a fugue, but each voice pursues its own very individual pace and character. Carter's Quartet was as densely-packed with ideas as a page from James Joyce—an author the composer cited as an influence. But, writing for the Herald Tribune, composer Virgil Thomson gave the work a glowing review: "The piece is complex of texture, delicious in sound, richly expressive, and in every way grand—the audience loved it," wrote Thomson. That same year Carter's Quartet won First Prize in the International String Quartet competition in Belgium, a contest Carter entered almost as an afterthought. "My First Quartet was written largely for my own satisfaction and grew out of an effort to understand myself," he said. To escape from the distractions of New York, Carter had retreated to the desert near Tucson to write it. No one had commissioned the Quartet, and Carter initially feared its complexity would only baffle performers and audiences. His next quartet, equally challenging, won a Pulitzer Prize. Complexity would characterize Carter's music for the next 50 years—although the composer himself insists that fantasy and invention, rather than difficulty for its own sake, had always been his goal.

On today's date in 1953, at New York's 92nd Street "Y," Walden String Quartet tackled the difficult First String Quartet of American composer Elliott Carter. In Carter's 45-minute Quartet, the four voices enter one by one, in the style of a fugue, but each voice pursues its own very individual pace and character. Carter's Quartet was as densely-packed with ideas as a page from James Joyce—an author the composer cited as an influence. But, writing for the Herald Tribune, composer Virgil Thomson gave the work a glowing review: "The piece is complex of texture, delicious in sound, richly expressive, and in every way grand—the audience loved it," wrote Thomson. That same year Carter's Quartet won First Prize in the International String Quartet competition in Belgium, a contest Carter entered almost as an afterthought. "My First Quartet was written largely for my own satisfaction and grew out of an effort to understand myself," he said. To escape from the distractions of New York, Carter had retreated to the desert near Tucson to write it. No one had commissioned the Quartet, and Carter initially feared its complexity would only baffle performers and audiences. His next quartet, equally challenging, won a Pulitzer Prize. Complexity would characterize Carter's music for the next 50 years—although the composer himself insists that fantasy and invention, rather than difficulty for its own sake, had always been his goal.

What do you recall about being a teenager? Was it fun for you? I recall having big dreams, while also being relentlessly uncomfortable with myself. Many clients, friends, and fellow parents have taken an interest in our 15 year-old daughter Elliott’s emerging career as a professional singer, and songwriter. Elliott first performed alongside me when […]

What do you recall about being a teenager? Was it fun for you? I recall having big dreams, while also being relentlessly uncomfortable with myself. Many clients, friends, and fellow parents have taken an interest in our 15 year-old daughter Elliott’s emerging career as a professional singer, and songwriter. Elliott first performed alongside me when […]

This week, I have the incredible honor of welcoming renowned pianist Ursula Oppens to the show. A legend among American pianists, Ursula is widely admired for both her original and perceptive readings of new music, and for her knowing interpretations of the standard repertoire. As you'll hear in the episode, she's an incredibly passionate and wise musician!  Her and I covered several topics, from the reality of a career in music today, to how she approaches learning repertoire, and how she's stays focused in the practice room! In this episode, Ursula expands on: Her love of new music and how it developed early on in her life How she approaches bringing new music to life Why she doesn't think musicians should have a niche but should, instead, be interested in learning Her view of the musical landscape of today What improvisation can bring to our playing How she loves practicing (and I love that she said that so much!) How mental and muscle memory develop together Why she thinks it's important to memorize music in order to learn it better Her strategies to find energy, motivation, and focus to practice Why flexibility is a crucial skill to develop How a well-rounded education is also very helpful Her very wise piece of advice for young musicians Ursula is a force of nature and very generous with her insight. I know you'll love this discussion!     The Mind Over Finger Podcast on YouTube: https://www.youtube.com/channel/UCtQSB1IVNJ4a2afT1iUtSfA/videos   Sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY! Click HERE or visit www.mindoverfinger.com!   MORE ABOUT URSULA: Website: https://colbertartists.com/artists/ursula-oppens/ YouTube channel: https://www.youtube.com/channel/UCqj7e-6dIIBw2OkKmHxYItw   Ursula Oppens, a legend among American pianists, is widely admired particularly for her original and perceptive readings of new music, but also for her knowing interpretations of the standard repertoire. No other artist alive today has commissioned and premiered more new works for the piano. A prolific and critically acclaimed recording artist with five Grammy nominations, Ms. Oppens most recently released a new recording of Frederic Rzewski's The People United Will Never Be Defeated, nominated for a Grammy in 2016, and Piano Songs, a collaboration with Meredith Monk. Earlier Grammy nominations were for Winging It: Piano Music of John Corigliano; Oppens Plays Carter; a recording of the complete piano works of Elliott Carter for Cedille Records (also was named a “Best of the Year” selection by The New York Times long-time music critic Allan Kozinn); Piano Music of Our Time featuring compositions by John Adams, Elliott Carter, Julius Hemphill, and Conlon Nancarrow for the Music and Arts label, and her cult classic The People United Will Never Be Defeated by Frederic Rzewski on Vanguard. Ms. Oppens recently added to her extensive discography by releasing a two-piano CD for Cedille Records devoted to Visions de l'Amenof Oliver Messiaen and Debussy's En blanc et noir performed with pianist Jerome Lowenthal. Over the years, Ms. Oppens has premiered works by such leading composers as John Adams, Luciano Berio, William Bolcom, Anthony Braxton, Elliott Carter, John Corigliano, Anthony Davis, John Harbison, Julius Hemphill, Laura Kaminsky, Tania Leon, György Ligeti, Witold Lutoslawski, Harold Meltzer, Meredith Monk, Conlon Nancarrow, Tobias Picker, Bernard Rands, Frederic Rzewski, Allen Shawn, Alvin Singleton, Joan Tower, Lois V Vierk, Amy Williams, Christian Wolff, Amnon Wolman, and Charles Wuorinen. As an orchestral guest soloist, Ms. Oppens has performed with virtually all of the world's major orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Los Angeles Philharmonic, the American Composers Orchestra, the Boston Modern Orchestra Project (BMOP), and the orchestras of Chicago, Cleveland, San Francisco, and Milwaukee. Abroad, she has appeared with such ensembles as the Berlin Symphony, Orchestre de la Suisse Romande, the Deutsche Symphonie, the Scottish BBC, and the London Philharmonic Orchestras.  Ms. Oppens is also an avid chamber musician and has performed with the Arditti, Cassatt, JACK, Juilliard, and Pacifica quartets, among other chamber ensembles. Ursula Oppens joined the faculty of the Mannes College of Music in the fall of 2017, and is a Distinguished Professor of Music at Brooklyn College and the CUNY Graduate Center in New York City. From 1994 through the end of the 2007-08 academic year she served as John Evans Distinguished Professor of Music at Northwestern University in Evanston, IL. In addition, Ms. Oppens has served as a juror for many international competitions, such as the Concert Artists Guild, Young Concert Artists, Young Pianists Foundation (Amsterdam), and Cincinnati Piano World Competition.   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/    

In April 2019, the JACK Quartet performed a two-concert cycle of the complete string quartets by Elliott Carter, in a lunchtime and evening recital they have been looking forward to with anticipation. Journalist Tom Service breaks down the music particularly of Carter’s 2nd and 3rd quartets, which form part of the evening concert programme, and 1st quartet which the JACK played at lunchtime. The JACK Quartet joins Tom with instruments in hand, to give live musical examples and bring to life the exuberant and exciting characters under discussion.

"Classical music is relaxing." "I listen to classical music because it's soothing." "I turn on classical music when I want to concentrate." These are all things we're guessing very few people have said about the composer you're going to learn about in this episode. Elliott Carter's music is about something much more vast and complex than chillaxing: it's about the full range of human experience. If you've been alive for long enough to read this, you know that being a person is not always easy - that, in fact, ease can't exist without difficulty. It's a thing that we expect other art forms to reflect. And in this episode, Austin Wulliman and Christopher Otto of the JACK Quartet teach all about a composer who used this music to convey It All, too. PS, You can go see the JACK Quartet perform the music of Elliott Carter, or go check them out at the Ojai Festival this summer. Find out more here. Music in this episode: Special thanks to Todd Reynolds for his music, Taskforce: Farmlab from Outerbourough.

The Tactical Guitarist podcast brings you interviews with guitarist, composers, teachers, and anyone else who can share their wisdom, advice and stories on surviving a career in music.My guest for this episode is renowned composer Stephen Goss.Stephen Goss’s music receives hundreds of performances worldwide each year. It has been recorded on over 80 CDs by more than a dozen record labels, including EMI, Decca, Telarc, Virgin Classics, Naxos, and Deutsche Grammophon. His output embraces multiple genres: orchestral and choral works, chamber music, and solo pieces.Goss’s work is marked by a fascination with time and place – both immediate and remote – and the musical styles that evoke them. In many of his compositions, contrasting styles are juxtaposed through abrupt changes of gear. His compositional voice is shaped by his parallel career as a guitarist – that is to say, as a performer, transcriber, arranger, improviser and collaborator with other composers and performers. Not surprisingly, his music often tests the boundaries between all these activities and original composition.Several of Goss’s recent projects have involved the legendary guitarist John Williams, including his Guitar Concerto, which Williams recorded and played on tour with the Royal Philharmonic Orchestra. Some of the world’s leading orchestras to have performed his works include The Russian National Orchestra, The China National Symphony Orchestra, The Royal Liverpool Philharmonic Orchestra, The State Symphony Orchestra ‘New Russia’, The RTÉ National Symphony Orchestra, The Boulder Philharmonic Orchestra, The Scottish Chamber Orchestra, and The Barcelona Symphony Orchestra.Commissions have come from guitarists David Russell and Xuefei Yang (including chamber works with cellist Natalie Clein and tenor Ian Bostridge). Goss has also collaborated with Andrew Lloyd Webber, Alt-J, and Avi Avital. As a guitarist, he has worked with Takemitsu, Henze, Peter Maxwell Davies and Elliott Carter, and toured and recorded extensively with the Tetra Guitar Quartet, various other ensembles, and as a soloist.Stephen Goss is Chair of Composition at the University of Surrey (UK), Director of the International Guitar Research Centre, and a Professor of Guitar at the Royal Academy of Music in London. He was born in Wales on 2nd February 1964.Stephen was in Portland for a three day performance of his Albeniz Concerto by renowned guitarist Pablo Villegas and the Oregon Symphony. I was given a unique opportunity to chat briefly with him, so we sat down at Bryan Johanson’s home this past week to talk a little about his accomplishments, some of his history and some great words of wisdom to musicians.

They don't make them like Jay Campbell every day. A young and virtuosic cellist, raised in Berkeley CA, Jay has worked closely with Pierre Boulez, Elliott Carter, Matthias Pintscher, John Adams, Kaija Saariaho, and countless others from his own generation. His close association with John Zorn resulted in the 2015 release ofHen to Pan (Tzadik) featuring all works written for Campbell, and was listed in the New York Times year-end Best Recordings of 2015. Since 2016 Jay has been a member of the world renowned JACK Quartet. Today's talk is a good one and covers a lot of ground.

Denise Tryon, Associate Professor of Horn at the College Conservatory of Music of the University of Cincinatti and former Fourth Horn with the Philadelphia Orchestra, has built a wonderful career which combines teaching, performing, and expanding the repertoire of her instrument through active commissions.  Denise is a trail blazer in our field!  She has asked herself the hard questions and has not been afraid to step off the beaten path and shape her unique, meaningful, and impactful career.  In this episode, we discuss: Her journey from student, to top-five orchestra member, soloist, and pedagogue The distinction between warmup and daily routine (hint: a warmup is a small part of a daily routine) What a good routine covers – the various fundamentals of your instrument as well as extended techniques How to set up your own routine – something that works really well for you What mindful, efficient, practice is to her: o   Be demanding but kind with yourself o   How to organize it (I'm loving the “55 and out” technique!) o   How to problem solve o   What “swear” words she will not allow in her studio (and they are not what you're thinking!) o   How we need to let go and go with the flow o   The four elements we need to address in the practice room – technical, physical, musical, and mental Audition Mode and audition preparation How musicians need to figure out how to find our own voice and market themselves How we must strive for excellence, not perfection “Change your mind and your body will follow” “Be demanding and caring” when you practice “Give to yourself first”     ALL ABOUT guest: Website: http://denisetryon.com/ Low Horns Unite: http://denise-tryon.thinkific.com/courses/low-horns-unite Audition Mode: http://auditionmode.com/ YouTube channels: https://www.youtube.com/channel/UC-NXdXmBOZ08O4ijSX6wTzg Instagram: https://www.instagram.com/dt_lowhorn/ Facebook: https://www.facebook.com/DeniseTryonHorn/   Her album, So Low Doctor Beat Metronome by Boss Mechanical Metronome (not the one she mentions) Horn Berp – Buzz Extension Resistance Piece The Music Lesson: A Spiritual Search for Growth Through Music by Victor L. Wooten   Biography: A native of Roseville, MN, Denise Tryon is currently Associate Professor of Horn at the College Conservatory of Music of the University of Cincinatti. Previously, Tryon was fourth horn of The Philadelphia Orchestra (2009-2017) and served as the Horn Professor of the Peabody Conservatory in Baltimore starting in 2007. She has also held positions with the Detroit Symphony (2003-2009), Baltimore (2000-2003), Columbus (1998-2000), and New World (1995-1998) Symphonies as well as participated in the Colorado Music Festival and the Pacific Music Festival. An accomplished solo performer, Tryon has performed recitals in Sweden, Norway, Poland, Japan, Canada and the United States. “Denise Tryon's command of the lower register provides the strongest foundation of sound for a horn section, and yet, her sound is supple and flexible.” —Yannick Nezet-Sequin, music director of the Philadelphia Orchestra In 1989 Tryon graduated from the famed Interlochen Arts Academy and in 1993 received her Bachelor of Music degree from the New England Conservatory of Music (NEC) in Boston. She received the Presidential Scholarship while in the Artist Diploma Program at NEC with the Taiyo Wind Quintet, which won the Coleman Chamber Competition and worked with great composers such as John Harbison, Luciano Berio, György Ligeti, and Elliott Carter. An active and accomplished educator, Tryon is sought after for her masterclasses. She has taught extensively in the United States, Scandinavia, Europe, Asia and South America. Beth Graham of the Warsaw Philharmonic and founder of the Warsaw Horn Workshops raves, “In just a few seconds of listening to a student she can diagnose deep-seated problems and give immediate fixes, often with a healthy dose of humor as well. The transformations she can accomplish in just a short time are truly remarkable.” Tryon released her debut solo album, SO•LOW in 2015. As a part of this album, she commissioned 4 new pieces for low horn and piano. Said in a review by Gramophone Magazine “Tryon plays these works with sonorous fluidity and dexterity, ending with a bit of captivating acrobatics.” In 2009, Tryon founded Audition Mode, a yearly horn seminar, with Karl Pituch. In 2010 she was an International Horn Society (IHS) Northeast Workshop Featured Artist. She was a contributing artist at the IHS Symposium in San Francisco in 2011, as well as one of the Solo Artists at the Nordic Hornfest in Norway in 2012. Tryon was on the horn faculty at BIBA (Blekinge International Brass Academy) in Sweden in 2013. She has been the Featured Artist at the Warsaw Horn Workshops in 2013, 2015, and 2016. In 2014 and 2016, Tryon was a Featured Artist at the IHS MidNorth Horn Workshop, and in 2015, she was a Featured Artist at the IHS Symposium in LA. In 2016, Tryon was on faculty during the brass weeks at Domaine Forget. Tryon was the Featured Artist at the IHS NorthWest Horn Workshop in 2017.   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. 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 producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/   (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

AUDIO COLLAGE: To commemorate the 4th of July, here's a short episode about the great American composer Charles Ives. Guest starring Stan Brakhage, Billy Eckstine, Aaron Copland, Elliott Carter, and Nicolas Slominsky.  Source material derived from archive.org and ubu.com USA Composers: The "American" Tradition with Robert Potts (television program, 1967) Nicolas Slominsky at 76 (radio broadcast, 1971) Are My Ears on Wrong? A Portrait of Charles Ives (film, 1979) The Test of Time with Stan Brakhage (radio broadcast, 1982; includes a recording of Ives's "The See'r") And from the Internet Archive's 78 RPMs & Cylinder Recordings collection: "Nobody Knows De Trouble I've Seen" by Billy Eckstine "American Fantasie (Parts 1 & 2)" by Victor Herbert's Orchestra "Bye Bye Celluloid" opening theme by Brad Glanden All original content: Copyright 2018 Brad Glanden. All rights reserved

Episode 44: Interview with Roger REYNOLDS In the context of a discussion of his pieces Not Forgotten, and CALLING…still, Roger REYNOLDS talks about poet John Ashbery, composers Iannis Xenakis, Toru Takemitsu, Elliott Carter, Beethoven, quotation, and the o’o bird.

I programmet diskuterades Haydn-symfonier med Il Giardino Armonico, Alice Coote sjunger sångcykler av Mahler, Krystian Zimerman spelar Schubert samt sena verk av Elliott Carter. Johan möter Schwabe. I panelen Alexander Freudenthal, Evert van Berkel och Johanna Paulsson som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  GUSTAV MAHLER Sångcykler Alice Coote, mezzosopran Nederländska filharmonikerna Marc Albrecht, dirigent Pentatone PTC 5186 576 FRANZ SCHUBERT Pianosonater D 959 och D 960 Krystian Zimerman DG 479 7588 JOSEPH HAYDN DOMENICO CIMAROSA Il Distratto Symfonier nr 60, 70, 12 Il Maestro di Cappella Riccardo Novaro, baryton Il Giardino Armonico Giovanni Antonini, dirigent Alpha Classics ALPHA 674 ELLIOTT CARTER Late Works Pierre-Laurent Aimard, Colin Currie, Isabelle Faust, Jean-Guihen Queyras Birmingham Contemporary Music Group BBC symfoniorkester Oliver Knussen, dirigent Ondine ODE 1296-2 Johan möter Gabriel Schwabe Johan Korssell träffade den 29-årige cellisten på Stockholms-visit, ett samtal om sin alldeles färska CD där han är solist i Saint-Saëns cellokonserter. Schwabe spelar tillsammans med Malmö symfoniorkester under ledning av Marc Soustrot. Inspelningen är gjord på Naxos.  Referensen Schuberts Sonat D 960 Johan jämför med och refererar till Schuberts pianosonat nr 21 D 960 B-dur, med pianisten Wilhelm Kempff. Inspelad 1967 på DG. Andra i programmet nämnda eller rekommenderade inspelningar: Haydns symfonier i komplett utgivning (box med 32 CD) med The Academy Of Ancient Music, London, ledd av Christopher Hogwood på skivmärket Oiseau Lyre. Il Giardino Armonico ledd av Giovanni Antonini i Mozarts violinkonserter med Isabelle Faust som solist, inspelad på Harmonia Mundi. Mahlers sångcykler med mezzosopranen Christa Ludwig tillsammans med Philharmonia Orchestra i inspelningar ledda av Otto Klemperer och Adrian Boult på märket EMI samt med Berlins filharmoniker ledda av Herbert von Karajan på DG. Vidare rekommenderades Christa Ludwig ackompanjerad på piano av Leonard Bernstein på Sony; Janet Baker tillsammans Halléorkestern under John Barbirolli på EMI; Brigitte Fassbaender med Deutsche Sinfonieorchester ledda av Riccardo Chailly på Decca samt med barytonen Thomas Hampson ackompanjerad av Wiens filharmoniker dirigerade av Leonard Bernstein på DG. Schuberts pianosonater med Wilhelm Kempff på skivmärke DG (Referensen); Andreas Staier, hammarklaver, på Teldec; Alfred Brendel på Philips; Svjatoslav Richter på Music & Arts; Clara Haskil på Archipel; Artur Rubinstein på Philips samt med András Schiff på Decca. Nelson Freire spelar Bach på Decca. Arkadij Volodos spelar Brahms på Sony Classical. Elliott Carters klarinettkonsert med solisten Michael Collins och Londons Sinfonietta ledda av Oliver Knussen på DG. Elliott Carters orkestermusik med Londons Sinfonietta ledd av Oliver Knussen på Virgin Classics. Inget Svep denna vecka

Interventions; Dialogues; Dialogues II; Soundings; Two Controversies and a Conversation; Instances; Epigrams | Pierre-Laurent Aimard (Klavier) | Colin Currie (Schlagzeug) | Isabelle Faust (Violine) | Jean-Guihen Queyras (Klavier) | BBC Symphony Orchestra | Leitung: Oliver Knussen

TBJ 67: Denise Tryon, low horn specialist and former member of the Philadelphia Orchestra, joins Andrew & Lance and unpacks following your gut to pursue your dreams. Denise has had an incredible career as member of the New World, Columbus, Baltimore, Detroit, and Philadelphia orchestras and currently teaches full-time at Peabody Conservatory in Baltimore. Additionally, as a member of the Taiyo Wind Quintet, she had the privilege of working with John Harbison, Luciano Berio, György Ligeti, and Elliott Carter.   Denise explains why she recently stepped down from the gig in Philly to pursue teaching, solo projects and commissioning new pieces for low horn. She also explained how, after 22 years in the orchestra world, she knew it was time and shared her “no regrets” attitude. We also explore how she became a low horn specialist, shares some great low horn exercises and talks about her time studying with the great Chester Schmitz.    Yannick Nézet-Séguin, music director of the Philadelphia Orchestra writes that “Denise Tryon’s command of the lower register provides the strongest foundation of sound for a horn section, and yet, her sound is supple and flexible.”    It was a great conversation, despite some audio challenges. This time, they weren't even Lance's fault!   Links:   Denise's site Solo CD Peabody bio page Audition Mode site   Want to help the show? Take a minute to leave us a rating and a review on iTunes. The Brass Area of the Mary Pappert School of Music at Duquesne University in Pittsburgh PA is our new partner (and Lance has been teaching euphonium there since 2000). If you are interested in learning more about the program, visit the site HERE! Check out Parker Mouthpieces fine offerings (including the Andrew Hitz and Lance LaDuke models) by clicking PARKER! You can help offset the costs of producing the show by making a small donation at https://www.patreon.com/thebrassjunkies. Your support is greatly appreciated! Last but not least, we are now on Instagram! Follow us at instagram.com/pray4jens/ TODAY! Expertly produced by Joey Santillo with love, care, and enthusiasm.  

It was composer pitted against composer: uptown vs. downtown, tonal vs. atonal, left brain vs right brain, and these musicians were NOT pulling any punches. Composers were antagonizing each other, questioning each other's validity, and bad-mouthing one another; it was like the second half of the 20th century was when Western Music went through middle school, and it was brutal! “If you weren't being a constructivist composer, if the music wasn't indeed about its own structure, and its own structure wasn't complicated, then you were a pariah, you were rejected. You didn’t get tenure. You didn’t get a job.” That’s Robert Sirota - Nadia’s Dad - one of many composers who came of age in the midst of this feud and struggled - for years - to find a voice. On this episode of Meet the Composer, we unravel one of the most contentious periods in classical music’s history. How did this fight begin? How did it play out? Who were the contenders?  We hear from composers on both sides of this battle, and discover how, on all ends of the aesthetic spectrum, we can find value in differences.   Heard a piece of music you loved? Discover it here! 0:00—The Yorks: Love Without Reason, written by Barry Flicker2:14—Robert Sirota: Pange Lingua Sonata | Buy 3:30—Robert Sirota: Pange Lingua Sonata | Buy 5:23—Philip Glass: Music in Twelve Parts | Listen 6:31—Ruth Crawford Seeger: Study in Mixed Accents | Listen 7:08—David Lang: orpheus over and under | Listen 8:53—Richard Wagner: Overture from Tristan und Isolde | Listen 9:36—Julia Ward Howe: Battle Hymn of the Republic | Watch 11:27—Arnold Schoenberg: Klavierstüke, Op. 33 | Listen12:04—Pierre Boulez: Piano Sonata No. 2 | Listen  13:05—Pierre Boulez: Sur Incises | Listen 13:47—Lewis Nielsen: Oerknal! "...the crisis of conscience..." | Listen 14:50—Charles Wuorinen: Two Part Symphony | Listen 15:57—David Lang: the so-called laws of nature: part III | Listen 17:59—Jr. Walker and the All-Stars: Shotgun | Listen 18:47—Bob Dylan: Maggie's Farm | Buy 19:09—Elliott Carter: String Quartet No. 2 | Listen 19:45—Steve Reich: Violin Phase | Listen 21:05—Elliott Carter: String Quartet No. 2 | Listen 21:16—Charles Wuorinen: Second Piano Quintet | Listen 22:10—John Adams: Phrygian Gates | Listen 23:31—John Adams: Death of Klinghoffer | Listen 24:08—David Lang: child, II. sweet air | Listen 25:21—David Lang: almost all the time | Listen 28:53—Brian Ferneyhough: La chute d'Icare | Listen 30:58—Brian Ferneyhough: no time (at all) | Listen 32:09—Brian Ferneyhough: Superscriptio | Listen 33:36—J.S. Bach: Invention No. 15 in B minor | Listen 34:26—J.S. Bach: Mass in B minor, "Crucifixus" | Listen 38:49—David Lang: breathless | Listen 

20th Century, 1908-2012: Every morning, for more than 75 years, American composer Elliott Carter would awaken and go to his studio to write music. Carter and his wife, Helen Frost-Jones, lived in the same apartment in Greenwich Village in New York, since 1945. He was one of the most prolific composers of the 20th century, composing over 40 works after the age of 90. Carter’s music encompasses many of the influences and styles that shaped the last 100 years of music.

In a program from 2011, Andrew Patner provides a musical tribute to the late, great Elliott Carter [...]

20th Century, 1887-1979: Aaron Copland, Jean Françaix, Elliott Carter, Philip Glass and Quincy Jones; what do all of these musicians have in common? They were all students of Nadia Boulanger.

It was on this day in 1954 that pop star and pianist extraordinaire Bruce Hornsby was born. On today's "A Classical Day in the Life", we explore the classical music influences in Hornsby's work - from Arnold Schoenberg and Anton Webern to Elliott Carter.

Soprano Jane Sheldon in conversation, featuring recordings of contemporary Australian vocal music from her Origin Cycle and Symbiosis projects.

Soprano Jane Sheldon in conversation, featuring recordings of contemporary Australian vocal music from her Origin Cycle and Symbiosis projects.

Violinist/violist Miranda Cuckson describes her path to experimentation through the music of Bach, Xenakis, Elliott Carter, and Dai Fujikura and the visceral sounds of microtonality before exploring the intricate and driving music of jazz pianist Vijay Iyer.

Køge Kammermusikfestival Den italienske fagottist Diego Chenna og den svenske strygetrio Trio ZilliacusPerssonRaitinen spiller musik af Mozart, Willy Merz, Elliott Carter og Bernard Garfield. Desuden medvirker vinderne af festivalens konkurrence for unge kammermusikensembler. (Køge Kirke 1. maj). Ca. 21.15 Per Nørgård modtager af den store Siemens-pris 2016. Vært: Peter Filtenborg. www.dr.dk/p2koncerten

On this day in 1977, A Symphony of Three Orchestras, by the American composer Elliott Carter, had its world premiere, with Pierre Boulez conducting the New York Philharmonic. On today's "A Classical Day in the Life," we delve into Carter's symphony and examine the possibility that there may exist a parody of the minimalism that was so fashionable at the time.  

Barber’s Violin Concerto, Gershwin’s Rhapsody in Blue and Copland’s Appalachian Spring are among a small handful of American works that have become staples of the orchestra repertoire. Since the United States has nurtured a good century-and-a-half of orchestral compositions, there are those who feel that this is not just an oversight, but a disgrace. Earlier this month, a group of composers and academics decided to confront the issue where it starts: with the major orchestra in their city. They wrote a letter to the Cleveland Plain-Dealer accusing the Cleveland Orchestra of “blatantly ignoring music of its own country” by programming only one work by an American composer next season. “We looked at this and said, this is approximately one percent of the programming and really, we have to say something about this,” said Keith Fitch, head of the composition department at the Cleveland Institute of Music, who was one of the letter’s co-signers. Fitch argues that the problem is not limited to Cleveland, nor is it even confined to living composers. There is a wide swath of “diverse and compelling” American repertoire, he says, that is seldom represented on orchestra programs, including pieces by William Schuman, Howard Hanson, Roy Harris, Walter Piston and even Charles Ives – “the music that has defined us as a culture.” The Cleveland Orchestra did not respond to invitations to participate in this segment, nor did it respond to the letter, which has been widely circulated on social media. Ed Harsh, the president and CEO of the advocacy organization New Music USA, notes that a number of orchestras are making an effort to program American works, including the Los Angeles Philharmonic, New York Philharmonic and Albany Symphony. The upcoming Spring for Music festival of American orchestras at Carnegie Hall is due to feature major works by Hanson and John Adams (WQXR will broadcast the six-concert festival live). "It’s by no means a blanket problem,” Harsh said. “But in some ways this is such an old, agonizing story.” In 2011, the League of American Orchestras, a national service organization, reported that just two out of the top 20 most-performed composers were American that year: Barber and Leonard Bernstein (at numbers 17 and 20, respectively). A ranking of the top 20 works performed did not bring up a single American piece. Harsh believes that living American composers should be essential to orchestras' community outreach and audience-building efforts; they can personalize and talk about the music in a way that long-dead composers can't. “It may seem expedient to become a museum of immutable masterpieces that everyone loves,” he said. “That’s long-term suicide.” To some extent, orchestras must persuade audiences to try unfamiliar music of whatever era or nationality, said Simon Woods, the executive director of the Seattle Symphony, in the second part of this podcast. Seattle has recently launched an in-house record label with an album of music by Ives, Gershwin and Elliott Carter. But Woods also believes there are no absolutes. "I start getting nervous when I hear discussions about whether there should be some kind of moral imperative to play American music," he added. "What's interesting about orchestras in this country is this huge diversity of repertoire that they play, and each one has a different personality." Listen to the full segment above and share your comments below: should orchestras program more American works? Why or why not?

Nadia Boulanger a formé 1200 élèves, jouant un rôle clé dans la musique du XXe siècle. Son rôle a été de transmettre et non pas de s'imposer comme artiste, cessant de composer très jeune, car estimant ne pas en avoir le talent, en comparaison notamment de sa soeur Lili Boulanger (1893-1918), morte à 25 ans de tuberculose. Nadia Boulanger a formé 1200 musiciens parmi lesquel de grands compositeurs ou interprètes du monde entier (et en particulier américains) comme Aaron Copland, Dinu Lipatti, Elliott Carter, Igor Markovitch, Daniel Barenboïm, Marius Constant, John Eliot Gardiner, Philip Glass, Astor Piazzolla, Yehudi Menuhin, Quincy Jones, Lalo Schifrin... La liste de ses amis dessine les traits d'une grande époque : Igor Stravinsky, Francis Poulenc, la princesse Marie-Blanche de Polignac (fille unique de Jeanne Lanvin), Leonard Bernstein... Voir aussi un film de Bruno Monsaingeon datant de 1977, un document extraordinaire disponible sur YouTube : http://www.youtube.com/watch?v=kW7GiX4-hPc … Ethel Brizard est chanteuse lyrique.

It is hard to overstate 30-year-old cellist Alisa Weilerstein’s musical achievements. In 2011, she was named a MacArthur fellow, aka “genius,” for her accomplishments as a musician and as an “advocate for contemporary music.” She is constantly in demand, performing, giving master classes, rehearsing, and recording with the world’s best orchestras. And she’s just released an album on Decca Classics—the first time the label has signed on a cellist in over 30 years. The CD, Elgar, Carter: Cello Concertos, features concertos by Edward Elgar and Elliott Carter along with Max Bruch’s Kol Nidrei and is conducted by Daniel Barenboim and performed with the Berlin Staatskapelle. The last few weeks have been particularly tumultuous for her, with the last-minute cancellation of her Carnegie Hall concert because of the danger posed by a crane dangling above the concert... See acast.com/privacy for privacy and opt-out information.

With Mark Lawson. In a rare interview, acclaimed director Michael Haneke talks about his most recent film, Amour, which won the Palme d'Or at this year's Cannes Festival. Haneke, whose previous films include Funny Games and The White Ribbon, discusses how he works with actors, and the films he has turned down. Chekhov's Uncle Vanya, 9 to 5 The Musical and Our Boys are just three of the many current stage productions featuring actresses and actors who have to cry on stage. Actors Laurence Fox, Mariah Gale and Natalie Casey discuss the art of acting tearfully, and Christian Burgess from the Guildhall School Of Music And Drama reveals how he teaches crying. Full English is a new animated TV comedy series aimed very much at adults, and broadcast late at night. Writer Stephen Armstrong joins Mark to consider adult animation past and present. The celebrated American composer Elliott Carter has died at the age of 103. In tribute, there's another chance to hear his thoughts on his education, and his views on contemporary music, from a Front Row interview recorded shortly before his 100th birthday. Producer Ella-mai Robey.

Episode 2: Interview with Elliott CARTER