Podcasts about fort smith symphony

Happy Valentine's Day! It is National Heart Month, and on today's show, we hear there are efforts to make sure rural residents have more opportunities to take care of their coronary health. Plus, a big award for the Fort Smith Symphony, another Captain America movie and a pinball mecca on the outskirts of Rogers.

On today's show, preparation is underway for a city-wide clean-up day in Fayetteville. Also, a life with "To Kill a Mockingbird." Plus, the Fort Smith Symphony teams up with Captain Kirk.

John Jeter has been music director and conductor of the Fort Smith Symphony since 1997. He is the recipient of the Governor's Award for “Individual Artist of the State of Arkansas”, the Helen M. Thompson Award presented by the League of American Orchestras, and the Mayor's Achievement Award for services to the City of Fort Smith. Jeter has guest conducted numerous orchestras in the US and Europe. His music education programs for schools reach up to 10,000 students annually. He is also involved in a growing number of music and wellness projects, and has a long history as a media guest and host. He's recently released a new album on Naxos, featuring the music of Louis Wayne Ballard, the first Native American concert composer.  His music is wonderful and his life and career make for a fascinating story.   You can listen to the music at the link above. Our conversation touched on numerous topics including diversity in programming, audience development, the difficulties and rewards of rediscovering a composer, and why we all need to be proactive in this!  Follow the Fort Smith Symphony and John Jeter at their website. Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! I help people to lean into their creative careers and start or grow their income streams. I have three 1:1 coaching slots available this season. You can read more or hop onto a short discovery call from my website. I'm your host, Jennet Ingle. I love you all. Stay safe out there!  

On this week's episode of ‘New Classical Tracks,' John Jeter and the Fort Smith Symphony release an album featuring the music of Native American composer, performer and educator Louis Wayne Ballard. Listen now!

On today's show, The Arkansas Poll has released its 25th edition of the annual survey. Also, the Fort Smith Symphony is releasing world-premier recordings of compositions by Louis Wayne Ballard. Plus, Music Moves hosts Good News and The Blues.

On today's show, an art exhibit celebrating National Hispanic Heritage Month. Also, the Fort Smith Symphony performs some new music outside this weekend. Plus, a trip back to the pumpkin patch.

On today's show, the National Parks Service and the Cherokee Nation have been working towards an agreement to allow tribe members to use plants along the river and bring them back to the reservation. Plus, the Fort Smith Symphony celebrates its 100th anniversary.

A look inside the new Fayetteville Police Department is on today's show. Also, a local podcast highlights Latina leaders in Northwest Arkansas, Eureka Springs is set to host a blues party and this year marks the Fort Smith Symphony's centennial anniversary.

On today's show, an interview with Gregory Warner, host of the podcast "Rough Translation." The Fort Smith Symphony end its concert season with the music Louis Ballard, the Community Spotlight week review and Charles Robinson is conferred at the chancellor of the University of Arkansas. Plus, weekend events and more.

In this episode, Angela and Joshua welcome Portia Dunkley, founder of the New Canon Chamber Collective. Sharing her all too familiar experience of young Black classical musicians being few and far between in the industry, Dunkley found her passion and motivation to create and cultivate an ensemble that identifies, elevates, and celebrates the contributions of the African diaspora within the genre in Miami, FL. Dunkley features "Symphony No. 5" by William Grant Still and "The Oaks" by Florence Price on the Collective's inaugural concert, affirming the sounds of Blackness and Americana in classical music.For more updates and information, follow New Canon Chamber Collective on Facebook and Instagram.Featured Music:"Symphony No. 5 (Western Hemisphere) Mvt. 4" by William Grant Still, performed by the Fort Smith Symphony"The Oaks" by Florence Price, performed by the Women's Philharmonic OrchestraSupport the show

On today's show, the U.S. Fish & Wildlife Service will decide whether to terminate federal protections for giant ivory-billed woodpeckers. Also, John Jeter, music director and conductor for the Fort Smith Symphony, listens to the Florence Price album he helped create. Plus, tracing the manufacturer's Daisy BB Guns from its beginnings in Michigan to present day Northwest Arkansas, and more.

On today's show, Arkansas has the highest maternal mortality rate in the nation, and teen pregnancy and infant mortality are nearly the highest, according to Arkansas Center for Health Improvement (ACHI). The center's officials raised awareness this Monday for the state ranking last in maternal health. Also, $240 million of the $1.1 billion spent on the region's Medicare enrollees' healthcare were spent on services outside region in 2019, according to an analysis from ACHI. Plus, the Fort Smith Symphony prepares for a busy few weeks, the Northwest Arkansas Business Journal and an update of bills from the Arkansas Legislature.

On today's show, making voting accessible for all. Plus, electric vehicles in Arkansas, a visit from the President of the Republic of the Marshall Islands, and much more.

Musicians from the Fort Smith Symphony will be busy this October. There are chamber music performances featuring music of an inspired by Indigenous cultures, a superhero-themed concert and the annual Earquake concerts for area students.

On today's show, a court decision upholds net metering rates for Arkansas electricity consumers who generate their own solar power. Plus, the Bentonville Film Festival gets underway soon, a conversation with John Jeter of the Fort Smith Symphony, and much more.

John Jeter, musical director of the Fort Smith Symphony, is releasing a new CD featuring the work of legendary African-American composer and Arkansas native Florence Price. Symphony No.3 in C Minor was recorded with the Vienna Radio Symphony Orchestra.

This week's More Than Work Podcast guest is Christina Giacona. We went to high school together in Santa Clarita, California and were in the band. After graduation, she pursued a degree in music from California State University, Northridge (CSUN). She has gone on to get her Masters at the University of New Mexico where she studied Native American Music, joined the Fort Smith Symphony in Arkansas part-time, as a clarinetist. She enjoys the opportunity to play with the innovative group. + Her and her partner Patrick Conlin, a violist and sound engineer, founded the Los Angeles New Music Ensemble in 2008 which they ran until 2014. Now they reside in Oklahoma where they have founded Onyx Lane, a full-service music production company. Christina is a professor at the University of Oklahoma teaching Native American Music and American Popular Music while studying for her second doctorate, this time in Cultural Anthropology.  + “Cube of Light” is the latest album release from Christina and Patrick. They are taking it on tour soon for fully immersive audio and visual experiences giving the audience the opportunity to experience the album in a unique way. + Note from Rabiah (Host): Christina outlines how her high school music dreams have been fulfilled and it made me think a lot about how these dreams would manifest in reality if we allow ourselves to take chances. I think that the advice she has for young people pursuing creative endeavours is unique and very practical since it comes from her lived experience. I'm on board completely with her “do it yourself” sentiment and hope people come away from this one encouraged to do just that. + Find Christina Onyx Lane: https://onyxlane.com/ + Mentioned in this episode: Rumble: The Indians Who Rocked the World: https://www.rumblethemovie.com/ Rumble by Link Wray : https://www.youtube.com/watch?v=ucTg6rZJCu4 AJR: https://www.ajrbrothers.com/ Fort Smith Symphony: https://www.fortsmithsymphony.org/  + More than Work Facebook, Instagram, Twitter: @morethanworkpod Please review and follow anywhere you get podcasts. Thank you for listening. Have feedback? Email morethanworkpod@gmail.com

The Interview: Yuval Taylor's dual biography Zora & Langston (Norton), documents the lives, times, and work of novelist and folklorist Zora Neale Hurston and poet and writer Langston Hughes, two towering pillars of the Harlem Renaissance in the 1920s and 30s. Taylor documents their intimate (and productive) friendship, their falling out with one another (and their patron), and the regret they both lived with until their deaths for not reconciling with one another. The Reading: Artist and musician Senon Williams reads selections from Langston Hughes' The Weary Blues, Hughes' first poetry collection published by Knopf in 1927.Music credits:Music composed by Florence PricePerformed by Fort Smith Symphony and John Jeter**Other audio:Zora clips: From a session with Alan Lomax / Library of Congress (YouTube)Langston clips:Langston Hughes Reads Langston Hughes (YouTube)The Weary Blues with Langston Hughes, Charles Mingus, and Leonard Feather (YouTube)

John Jeter, music director of the Fort Smith Symphony, has taken the lessons learned during the pandemic and done some restructuring for the 2021-22 season. Find out more as he chats with Becca Martin-Brown, Features editor, during this What’s Up! podcast.

John Jeter, music director of the Fort Smith Symphony, has taken the lessons learned during the pandemic and done some restructuring for the 2021-22 season. Find out more as he chats with Becca Martin-Brown, Features editor, during this What's Up! podcast.

Our sponsor: Houghton Hornswww.houghtonhorns.comTommy Dobbswww.tommydobbspercussion.comDr. Tommy Dobbs is the Instructor of Music - Percussion at the University of Arkansas - Fort Smith, Treasurer for the Arkansas Chapter of the Percussive Arts Society (PAS), and a member of the PAS University Pedagogy Committee. He received his Doctor of Music and Master’s of Music degrees in Percussion Performance from the Florida State University, and his Bachelor’s degree in Percussion Performance from the University of North Florida.An active performer and educator, Tommy has performed recitals and given master classes at universities and secondary schools throughout the United States and abroad. Tommy is currently the Principal Percussionist for the Fort Smith Symphony; a member of Duo Breedlove, an Arkansas based saxophone and percussion duo; and a member of Wind and Wood, an Arkansas based clarinet and percussion duo. During the 2019/2020 season, he looks forward to Presenting a clinic entitled "Accessory After The Fact: How To Prevent Criminal Sounds Within Your Percussion Section" at The Midwest Clinic in Chicago as well as several College Music Society and NACWPI Conference Performance and, by the summer 2020, the release of a solo album of all commissioned works and a duo album with Dr. Andrew DeBoer (Clarinet). All recordings will be engineered by Garnet House Productions and released on their label. He has performed and presented at conferences such as The College Music Society (International, National, and Regional), the National Association of College Wind and Percussion Instructors Conferences (International and National), the Percussive Arts Society International Convention, Various Day of Percussion Conferences, The World Saxophone Congress in Croatia, the International Navy Saxophone Symposium, Various College Band Directors National Association Regional Conferences, and various American Bandmasters Association Regional and National Conferences. Currently, he is a member of the College Music Society (CMS), the Arkansas School Band and Orchestra Association (ASBOA), NACWPI, and the Percussive Arts Society (PAS).Previous appointment include: serving as Acting Principal Percussionist for the Tallahassee Symphony Orchestra (Florida) and Principal Timpanist for Sinfonia Gulf Coast (Florida) in 2013/2014 as well as section percussion/assistant timpani for the Arkansas Symphony Orchestra, Georgia Coastal Symphony, Tallahassee Symphony Orchestra, Tallahassee Ballet, and Sinfonia Gulf Coast.An active champion of new music, he has premiered and/or commissioned works by Per Andreasson, Adam Silverman, John Psathas, Ivan Trevino, Marc Mellits, Nathan Daughtrey, Brett Dietz, Luis Rivera, Benjamin Fraley, Jamie Whitmarsh, Frank Pesci, William Funk, and Michael Taylor.As a professor, Tommy’s students have been accepted to reputable music programs across the United States, including Florida State University, The Eastman School of Music, the University of North Texas, University of Texas in Austin, University of South Carolina, and the University of North Florida. His students have also held positions in various All-County, All-Region, and All-State Bands as well as attended festivals such as the Eastern Music Festival, the Leigh Howard Stevens Marimba Seminar, and the Bob Becker Xylophone Soloist Seminar. Recent student successes include Justin Ball, UAFS Senior Percussionist, placing 1st in the Great Plains International Marimba Competition and Christopher Ha, UAFS Alumni (15') appointed as the Assistant Director of Bands at Kimmons Junior High in Fort Smith, Arkansas.Support the show (https://thatsnotspit.com/support/)

####Bio- It seems especially difficult to summarize the life and career of William Grant Still. At the simplest, Still performed, conducted, composed, orchestrated, and arranged music, earning him the title “Dean of Afro-American Composers”. But what he was as a man is so much deeper and more complex. His compositions give us a brief glimpse of his personality and philosophy (and I am grateful for that). Beyond this, Still's words and those affected by him do a meritorious job in striving to complete the picture of the man. Yet, in the end, he is too multidimensional to be easily labeled.- Still began as a performer and arranger for W.C. Handy, the self-proclaimed “Father of the Blues.” This association brought Still to Harlem in 1919, during a pivotal moment in American history, at the peak of the “Harlem Renaissance.” Though the Harlem Renaissance would lay a foundation for the Civil Rights movement roughly 30 years later, at the time it was as an explosion of African American art and philosophy after the Civil War and during the period when “Jim Crow” laws were sweeping the South. It was a time of individuality, self-assertion, and rich expression in the face of current segregation and oppression, while slavery was not just a memory for most. - Still was absolutely unique at this moment, as the most well-known—and often the first—African-American to compose works in the European art music fashion. Other African-American “firsts” for Still included having a symphony performed by a professional orchestra, conducting a major symphony orchestra, and having an opera performed by a major opera company.- Still's massive portfolio alone is impressive, totaling nearly 200 compositions, which in addition to the well-known symphonies and operas, includes ballet and chamber music. The most well-recognized works are likely his “Afro-American” Symphony No. 1, the opera Troubled Island, and his ballet Sahdji. The symphonic poem Africa, written in the same year as the Symphony No. 1 and Sahdji (1930), is a notable hidden gem as even after revising it numerous times following a successful performance by the Rochester Philharmonic and Howard Hanson—a long time champion of Still's works—Still eventually withdrew the work, unpublished(!).####Culture- That label of “first” is tricky, needing a broader view to the context and implication. Musicologist Gayle Murchison was a colleague of mine at the College of William & Mary, and in fact has agreed to be a guest on this show to talk about American composers. She addresses this issue of duality for Still:Quote The title “Dean of Afro-American Composers” is Still's due. Yet it does not aptly describe his accomplishments or the artistic and aesthetic ideals he pursued in his work. Such a title is easily bestowed on Still, who crossed many racial barriers during a period in American history when the achievements of African Americans were measured by firsts as a marker of racial progress and improvement in race relations. But to see him in this way is to accord him a place in American music history largely on the basis of his race and to consider only one facet of his accomplishments.End quote. After all, I believe Still was a genius, and should be recognized for that at any moment in history.- The piece we will hear today, _Africa_, obviously weighed on Still's mind for a long period, having begun composition in 1924, and philosophically tied in with the Harlem Renaissance. Writing to George Barrère, the conductor to premiere the work, Still gives insight into the programmatic content:An American Negro has formed a concept of the land of his ancestors based largely on its folklore, and influenced by his contact with American civilization. He beholds in his mind's eye not the Africa of reality but an Africa mirrored in fancy, and radiantly ideal.###Analysis of piece####Overall scope- Now to the music itself- Written in 3 movements, titled “land of peace”, “land of romance”, and “land of superstition”. As we talked about, the work is programmatic, and Still put a great deal of thought into this aspect.- So, before we go further I want to make a personal statement involving Programmatic music. If you are not sure what that is, at it's simplest, programmatic music follows a story. Usually, the concept originates with a story, and the composer writes music to emulate the atmosphere described or follow, outright, the drama as it unfolds. Bizet's “Symphony Fantastique” and Elgar's “Enigma” Variations are classic examples. So, I want to make it completely clear what my thoughts are on programmatic music. I LOVE the stories, they are interesting, usually enjoyable, and often give us insight into the composer and what they were thinking when writing the piece. However, I believe from the standpoint of enjoying and consuming the art, I believe the program to be completely superfluous. It is a nice dressing, but neither enhances nor serves the music directly when receiving a performance of the work. My anecdotal argument is this: Elgar wrote his Enigma variations 1899, and practically ever since it has been played by orchestras all over the world, enjoyed by countless audiences, and studied to death by every serious orchestral musician. Therefore, we do know a few tid-bits about the people on whom the variations were based, most notably Jaeger from the 9th variation, titled ‘Nimrod', which refers to the hunter ++need more context++. They were very close friends, etc. etc. I hold that this story and external information would be completely unknown to us if the music was not as good, powerful, and moving as it is. Therefore, the program is extra, non-essential, like a performance venue during a global pandemic!- And it is for this reason that though I will discuss both, separately and in tandem, when analyzing a piece, my philosophy is squarely attached to the sounds themselves, while respecting the fact that the composer him or herself made the connection to the story.- Ok, tangent over. Now, on to the music.####Excerpts- These excerpts are from a 2005 NAXOS recording of the Fort Smith Symphony, conducted by John Jeter.- Ironically, after saying all of that, there is a strong programmatic tie to the very opening bars of _Africa_. Distant, rhythmic drums. This certainly sets a serene background for the flute solo that follows. It is hard NOT to conjure an image in the mind of heat rising against the distant sunset on a vast African plain. [play opening to 1:05]- Titled “Land of Peace” this movement goes through what seems like progressive vignettes of calm scenic African events. Still uses this format to show all of his strengths, European Romantic style writing, jazz influenced lyrical moments, soloistic writing, and crafty orchestrational mixture. [3:10-3:46]- At the second theme, Still opens into a rich, satisfying horn led melodic line, with harp and string accompaniment. It instantly reminds me of the 2nd theme of Hanson's 2nd Symphony, and it's not a stretch that Still was influenced by that piece considering how much Hanson championed Still's compositions. [5:04-5:49]- “Land of Romance”, the middle movement, includes even more of a jazz/dissonance clash. In this spot, the chromatic melodies seem to have a pleasurably erratic nature, and the harmonic movement below, while the pulse is steady, seems to constantly be slipping in a similar chromatic fashion. [1:58-3:09]- At the overflow moment, the volume does rise with full brass and percussion. Though, the previous characteristics remain, creating a both unsettling and satisfying climactic moment. [3:54-5:01-ish]- Finally, in “Land of Superstition”, Still introduces a bit of forward motion. Still continues to show his orchestrational prowess in this movement, along with his particular blend of styles. Hear how he moves back and forth between sections of the orchestra, all while moving the energy forward and creating a jazzy flavor at the same time. [2:38-3:47]- The only time Still comes close to a big band moment is at the high point of this movement, when the bottom of the orchestra cycles a recognizable walking bass pattern and practically everyone else sings out a long, loud bluesy melody. Yet, Still doesn't lose his voice entirely, using a very unique mode mixture, constantly going back and forth between major and minor. [5:10-5:57-ish]###Closing- Even without any of this explanation of the programmatic aspect, the piece itself has a mysterious character, aurally engaging from the opening drum beats and flute solo, the hypnotic bluesy rhythms, the easy downward slide of chromatic movement in the strings, to the often celebratory mood of the last movement. As in his other orchestral works, especially his five numbered symphonies, Still shows complete mastery of orchestration and suitable timbre use for every instrument, section, and combination thereof. Like all other great composers, his adeptness in this area is so deft that one does not even think of it while enraptured in the moment. I can't think of a better compliment.Music:'Africa'By: William Grant StillPerformed by: Fort Smith Symphony, John JeterCourtesy 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

Join us for classical music news and anecdotes, a new angle on Handel's Ode for the Birthday of Queen Anne, plus reviews of violinist Elicia Silverstein's solo recital for the Baroque at the Edge festival, and the Fort Smith Symphony's new recording of Florence Price's first and fourth symphonies.Music Credits: Handel, ‘Eternal Source of Light Divine' from Ode for the Birthday of Queen Anne, from soprano Antonia Dunjko, Edmund Andler-Borić on the organ and Igor Mrnjavčić on trumpet, and from countertenor Bradley Sharpe, trumpeter Theo Van Dyck and the Norfolk Festival Chamber Choir and Orchestra under Christopher Jackson.Organist Sam Bardsley performs his fugue on a theme after David Cameron.Bieber Passacaglia for Solo Violin from Elicia Silverstein, The Dreams and Fables I Fashion on Rubicon.Jellantsje de Vries plays Salvatore Sciarrino's 6 Caprices for Solo Violin.Florence Price Symphony No. 1, Mov. 1 from John Jeter and the Fort Smith Symphony on Naxos.Our version of the first movement from Sibelius' 5th Symphony. Follow us here:instagram.com/classicalpod/twitter.com/ClassicalPodfacebook.com/ClassicalPod/ Watch episodes from China's SuperVocal here: https://www.youtube.com/watch?v=BT6xngAYIAAPreview Sciarrino's score for the 6 Caprices: https://www.scribd.com/doc/194141493/Sciarrino-6-Capricci-Per-ViolinoLuciano Berio's ‘Sequenza VIII' performed by David Bowlin: https://itunes.apple.com/ke/album/luciano-berio-sequenza-viii-corale-huang-ruo-4-fragments/821130622Antonín Dvořák's Symphony No. 9 From the New World, Budapest Festival Orchestra with Iván Fischer: https://itunes.apple.com/gb/album/dvo%C5%99%C3%A1k-symphonies-nos-8-9-from-the-new-world/151636663Read about Florence Price and the African-American Spiritual: https://timmyfisher.co.uk/words/the-african-american-spiritualMore info on SoundState coming up at the Southbank Centre, London: https://www.southbankcentre.co.uk/whats-on/festivals-series/classical-season/soundstate