Podcasts about english horn

Schreib mir gern dein Feedback!Dominik Wollenweber hat Oboe am Münchner Richard-Strauss-Konservatorium bei Simon Dent studiert. Von 1991-93 setzte er seine Ausbildung als Stipendiat der Orchesterakadmie der Berliner Philharmoniker fort. Seit 1993 ist er Solo-Englischhornist der Berliner Philharmoniker und 1996 war er Preisträger für Oboe beim ARD-Wettbewerb. Im Jahre 2000 erhielt er eine Gastprofessur für Oboe an der Hanns-Eisler-Musikhochschule in Berlin. 2022 kam sein erstes Album “The Art of English Horn” raus und wurde mit dem Opus Klassik für den besten Instrumentalisten prämiert.Instagram:@dominik.wollenweber@andyschreck_

Oboe and English Horn player extraordinaire talks his career as one of the most prominent double reed soloists in Hollywood and his many years playing for John Williams on such scores as Jurassic Park, Schindler's List, The Patriot, Memoirs of a Geisha and many others. For more information, go to https://thelegacyofjohnwilliams.com/2024/05/30/phil-ayling-podcast/

Karen Birch Blundell is a New York City based performer and teaching artist. She is English horn of the Northeastern Pennsylvania Philharmonic and the Associate Principal Oboe/English horn of the Eastern Music Festival. She performs with ensembles throughout the Northeast including; the American Symphony Orchestra, Albany Symphony, Hartford Symphony, New Jersey Festival Orchestra, Norwalk Symphony and Springfield Symphony Orchestra.​Prior to her time in NY, Karen was Second Oboe/English horn with the Sarasota Orchestra. While in Florida, she regularly performed with neighboring orchestras including the Florida Orchestra and the Naples Philharmonic. She has been a guest musician with The Houston Symphony, The Houston Ballet Orchestra and the Cincinnati Symphony Orchestra. Beyond the Classical realm, Karen has toured the US with the New Sousa Band and performed with mega stars including Bernadette Peters, Idina Menzel, Mannheim Steamroller and The Who.Karen holds a Bachelor of Music from Oberlin Conservatory where she studied with James Caldwell. She completed her Master of Music at the Hartt School of Music with Humbert Lucarelli. She also studied with Robert Atherholt, Alex Klein and John Mack. She also held a fellowship at the New World Symphony under the direction of Michael Tilson Thomas. To learn more about Karen, and follow her journey, visit the link https://www.karenbirchblundell.com/ Visit the Self-Care Institute at https://www.selfcareinstitute.com/ Support the showVisit www.creativepeacemeal.com to leave a review, fan voicemail, and more!Insta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire https://www.bonfire.com/store/creative-peacemeal/Redbubble CPPodcast.redbubble.comCreative Peacemeal READING list here Donate to AhHa!Broadway here! Donate Dachshund Rescue of Houston here Interested in the Self-Care Institute with Dr. Ami Kunimura? Click here Interested in Corrie Legge's content planner? Click here to order! Looking for custom orthotics? Foot and Shoe Solutions is your answer. Click here for more.

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Ned Rorem was an American composer and writer, and was hailed by some as the greatest art-song composer of his time. Writing over 500 songs, his music has been described as Neoromantic, leaning at times towards a more lyrical nature. Early musical influences upon Rorem were Margaret Bonds, Virgil Thomson, Aaron Copland and also Arthur Honegger. After a period of living in Paris where he associated with members of Les Six, as well as frequent trips to Morocco, Rorem eventually settled back in the USA for the rest of his life. He went on to win a Pulitzer Prize in 1976 for his orchestral work, Air Music.Rorem also wrote seventeen books, six of which were intimate diaries. These earned him a certain reputation from the 1960s onwards, particularly for his openness about his regular sexual encounters with men. During this period, Rorem also had issues with alcohol and drugs, but his life steadily settled when he entered into a long-term relationship with the composer and choral director James Holmes. They purchased a house together in Nantucket, and Rorem often relied upon Holmes for feedback concerning his own music. This week, Donald Macleod reflects on Ned Rorem's life and music, remembering his own encounter with the composer when he interviewed Rorem for this series in 2003. Music Featured:Early in the morning The Lordly Hudson Stopping by Woods on a Snowy Evening Dance Suite (excerpt) Piano Concerto No 2 (excerpt) Piano Sonata No 3 (excerpt) Sing My Soul Symphony No 2 (excerpt) For Poulenc Two Psalms and A Proverb (excerpt) Lions Love Divine, All Loves Excelling I will always love you Book of Hours Sky Music (Brisk and Smooth) Santa Fe Songs (excerpt) Praise the Lord, O My Soul Violin Concerto (excerpt) While all things were in quiet silence (Seven Motets for the Church Year) Breath on Me, Breath of God String Symphony (excerpt) Spring Music (Bagatelle) String Quartet No 4 (Still Life) More than a Day (excerpt) Evidence of things not seen (excerpt) Piano Album 1 (excerpts) Double Concerto for Violin and Cello (excerpt) United States: Seven Viewpoints for String Quartet (excerpt) Concerto for English Horn and Orchestra (Recurring Dream) Our Town (excerpt) For Six Friends Four Prayers From An Unknown PastPresented by Donald Macleod Produced by Luke Whitlock for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Ned Rorem (1923-2022) https://www.bbc.co.uk/programmes/m001slxs And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Synopsis“Spaghetti western” is a nickname given to a genre of Italian films from the 1960s, most famously directed by Sergio Leone, and often starring Clint Eastwood as the taciturn, gun-toting anti-hero.Spaghetti Western also is the title of a Concerto for English horn written by American composer Michael Daugherty that received its premiere performance on today's date in 1998 at a Pittsburgh Symphony concert conducted by Mariss Jansons.“Just as Leone's films redefined the Western genre from an Italian perspective,” writes Michael Daugherty, “I redefine the European concerto … within an American context. In my ‘Spaghetti Western,' the English horn soloist is the ‘Man with no Name,' moving through a series of sun-drenched panoramas, barren deserts, and desolate towns of the Wild West, … [one of ] the gun-slinging characters who haunt the landscape.”Daugherty gave Italian titles to his three-movement concerto: “Strade Vuote” (“Empty Streets”), “Assalto all'Oro” (“Gold Rush”) and “Mezzogiorno di Fuoco” (“Noon of Fire”). And since Eastwood was unable to play the English horn for the Pittsburgh Symphony premiere, Harold Smoliar removed the cigar from his parched, suntanned lips, adjusted his poncho and took up his English horn for the performance.Music Played in Today's ProgramMichael Daugherty (b. 1954) Spaghetti Western Harold Smoliar; University of Michigan Symphony; Kenneth Kiesler, cond. Equilibrium 63

Deeply expressive and melodic, the English horn boasts a unique texture in the woodwind family. In Elizabeth Masoudnia's aptly titled ENGLISH HORN EXPRESSIONS, the instrument has found itself in the spotlight, guided by Masoudnia's soothing tone, and lending a distinguished voice to the works of several composers. The vast lyrical range of the English horn shines throughout this album, emphasized by Masoudnia's adept artist skill set. Containing works inspired by paintings and poetry works written explicitly for Masoudnia, and more, the Philadelphia native's Navona Records debut carries a healthy balance of sentimentality and musical prowess.For more information about this performer, tracklist, to purchase, and much more, please visit:English Horn Expressions – Navona Records

In this episode we discuss the necessity (or not)of making 200 reeds, and Galit's new found love of the Jersey Shore! For our interview, we welcome Emily Brebach, who plays oboe and English Horn with the Atlanta Symphony Orchestra! This episode is brought to you by Barton Cane (www.bartoncane.com/), Ugly Duckling Oboes (uglyducklingoboes.com/), Chemical City Double Reeds (www.chemicalcityreeds.com/)and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

Ashley Ertz is an oboist and arts administrator in the Chicago metropolitan area. Ertz is the Artistic Director and Founder of 5th Wave Collective and the Program Manager with the International Music Foundation. She also recently won the position of English Horn with the Peoria Symphony Orchestra and is on the Board of Directors for the Musicians Club of Women in addition to a healthy freelance career.   In March of 2018 Ashley saw a lack of performance space for womxn composers and thus started 5th Wave Collective, a Chicago based ensemble dedicated to the performance and promotion of music by womxn and gender non-conforming composers. They are now finishing off their fourth season with Ertz as Artistic Director, having had over 200 musicians perform with them and presenting over 100 womxn and gender non-conforming composers.    This is so sorely needed. In the orchestral world our attempts to feature female composers look like a tone poem here, a concerto there - but rarely a symphony, never a full concert.  Big orchestras are stuck playing the classics that they assume the audience wants, and they don't have the time or the social capital to research and program a wider diversity of works. Or so they would have you believe. But Ashley's research and advocacy are pointing the way forward. Look at her website, where HUNDREDS of works by women  are documented. Look at the performances she's created. She's not stopping. Nor should she. I know you will love hearing from this brilliant and energetic woman.  Find out more at the 5th Wave Collective website, instagram, and facebook, and follow Ashley herself on instagram!  Thinking of trying FONS to streamline scheduling and payment for your music studio? Click HERE for my affiliate link and a free two week trial!  Theme music by DreamVance. You can join my email list HERE, so you never miss an episode!  Or you could hop on a short call with me to brainstorm your next plan.  I'm your host, Jennet Ingle. I love you all. Stay safe out there  

The guys chat with DSO Oboe and English Horn player Monica Fasnaugh about running marathons and exactly what the heck an english horn is. Originally aired on facebook June 2020.

Looking for a last minute stocking stuffer? Cally Banham, solo English Horn for the Saint Louis Symphony, has released a new album of Christmas favorites in wonderful arrangements featuring a variety of styles – from Tango to Jazz. Joining Cally are the Adam Maness Trio, the Trombones of the Saint Louis Symphony and her group Cortango (pictured).

Wagner's revolutionary masterpiece, often considered the most Romantic opera ever written, returns to Seattle Opera in October 2022. Seattle Opera Dramaturg Jonathan Dean introduces Tristan und Isolde, with musical examples from Seattle Opera's 1998 (starring Jane Eaglen, Ben Heppner, and Michelle DeYoung, conducted by Armin Jordan) and 2010 (conducted by Asher Fisch, with Simeon Esper as the Shepherd and the English Horn solo played by Stefan Farkas) productions, plus 2011 Die Zauberflöte  (conducted by Gary Thor Wedow and starring Philip Cutlip).

Synopsis “English Horn” is an odd name for an instrument – for starters, it's not English and it's not a brass instrument like the French horn. The English horn is, in fact, a double reed instrument, a lower-voiced cousin of the oboe. The “English” part of its name is probably a corruption of “angle,” since it has a bend to its shape. Until late in the 20th century its primary role was to add a darker tone color to the reed section of the orchestra, and performers who played the English horn had precious few solo concertos written to showcase their dusky-voiced instrument. One performer, Thomas Stacy, decided to do something about that. He's commissioned and premiered dozens of new works for his instrument. One of them – a concerto by the American composer Ned Rorem – Stacy premiered on today's date in 1994 with the New York Philharmonic. Ned Rorem is perhaps best-known as a composer of art songs, but has also composed successful orchestral and chamber works. “My sole aim in writing the Concerto for English horn,” said Rorem, “was to exploit that instrument's special luster and pliability... to make the sound gleam through a wash of brass and silver, catgut and steel.” Music Played in Today's Program Ned Rorem (b. 1923) — Concerto for English Horn and Orchestra (Thomas Stacy, eh; Rochester Philharmonic; Michael Palmer, cond.) New World 80489

Mozart, Odermatt: Oboe Concerto in F Major (After K. 293) - I. Allegro Mozart: Ave verum corpus, K. 618 (Arr. Spindler for English Horn, Strings and Organ) Mozart: Flute and Harp Concerto, K. 299/297c - I. Allegro (Arr. Spindler for Oboe, Harpsichord and Orchestra) Mozart: Flute and Harp Concerto, K. 299 - II. Andantino (Arr. Spindler for Oboe, Harpsichord and Orchestra) Mozart: Flute and Harp Concerto, K. 299/297c - III. Rondeau. Allegro (Arr. Spindler for Oboe, Harpsichord and Orchestra) Mozart: Ah se in ciel, benigne stelle, K. 538 (Adapt. for Oboe and Orchestra) Mozart: Rondo in C Major, K. 373 (Adapt. for Oboe and Orchestra) Mozart: Ch'io mi scordi di te?, K. 505 - II. Non temer, amato bene (Arr. Spindler for Oboe d'amore, Pianoforte and Orchestra) Mozart: Exsultate, jubilate, K. 165/158a - I. Allegro (Arr. Spindler for Oboe d'amore, Orchestra and Organ) Mozart: Exsultate, jubilate, K. 165/158a - II. Andante (Arr. Spindler for Oboe d'amore, Orchestra and Organ) Mozart: Exsultate, jubilate, K. 165/158a - III. Allegro (Arr. Spindler for Oboe d'amore, Orchestra and Organ) Mozart: Die Zauberflöte, K. 620 - Ach, ich fühl's, es ist verschwunden (Arr. Spindler for Oboe and Piano) Mozart: Die Entführung aus dem Serail, K. 384 - Martern aller Arten (Arr. Spindler for Oboe and Piano) Mozart: Die Zauberflöte, K. 620 - Dies Bildnis ist bezaubernd schön (Arr. Spindler for Oboe and Piano) Mozart: Die Zauberflöte, K. 620 - Der Hölle Rache kocht in meinem Herzen (Arr. Spindler for Oboe and Piano) Mozart: Davidde Penitente, K. 469 - Lungi le cure ingrate (Arr. Spindler for Oboe d'amore and Piano) Mozart: Gran Adagio (Arr. Spindler for Oboe, Violin, Cello and Orchestra After Adagio from Gran Partita, K. 361/370a) Purchase the music (without talk) at:Mozart: Works for Oboe and Orchestra (classicalsavings.com)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 Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Do you consider yourself to be a part of the world around you? Or do you feel that you are separate from in this world? Our lacking mind can make us feel that we are not connected to and a part of the universe around us. The truth is that we humans and all living things are a part of the great wholeness of creation. We are one with all things. We belong here just as the river, the tree and the mountain belong here in this paradise that we call home. Website: BombayRain.net. Email: sitarnickyoung@gmail.com. Album: Move Into Bliss by BombayRain

This is a live, guided meditation that I performed with Oshri Hakak at a retreat in Zion National Park in Utah. This instruments include sitar, bamboo flute, English horn and other flutes. Contact Nick Young: sitarnickyoung@gmail.com. Website: BombayRain.net. 

Six Studies in English Folk-Song by Ralph Vaughan WilliamsI Adagio, "Lovely on the Water" II Andante sostenuto, "Spurn Point"III Larghetto, "Van Diemen's Land"IV Lento, "She Borrowed Some of her Mother's Gold"V Andante tranquillo, "The Lady and the Dragoon"VI Allegro vivace, "As I walked over London Bridge" When Ralph Vaughan Williams (1872-1958) was a music student in London he became fascinated with rural English traditional songs, which then existed only in oral tradition and were gradually being forgotten. He visited rural churches and musicians, learned their songs by ear, wrote them out in music notation, and enlisted other musicians to help him save the music from extinction. He wrote this piece in 1926 for cello and piano, and later transcribed it for many other solo instruments, noting that his aim was that the songs be “treated with love.”"Lovely on the Water"  is a dialogue of a sailor with his love, before he is sent off to war. "Spurn Point" is a dangerous spit at the entrance to the Humber estuary from the North Sea, where a vessel stranded and its captain refused help from the life station there, sinking on the next tide and losing all aboard."Van Diemen's Land" is a cautionary lament of poachers who have been transported to a penal colony on Tasmania.The complete words for "She Borrowed Some of her Mother's Gold" have not been recovered, but the story does seem to have ended badly for her."The Lady and the Dragoon"  tells of a poor but valiant soldier who marries above his station yet earns his honor by rescuing his new father-in-law from the king's soldiers."As I walked over London Bridge" is the overheard tale of a pretty maid whose lover, though of royal blood, is to be hanged with a golden chain for having stolen and sold sixteen of the King's deer.

We welcome Logan Esterling as our guest on Episode 15 of REED TALK! Logan Esterling is the founder and reed maker of Reedesign. He lives in Seattle, WA and plays oboe and English Horn in Symphony Tacoma and the Yakima Symphony. Logan unpacks the story behind Reedesign and describes the company’s approach to data-driven reed making. Music excerpts: Três Peças Atlânticas: Chorinho baiano by Eurico Carrapatoso, performed by Courtney Miller; Sonata in D Major, Op. 166, II. ad libitum by Saint-Saëns performed by Logan Esterling and Le Prudent from Cinquième Suitte by Jean-François Boüin, performed by Margaret Marco. Reed Talk is produced by Jason Slote. Listen where you listen or at https://www.spreaker.com/show/reed-talk

On this weeks podcast Hilary and James R sit down to talk about everything brass! What makes an instrument a member of the brass family? Whats an embouchure? Does Hilary even know what an English Horn is? All this and more!

Beethoven und Yoga? Yoga und Beethoven! Volker Kriegsmann (Oboe und Englisch Horn) erzählt Martin Wandel, wie Beethoven und seine Musik seine Yoga-Arbeit inspiriert und bereichert.

Jake Gunnar Walsh is a composer, performer, and educator from Chepachet, Rhode Island. A recent graduate of Indiana University Jacobs School of Music, he earned a double Masters Degree in Oboe Performance and Music Composition studying oboe with Linda Strommen and Roger Roe, and composition with Claude Baker and David Dzubay. Jake graduated from Ithaca College in 2015 with a double B.M. degree in Oboe Performance and Music Composition, studying oboe with Paige Morgan, and composition with Dana Wilson and Jorge Villavicencio Grossmann. Jake is passionate about premiering and commissioning new works for the Oboe and English Horn, and specializes in the performance of contemporary music. Equally dedicated to the art of music education, Jake has taught as an Associate Instructor for the Department of Music Theory at Indiana University, led a series of masterclasses on Oboe Extended Technique and Contemporary Performance Practice, and has taught private oboe and composition extensively. Jacob has been on faculty teaching Music Composition and Music Theory at the Ithaca College Summer Music Academy since 2016, and has been the Composer in Residence at the Luzerne Music Center since 2019. Jake is currently serving as Assistant Professor of Oboe at Ithaca College and teaches as a Part Time Lecturer for the Department of Music Theory, History, and Composition. I (Shaun) sat down with Jake to talk to him about his top 10 songs. I also asked him to name contemporary composers as drinks of alcohol. To listen to his picks, here is a Spotify Playlist and two YouTube Links: https://open.spotify.com/playlist/3ROPZjf2PVGBEENV3ogX3s https://youtu.be/8vcOvPnl7wE https://youtu.be/SKVixOWiwzM --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/musicspeaks-podcast/support

“Spaghetti Western” is a nickname given a genre of Italian films from the 1960s, most famously directed by Sergio Leone, and often starring Clint Eastwood as the taciturn, gun-toting anti-hero. “Spaghetti Western” is also the title of a Concerto for English horn written by the American composer Michael Daugherty that received its premiere performance on today’s date in 1998 at a Pittsburgh Symphony concert conducted by Mariss Jansons. “Just as Leone’s films redefined the Western genre from an Italian perspective,” writes Michael Daugherty, “I redefine the European concerto … within an American context. In my ‘Spaghetti Western,’ the English horn soloist is the ‘Man with no Name,’ moving through a series of sun-drenched panoramas, barren deserts, and desolate towns of the Wild West, … [one of ] the gun-slinging characters who haunt the landscape.” Daugherty gave ITALIAN titles to his three-movement concerto: “Strade Vuote” (Empty Streets), “Assalto all’oro” (Gold Rush), and “Mezzogiorno di fuoco” (Noon of Fire). And since Clint Eastwood was unable to play the English horn for the Pittsburgh Symphony premiere, Harold Smoliar removed the cigar from his parched, suntanned lips, adjusted his poncho, and took up his English horn for the performance.

“Spaghetti Western” is a nickname given a genre of Italian films from the 1960s, most famously directed by Sergio Leone, and often starring Clint Eastwood as the taciturn, gun-toting anti-hero. “Spaghetti Western” is also the title of a Concerto for English horn written by the American composer Michael Daugherty that received its premiere performance on today’s date in 1998 at a Pittsburgh Symphony concert conducted by Mariss Jansons. “Just as Leone’s films redefined the Western genre from an Italian perspective,” writes Michael Daugherty, “I redefine the European concerto … within an American context. In my ‘Spaghetti Western,’ the English horn soloist is the ‘Man with no Name,’ moving through a series of sun-drenched panoramas, barren deserts, and desolate towns of the Wild West, … [one of ] the gun-slinging characters who haunt the landscape.” Daugherty gave ITALIAN titles to his three-movement concerto: “Strade Vuote” (Empty Streets), “Assalto all’oro” (Gold Rush), and “Mezzogiorno di fuoco” (Noon of Fire). And since Clint Eastwood was unable to play the English horn for the Pittsburgh Symphony premiere, Harold Smoliar removed the cigar from his parched, suntanned lips, adjusted his poncho, and took up his English horn for the performance.

This is a podcast episode on a mission to create joy! Oshri Hakak and I have a challenge for y'all to create a #joyfoil creature in your home and place it somewhere in your neighborhood for people to enjoy. Oshri has been on the podcast before. He is an English Horn player, as well as the author of the children's book "Draw-Wings" (available many places including here: https://www.amazon.com/Draw-Wings-Oshri-Hakak-ebook/dp/B088QM3KWC), the creator of NaamNom vegan carob bars (https://www.naamnom.com/), and now... an installation artist all over Los Angeles, CA. Let us know you've done it by using the hashtag #joyfoil------------------------ABOUT YOUR HOST:Porter Singer (aka as "Sirgun Kaur") is a spiritually-inclined music-maker and personal coach. Her life experiences have taught her that every person has the capacity to be their own greatest teacher. Both her music and her teachings are designed to assist humanity in a gradual shedding of resistance, and an eventual discovery of ease and receptivity—where the joy is! For more info on coaching or events, email info@sirgunkaur.com or visit https://portersinger.com

JT and Matt speak with Ryan Roberts, English Horn and Oboe, New York Philharmonic

Prélude et Valse lente (1886)                                Marie de Grandval (1828-1907)Marie, Vicomptesse de Grandval, was an accomplished French composer, and a generous supporter of other composers. To avoid scandalizing her titled family she published mostly under pseudonyms and little of her work is now available. She dedicated this Prélude and Slow Waltz to her friend Georges Gillet of the Paris Opera, who was especially renowned for his beautiful tone and expressive playing on the cor Anglais. Grandval's gratitude to her teacher Chopin is made clear when a Mazurka, not a trio, pops up in the middle of her waltz. This modern edition is by Bruce Gbur for Prairie Dawg Press. Variations on a Theme of Joseph Haydn (1968)         Hendrik Andriessen (1892-1981) Hendrik Andriessen was a prominent Dutch composer and organist. His family populated the Netherlands with excellent composers and musicians throughout the 20th century. This piece for cor Anglais and piano is based on a clever, syncopated theme from the trio of  Haydn's Piano Sonata #26. It retains Haydn's genial spirit while transforming the theme with rhythms and harmonies of his own time. The cartoon is by Gerard Hoffnung.

This week, Ariana (virtually) sits down with her friend Mayu Isom. Mayu plays oboe in the Houston Grand Opera and Ballet Orchestras. Finally, a non-string player! She loves to cook and bake - when she's not making reeds of course. We'll hear about her adorable cat Gnocchi, her new herb garden, recent baking projects, and what she's been listening to these days. If you're lucky, you might even get to hear the dulcet tones of an English Horn... Here's where you can find Mayu @lanamayu_ and her cat Gnocchi @gnocchi_the_tortie on Instagram. Check out her website mayuisom.wixsite.com/oboe Thanks for listening! Hit that subscribe button and please rate, review, and share with your friends :) New episodes uploaded every Friday. Contact me with comments/suggestions via my website www.ariananelson.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/ariana-nelson/support

Marilyn Coyne answers Five Little Questions.

Ryan's website - www.ryanrobertsoboe.comRyan's Instagram - www.instagram.com/ryanjrobertsNoted for his “beautiful”, “eloquent” and “exquisite” playing by the New York Times, Ryan Roberts is the newly appointed English horn/Oboe of the New York Philharmonic. Ryan has performed with many of the country's leading orchestras, including the Chicago Symphony, the Philadelphia Orchestra, the San Francisco Symphony, the Metropolitan Opera Orchestra, and the Ft. Worth Symphony. An award-winning oboist, Ryan received first prize at the International Double Reed Society's 2018 Young Artist Competition and the National Society of Arts and Letters' 2018 Woodwind Competition. Before joining the Philharmonic, Ryan spent one season as a member of the New World Symphony under the direction of Michael Tilson-Thomas. Ryan recently premiered Michael Torke’s Oboe Concertino with the Albany Symphony and recorded the work for Albany Records. An avid chamber musician, Ryan performs at the Marlboro Music Festival during the summer under artistic directors Mitsuko Uchida and Jonathan Biss; he has also collaborated in recitals with the Pacifica Quartet and Emanuel Ax.As a Kovner Fellow graduate of The Juilliard school, Ryan studied with Elaine Douvas and appeared frequently as principal oboist of the Juilliard Orchestra. Ryan has been a member of the New York String Orchestra Seminar and spent three summers as the oboe fellow at the Aspen Music Festival. In 2016, Ryan was featured as a recital soloist aboard the Crystal “Symphony" cruise line touring Portugal, Spain, France and England.Ryan has studied piano since age 5 and made his concerto debut at age 11. When he isn’t busy making reeds, Ryan enjoys practicing piano and running with his retired racing Whippet named Malley.Support the show (https://thatsnotspit.com/support/)

Music Played:1) Marti Epstein, Hypnagogia. The Ludovico Ensemble. Released 2015. Available on Apple Music or wherever you purchase/listen to music.2) Marti Epstein, Bloom (Concerto for English Horn and Wind Ensemble) [Live]. The Boston Conservatory Wind Ensemble featuring Robert Sheena. Released 2009. Available on Apple Music or wherever you purchase/listen to music.*Please purchase this music if you are able*Find Marti at www.MartiEpstein.com.Find They Do Exist! at www.TheyDoExistPodcast.com.Follow us on Social Media, we are TheyDoExistPod on Instagram and Twitter and They Do Exist! on Facebook.Thanks for listening!- Emilia

Episode 05 Show Notes 0:00 - Intro Thanks for listening!  We’ve enjoyed your feedback and would welcome more! 1:18 - Introducing a New Format Our typical format is to:  Define a musical term Make listening recommendations based on that term Answer a question from a listener Every 5th episode, we’ll take a slightly deeper dive into just one piece of music This could be an album, a musical, the score of a film, etc. Today’s piece is a symphony Our goal is to give you a few things to listen for in each movement of this symphony focusing on principles from our first four episodes: Melody Harmony Rhythm & Meter Timbre 2:37 - Introducing Dvorak’s 9th Symphony: From the New World Written by Antonin Dvorak (1841-1904), a Bohemian (Czech) orchestral composer Premiered by the New York Philharmonic in 1893 Dvorak traveled to America to be the director of the National Conservatory of Music in New York Wrote some of his most famous works while in the states (American String Quartet, his cello concerto, and this symphony) Dvorak opened the conservatory to African American students Dvorak believed that composers interested in capturing the American sound should study the music of Native Americans and African Americans Not very many people agreed with him at the time Dvorak wrote original themes inspired by Native American and African American traditions, not exact replications of themes from these cultures With the exception of Swing Low, Sweet Chariot Garrett compares Dvorak’s goal to the Foo Fighters’ concept behind their album/documentary “Sonic Highways” 7:31 - What is a symphony? A multi-movement work for the symphony orchestra Movements are sort of like small pieces of music that make up a bigger piece of music Garrett asks if movements are like chewing bites of a cake instead of shoving an entire cake into your mouth Amanda responds that it’s more like four cupcakes decorated slightly differently but all part of the same batch or set Garrett compares movements to chapters in a book Amanda compares them to books in a series of books because movements are usually pretty complete unto themselves Symphonies typically have 3 movements (early classical) or 4 movements (standard in the Romantic period), and they have a typical order: Fast Slow Dance Fast A note about when to applaud: If the work has multiple movements, try to follow along with the order of them and wait until the end of the last movement to clap If nothing else, wait until the conductor puts his arms all the way down and keeps them down… that’s usually the big ending! People used to clap whenever they wanted, but now we’re snobs about it 12:08 - Movement I. “Adagio - Allegro molto" Melody: Three important themes: A bold, fanfare-like theme (with a statement and a response) that is often played in the brass A minor melody with a simple accompaniment that is first played in the flute We’re not sure why, but Dvorak pointed to this theme as being influenced by indigenous music traditions. He may have thought the minor mode made it sound indigenous A theme that seems to be a pretty direct quotation and development of “Swing Low, Sweet Chariot” (an important African American spiritual) Rhythm: the 1st and 3rd theme have very similar rhythms… almost identical! Sidenote: Dvorak will introduce great themes during each movement of the piece, but he’ll also bring back previous movements’ themes (especially the opening theme and the Swing Low theme) Perhaps a drinking game could be played???  (Please drink responsibly.) One word description of Movement I: Amanda: Exploration Garrett: Outset 17:49 - Movement II. “Largo” The most famous movement from this piece Melody: Several years after it was written and premiered, a student of Dvorak, William Arms Fisher, added lyrics to the theme from this movement (“Goin’ Home”) Timbre: The Goin’ Home theme was originally written for clarinet! Dvorak changed it to English Horn because he thought it better matched the vocal timbre of Harry T. Burleigh, the student who exposed Dvorak to many African spirituals Amanda also points out that the timpani notes in this movement are another great timbre Harmony: A passage of big, open chords played by the brass section multiple times throughout this movement Michael Beckerman called this the “Once Upon a Time” figure One word description: Garrett: Nostalgia Dvorak was very homesick while in America Amanda: Yearning 24:32 - Movement III. "Scherzo. Molto Vivace" Rhythm & Meter: The meter is very obvious in this movement, and this is the only movement in triple meter (3 beats per measure) Melody: 3 more great melodies introduced in this movement Sidenote: The opening of this scherzo matches the opening of Beethoven’s 9th symphony’s scherzo!  They sound musically very similar. Dvorak did likely did this on purpose as a nod to Beethoven Even Sider Note: Amanda got the movement number wrong in the episode (womp, womp).  Beethoven mixes things up, so his scherzo is Movement II, not Movement III.  Idea still applies though! One word description: Garrett: Chase Amanda: Tension 28:26 - Movement IV. "Allegro con fuoco” Melody: One last big, bold theme Dominates the movement and later signals the end of the piece Melody: Garrett feels that this movement is a battle of all the themes!  See his list of theme battles below! Harmony/Timbre: The last chord of the piece Unique because the entire orchestra hits a chord together, but suddenly everyone cuts out and only the very soft woodwind section sustains Sidenote: The opening of this movement is… Jaws! John Williams borrowed this figure for his shark movie soundtrack On a case by case basis, as long as you properly attribute the material you’ve borrowed, most people in classical music don’t care about this type of borrowing... Just don’t try to pass anything off as your own work if it’s isn’t actually your own work! If Dvorak were alive at the time of Jaws, maybe he’d have wanted a writer’s credit? “You’re only as good as who you steal from.” - A tongue in cheek quote from a professor Garrett and Amanda both know One word descriptions: Garrett: Argument Amanda: Territorial Bonus: Garrett makes a claim for “Three Blind Mice” as another quotation Amanda believes this is purely coincidence 35:40 - How to Enjoy a Symphony (35:53) If you sit down at a concert and see a symphony on the program that comes from 1815 on, get ready for a long ride During the romantic period, symphonies were expanded and got longer and longer Dvorak's 9th symphony is around 42 minutes long! Amanda says that if people will go to a movie theater to watch three hours of Avengers, then they definitely have the capacity to enjoy 40 minutes of great music Garrett says it’s one crime show episode Amanda says it’s three Spongebobs (37:42) Expect thematic development! When you hear a melody, try to hold onto it because it will likely come back again Expect the composer to transform and expand on the themes you hear (38:29) Don’t expect to stay completely engaged and focused for 40 minutes straight Amanda points out that not even the members of the orchestra are fully, completely focused for the entire length of the piece Tuba player is a great example because that person only plays the 2nd movement (and plays less than 20 notes) Dvorak wrote highs and lows, so it’s okay to let your attention ebb and flow a little bit Garrett compares some parts to background info/setting in a novel Amanda compares it to description in a novel It’s all important, but it doesn’t all require the same level of engagement If someone falls asleep, only wake them up if they start snoring Even trained pros want to be whisked away by the music This is musical storytelling!  Let it take you where it wants to go (41:20) Expect repetition Composers have to walk a fine line between variety and repetition Repetition can ground you, but too much can bore you Variety is the spice of life, but too much spice ruins dinner There are two types of repetition: exact and non exact Exact repetition:  “This piece of music worked once… it’ll work again!” Tension and release (repetition can add to either) The composer is saying, “I want you to remember this.” Non-exact repetition: A timbral change: maybe the same melodies and harmonies but played by different instruments or different groups of instrument Accompaniment changes: Rhythms used might change, additional parts might come in If you hear the same melody, something might have changed elsewhere in the orchestra Ask yourself if it's different and try to figure out what changed (44:10) Nothing beats seeing a symphony live Amanda: the best sound system in the world can’t compete with the weakest concert hall Amanda: I can’t appreciate the difference between 20 vs 50 vs 100 in an orchestra on youtube If the music isn’t thrilling you too much at home, it may be that you need to go see it live Think of it as not just the music but the entire experience Experience it in the right context A comparison to movies You wouldn’t judge a movie based off the one time you saw it using a portable DVD player and broken earbuds during a car ride If you’ve heard someone say, “Oh, that’s a movie you have to see in theaters,” that’s how Amanda feels about symphonies Garrett points out that Twister goes from epic to cheesy real fast when you watch it at home instead of in theaters There’s music that’s meant to be in the studio and is hard to replicate live, but the symphony is the opposite. Witness the team effort! If it’s an educational group, remember that they’re still acquiring the skills they need in order to become the pros If you’re under 80, people will be so excited to see you at a symphony concert! (47:33) You can enjoy this! The music still has value It’s up to the musicians and people involved to show you the value Once you see it, there’s nothing stopping you from enjoying this music Don’t worry that other people are understanding the music more than you are You know a lot about the music you love, and you can appreciate cool experiences!  Seek them out! Garrett advises you to ask us about concert etiquette and to seek out casual concerts More and more pro orchestras are putting on less formal concerts 49:04 - Sign Off A reminder that we’ll keep this format reserved for every 5th episode Feel free to recommend a piece you’d like us to dive into Leave us a review if you’d like! Shoot any questions towards our social media or gmail Share the podcast with a friend!  We bet you know someone who loves music and would like to know a little more about it. Help make Garrett famous.   Spotify Playlist Special thanks to OpenMusicRevolution.com for our intro and outro music and to the guys at Better Podcasting for being such great guides to us.  Special thanks to you, our listeners, too! Visit our Website! Follow us on social media! Instagram: @uptoyourearspodcast  Twitter @uptoyourears  Email us! uptoyourearspodcast@gmail.com Additional Resources: James, Jonathan.  “Dvorak Symphony No 9 - From The New World: Inside the Music”. YouTube video, 3:35. Posted October 2016. https://youtu.be/rjeskgwj78s. Roitstein, Andrew, and Nichole Veach. “Antonin Dvorak's New World Symphony: In Search of an American Voice.” Antonin Dvorak's New World Symphony: In Search of an American Voice. New York, NY: New York Philharmonic, 2017. https://nyphil.org/~/media/pdfs/education/1617/curriculum-guide-mshs-final.pdf?la=en Supka, Ondrej. “Symphony No. 9 ‘from the New World.’” Antonin Dvorak. Accessed November 1, 2019. http://www.antonin-dvorak.cz/en/symphony9. Weilerstein, Joshua. “Sticky Notes: The Classical Music Podcast.” Season 4 Premiere - Dvorak Symphony No. 9 "From the New World", Joshua Weilerstein, 30 Aug. 2018, http://stickynotespodcast.libsyn.com/podcast/season-4-premiere-dvorak-symphony-no-9-from-the-new-world

Oshri Hakak plays English Horn for Guru Singh's yoga classes at Yoga West in Los Angeles. He has been part of my band on numerous occasions. In the beginning, I tell the story of meeting him at my uncle's funeral. And he tells the story of meeting Guru Singh at a corporate Christmas part! Oshri's carob bar company is called "NaamNom": http://naamnom.com/To connect with Sirgun Kaur: https://sirgunkaur.com/

Looking for a last minute stocking stuffer? Cally Banham, solo English Horn for the Saint Louis Symphony, has released a new album of Christmas favorites in wonderful arrangements featuring a variety of styles – from Tango to Jazz. Joining Cally are the Adam Maness Trio, the Trombones of the Saint Louis Symphony and her group Cortango (pictured).

Looking for a last minute stocking stuffer? Cally Banham, solo English Horn for the Saint Louis Symphony, has released a new album of Christmas favorites in wonderful arrangements featuring a variety of styles – from Tango to Jazz. Joining Cally are the Adam Maness Trio, the Trombones of the Saint Louis Symphony and her group Cortango (pictured).

In this week’s episode we discuss a vinyl-only bonus track “Going Home,” Hebrew "R" sound pronunciation, and Dvorak's "From The New World" symphony. Also included is a seldom-heard English Horn imitation by our arranger/producer Oded Lev-Ari. 

Lana Lee spent 15 years as a civil and structural engineer, before switching careers and, shortly thereafter, becoming a community manager. On this episode of the show, we discuss what drove that change and the similarities between the two roles. Plus: What Lana did when she was worried that some teams wouldn’t take the company community seriously The community bootcamp program she’s working on Why Facebook might be the greatest use case for pre-moderation I have ever seen Our Podcast is Made Possible By… If you enjoy our show, please know that it’s only possible with the generous support of our sponsor: Higher Logic. Big Quotes “Engineers have to be organized and also have to think two steps ahead. When I was putting together our community, I had to think, ‘What kind of problems would this person have in the future? How can this document be misunderstood? Are there any loopholes?'” -@lanalyzer314 “I think of Facebook like a toy. Most people are there for social things or just to kill time whereas if you were in the Zuora community or some [other] community, you’re in a different mindset.” -@lanalyzer314 About Lana Lee Lana Lee graduated from UC Berkeley in civil engineering and then went to USC where she got a music degree in oboe performance and masters in civil engineering. For 15 years, Lana worked as a civil and structural engineer in the mining and gas industry, but in 2012, she wanted to do something different. She went back to school to earn a certificate in internet development and became a freelance web designer, creating websites for musicians. Freelance was great, but she missed being a part of a larger organization, so she added social media manager and community specialist to her job queue! Currently, Lana is the the Zuora community manager, but she still loves building communities through Meetup and Facebook, playing oboe and English Horn around the Bay Area and volunteering her web and social media skills for non-profits like Mensa, the Jenny Lin Foundation, the Contra Costa Orchestra and Life.Church Online. Related Links Sponsor: Higher Logic, the community platform for community managers Blips on a Blog, Lana’s blog Zuora, a software company focused on businesses with a subscription business model, where Lana is community manager Mensa, the Jenny Lin Foundation, the Contra Costa Orchestra, and Life Church Online, four organizations to which Lana volunteers her web and social media skills Lana on LinkedIn Zuora Community “Zuora Community News | January 2018,” a community announcement where Lana mentioned the community bootcamp program that she is working on Life.Church Online, which has an active Facebook group where Lana is a volunteer administrator Lithium, producer of the community platform that powers the Zuora Community Woodwind Web Design, Lana’s freelance work in web design for musicians Lana on Twitter Transcript View transcript on our website Your Thoughts If you have any thoughts on this episode that you’d like to share, please leave me a comment, send me an email or a tweet. If you enjoy the show, we would be so grateful if you spread the word and supported Community Signal on Patreon.

@ Richmond Barracks gymnasium, Inchicore, Dublin 8. 7pm Thurs 27 July ‘[I was] astonished by the brilliance of that eye and that had looked at the fields of Meath and seen there all the simple birds and flowers, with a vividness which made those pages like a magnifying glass, through which one looked at familiar things for the first time.' So wrote Lord Dunsany, patron of the poet, Francis Ledwidge. How had this self-educated labourer, the eighth of nine children, who left school at 13, emerged as one of Ireland's most notable war poets? What were the contradictions in the life of this trade unionist, Gaelic Leaguer and Irish Volunteer, who ended up joining the Royal Enniskilling Fusiliers and dying in the Third Battle of Ypres on 31 July 1917. To discuss these and related matters History Ireland editor, Tommy Graham, was joined for a lively round table discussion with Michael O'Flanagan, Eunan O'Halpin, Miriam O'Gara-Kilmurray, and Liam O'Meara. Three of Ledwidge's poems set to music were performed by Mezzo soprano Miram O'Gara-Kilmurry, accompanied by Irish composer and pianist Michael Holohan and Rebecca Draisey-Collishaw on the cor anglais (English Horn). Supported by the Department of Arts, Heritage, Regional, Rural and Gaeltacht Affairs

Lauren revels in her music being in RvB 14! Jonathan revels in Game of Thrones and Jack gives us the Civil War breakdown! Captain America: Civil War Spoilers start at 31:29 and Game of Thrones Episode 3 Spoilers start at 48:05!

Marie speaks with her colleagues, specialists of historical performance, about their original wind instruments. They tell the stories of their favorite instruments - where and how they got them, and what they had to do to play it again today! German oboist, Peter Wuttke, talks about the English Horn by Carl Theodor Golde that was played in the orchestra in Weimar that Liszt was conducting. He tells us about how he used this instrument for a recording of the Liszt Dante Symphony. Italian clarinetist, Luigi Magistrelli, tells us the incredible story of his set of clarinets that he acquired from the legendary player, Dieter Klöcker, just before his death. We hear all about these instruments, their history, and Luigi's personal experience of playing them and recording his CD of Brahms chamber music with them. Argentinian historical trumpet player, Alejandro Sandler, chats with us about his cornet by Thibouville-Lamy which was owned by a student of Jean-Baptiste Arban. He plays the Carnival of Venice on this cornet and on the modern trumpet so you can hear the difference!

В этом выпуске : ВЛАДИСЛАВ ГЛЕБОВИЧ знакомит Вас с действительно редчайшей записью - единственным альбомом американской группы "ALBATROSS" выпущенном ограниченным тиражом (1000 экземпляров) в 1976-м году...... И. Черидник познакомит Вас с итальянской группой "Not A Good Sign" и её последним по дате выпуска альбомом "FROM A DISTANCE". Studio Album, released in 28.02.2015. 1. Wait for Me (5:05) 2. Going Down (4:19) 3. Flying Over Cities (4:59) 4. Not Now (5:07) 5. Aru hi no Yoru Deshita (3:41) 6. Pleasure of Drowning (5:52) 7. I Feel Like Snowing (7:20) 8. Open Window (7:22) 9. The Diary I Never Wrote (5:32) 10. Farewell (1:50) Total Time 51:07 Line-up / Musicians - Paolo Ske Botta (Yugen, Ske) / Keyboards - Alessio Calandriello (La Coscienza di Zeno) / Vocals - Alessandro Cassani / Bass - Francesco Zago (Yugen, Ske) / Guitars - Martino Malacrida / Drums With: - Jacopo Costa (Yugen) / Vibraphone, Glockenspiel - Eleonara Grampa / Oboe, English Horn - Maurizio Fasoli (Yugen) / Grand Piano - Gian Marco Trevisan / Electric guitar Not A Good Sign / From A Distance (2015) Последним днем февраля сего года датирован и выход второго альбома итальянской "супер-группы" NOT A GOOD SIGN, который называется "From A Distance". NOT A GOOD SIGN - в известном смысле "продюсерский проект". Задуман он был в 2011 году основателем и руководителем лейбла Marcello Marinone совместно с его партнером, гитаристом Francesco Zago (группа YUGEN) и клавишником Paolo Botta (YUGEN и SKE). Вокалистом был приглашен Alessio Calandriello, бас-гитаристом - Gabriele G. Colombi (оба из LA COSCIENZA DI ZENO), а место барабанщика занял Martino Malacrida (из ORA NOMBRO). Летом 2013-ого на AltrOck Productions вышел одноименный дебютный альбом группы, который был неплохо принят в среде поклонников мелодического арт-прог-рока. На достигнутом участники коллектива группы решили не останавливаться и за пару лет подготовили продолжение в виде "From A Distance". В слегка обновившемся составе - Paolo Botta (клавишные), Alessio Calandriello (вокал), Alessandro Cassani (бас), Martino Malacrida (барабаны) и Francesco Zago (гитары) - NOT A GOOD SIGN весьма успешно развивают художественную линию, обозначенную на первом альбоме. В чистом виде до "ретро-прога" музыканты не снисходят (хотя и декларируют приверженность к традициям King Crimson и Van Der Graaf Generator), симфонизмом и авангардизмом не злоупотребляют, кросс-жанровым новаторством не занимаются и в целом придерживаются курса на качественный гитарно-клавишный прог-мэйнстрим 90-х годов - с лирикой на английском языке, с приятной мелодикой, умеренно усложненный, изящно романтизированный и гипотетически привлекательный для тех, чье знакомство с "прогрессивным роком" только начинается (имена Anekdoten и Anglagard в пресс-анонсе упомянуты весьма уместно). В отдельных номерах квинтету помогают Jacopo Costa (вибрафон, глокеншпиль), Eleonora Grampa (гобой, английский рожок), Maurizio Fasoli (рояль) и Gian Marco Trevisan (гитара). Удельный вес клавишных инструментов в аранжировках весьма высок; исполнительское мастерство музыкантов безупречно; а фронт-мен замечательно выразителен, лиричен и чувственен. Собственно, именно пение Alessio Calandriello делает эту музыку узнаваемой и идентифицируемой в череде многочисленных итальянских и неитальянских групп, подвизающихся в аналогичной стилистике. Под итог: очень хороший и весьма располагающий к себе альбом. Чем больше слушаешь - тем больше проникаешься его настроением. На мой вкус, эта работа NOT A GOOD SIGN гораздо сильнее и глубже дебюта: композиций со сложной динамикой и затейливой структурностью на нем больше, и музыканты свой огромный исполнительский потенциал имеют возможность раскрыть в полной мере. Но прежде всего - это релиз для поклонников лирического арт-прог-рока. Послушайте обязательно!

" I don’t necessarily see the images when I’m playing, but I do react to the feelings." Michele Fiala

English Horn and Piano

Listening Guide The Work Date(s) of Composition: 1899-1900; published by Universal (1901, rev. 1903, 1910) Place of Composition: Maiernigg and Vienna Premiere: 25 November 1901, Munich Orchestration: 4 flutes (3rd and 4th doubling with piccolo), 3 oboes, (3rd doubling with English Horn); 3 clarinets in Bb, A and C (2nd doubling with E-flat clarinet, 3rd […]