Podcast appearances and mentions of Gerard Schwarz

SynopsisSummer music camps offer young talent a chance to rub shoulders with seasoned professional musicians and to perform both old and new musical works. On today's date in 1977, American composer, conductor and educator Howard Hanson led the premiere of his Symphony No. 7 at the National Music Camp in Interlochen, Michigan. Hanson subtitled his Seventh A Sea Symphony, and it includes a choral setting of passages from Walt Whitman's Leaves of Grass. For 40 years, Hanson headed the Eastman School of Music in Rochester, New York. And years later, Eastman professor Augusta Read Thomas follows in Hanson's footsteps as composer-in-residence at various summer music camps. On today's date in 2001, at the annual Aspen Music Festival in Colorado, her piece Murmurs in the Mist of Memory received its world premiere.Speaking of music in general, Thomas says, “Music of all kinds constantly amazes, surprises, propels and seduces me into a wonderful and powerful journey. I am happiest when listening to music and in the process of composing music. I care deeply that music is not anonymous and generic or easily assimilated and just as easily dismissed.”Music Played in Today's ProgramHoward Hanson (1896-1981): Symphony No. 7 (A Sea Symphony); Seattle Symphony and Chorale; Gerard Schwarz, conductor; Delos 3130Augusta Read Thomas (b. 1964): Wind Dances; Louisville Orchestra; Lawrence Leighton Smith, conductor; Albany/Louisville First Edition 010

Guest Bio: Among the most distinguished classical artists of his generation, clarinetist Jon Manasse is internationally recognized for his inspiring artistry, uniquely glorious sound and charismatic performing style. Jon Manasse's solo appearances include New York City performances at Lincoln Center for the Performing Arts' Avery Fisher Hall and Alice Tully Hall, Hunter College's Sylvia & Danny Kaye Playhouse, Columbia University, Rockefeller University and The Town Hall, fourteen tours of Japan and Southeast Asia – all with the New York Symphonic Ensemble, debuts in Jerusalem, Tel Aviv, and Osaka and concerto performances with Gerard Schwarz and the Mostly Mozart Festival Orchestra, both at Lincoln Center's Avery Fisher Hall and at the prestigious Tokyu Bunkamura Festival in Tokyo.  Jon Manasse is a graduate of The Juilliard School, where he studied with David Weber.  Mr. Manasse was a top prize winner in the Thirty-Sixth International Competition for Clarinet in Munich and the youngest winner of the International Clarinet Society Competition. Currently, he is an official “Performing Artist” of both the Buffet Crampon Company and Vandoren, the Parisian firms that are the world's oldest and most distinguished clarinet maker and reed maker, respectively. Mr. Manasse is currently on the faculties of The Juilliard School,The Lynn Conservatory, and The Mannes School of Music. Jon Manasse and his Duo partner, the acclaimed pianist Jon Nakamatsu, serve as Artistic Directors of the Cape Cod Chamber Music Festival, an appointment announced during summer 2006.   Learn more about Jon at https://jonmanasse.com/ Support the show at www.patreon.com/clarineat

American conductor Gerard Schwarz has led some of the world's finest orchestras for the past half-century. With 9 Emmy Awards, 14 Grammy nominations, and a catalogue of over 350 recordings, it's remarkable to consider that Gerard's illustrious journey began with a pivotal decision—leaving behind his first career as a trumpet soloist. Gerard reflects on this decision and early influences of his musical career including Szell and Bernstein, summers at Interlochen Center for the Arts, and a performance of Aida he saw at age 7. He discusses walking away from the trumpet to pursue a second career as a conductor, why he calls himself a musical traditionalist, and how the audience experience has changed over the years.Check out Gerard Schwarz on Instagram, Facebook, Spotify, Apple Music, YouTube, or the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Gerard Schwarz by Ben VanHouten.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2024 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

SynopsisToday we note the birth and death anniversaries of two American composers of the 20th century.On today's date in 1915, American composer David Diamond was born in Rochester, New York. In 1940, Dmitri Mitropoulos, then the music director of the Minneapolis Symphony commissioned one of Diamond's best-known works.  Mitropoulos had specifically asked him for an upbeat piece of music. “Write me a HAPPY work,” asked Mitropoulos. “These are distressing times ... make me happy!” The 29-year-old composer responded with his popular “Rounds for String Orchestra,” which Mitropoulos premiered in Minneapolis in 1944.Also on today's date, in 1984, the American composer and teacher Randall Thompson died in Boston at the age of 85. Randall Thompson wrote three symphonies and some fine chamber works, but HIS best-known piece of music is this choral setting of “Allelujah” which was first performed at the opening of the Berkshire Music Center at Lenox, Massachusetts, in the summer of 1940, when Thompson was 41 years old.“[My ‘Alleujah' is] a very SAD piece,” said Thompson. “Here it is comparable to the Book of Job, where it is written, ‘The Lord giveth and the Lord has taken away. Blessed be the name of the Lord.'”Music Played in Today's ProgramDavid Diamond (1915-2005) Rounds (Los Angeles Chamber Orchestra; Gerard Schwarz, conductor.) Nonesuch 79002 Randall Thompson (1899 – 1984) Alleluia (Robert Shaw Chamber Singers; Robert Shaw, conductor.) Telarc 80461

Abraham Josue Bonilla, a Latin-American cellist, has appeared in recitals and concerts throughout the US, Latin America, Europe, and South America.  A recent graduate of the Eastman School of Music and a recipient of an Artist's Diploma from the University of Miami's Frost School of Music, Abraham has led sections and soloed under the batons of Michael Tilson Thomas, Gerard Schwarz, Keith Lockhart, David Zinmann, Joshua Gershen, Keith Lockhart, and others. He has collaborated with artists such as Joshua Bell, Yo-Yo Ma, Sarah Chang, and Noah Bendix-Balgley. --- Send in a voice message: https://podcasters.spotify.com/pod/show/carlpaoli/message Support this podcast: https://podcasters.spotify.com/pod/show/carlpaoli/support

Synopsis In February of 1919, members of the New York Chamber Music Society gave the premiere performance of this music—an instrumental suite by the American composer Deems Taylor, titled Through the Looking Glass. A few years later, Deems Taylor landed a job as music critic for the New York World, and following that, became known coast-to-coast as the radio commentator for New York Philharmonic broadcasts, and as the host of a popular quiz-show titled Information, Please. His voice was also heard as the commentator for the 1940 Disney film, Fantasia. On today's date in 1980, another American composer premiered a musical work inspired by Alice in Wonderland. This was David Del Tredici's In Memory of a Summer's Day, first presented by the St. Louis Symphony conducted by Leonard Slatkin. By 1980, Del Tredici had already composed several successful works inspired by the Lewis Carroll books, but In Memory of Summer's Day capped the lot, and won that year's Pulitzer Prize for Music. Del Tredici was a protégé of Aaron Copland, and recalled how Copland would react to Del Tredici's compositions. "He'd say something noncommittal at first, such as 'It's very nice.' Then maybe an hour or so later, at dinner, he would turn to me, apropos of nothing, and say, 'I think the bass line is too regular, and the percussion should not always underline the main beat and would you please pass the butter.'" Music Played in Today's Program Deems Taylor (1885-1966) Through The Looking Glass Suite Seattle Symphony; Gerard Schwarz , conductor. Delos 3099 David Del Tredici (b. 1937) In Memory of A Summer Day St. Louis Symphony; Leonard Slatkin, conductor. Nonesuch 79043

Synopsis On today's date in 1934, the audience at the Metropolitan Opera in New York City demanded—and got—50 curtain calls for the cast and conductor of the new opera that had just received its premiere staged performance. The opera was Merry Mount, based on a Nathaniel Hawthorne short story set in a Puritan colony in 17th century New England. The music was by the American composer Howard Hanson. The performers for Met Opera's premiere included the great American baritone Lawrence Tibbett as the Puritan preacher Wrestling Bradford, sorely tempted by the Swedish soprano Gösta Ljungberg in the role of Lady Marigold Sandys, his VERY unwilling leading lady. Despite its setting in Puritan New England, Hanson's opera included plenty of the lurid sex and violence that fuels the all the best Romantic opera plots, and the score was in Hanson's most winning Neo-Romantic style, with rich choral and orchestral writing, capped by a fiery conflagration as a grand finale. What more could an opera audience want? Strangely enough, despite its tremendous first-night success, Merry Mount has seldom—if ever—been staged since 1934. To celebrate the centenary of Hanson's birth in 1996, the Seattle Symphony presented Merry Mount in a concert performance conducted by Gerard Schwarz. Music Played in Today's Program Howard Hanson (1896-1981) Merry Mount Suite Seattle Symphony; Gerard Schwarz, conductor. Delos 3105

The concert begins at 7:30pm on Saturday the 14th at the Tulsa PAC.

Synopsis In all, the American composer David Diamond wrote 11 Symphonies, spanning some 50 years of his professional career. The last dates from 1991, and the first from 1940, completed after his return from studies in Paris shortly before the outbreak of World War II. Diamond's first Symphony was premiered on today's date in 1941 by the New York Philharmonic led by the famous Greek conductor Dimitri Mitropoulos. Despite winning awards and positive comments from fellow composers ranging from Virgil Thomson to Arnold Schoenberg, for years Diamond struggled to make ends meet by playing violin in various New York City theater pit bands. More than one fellowship grant, however, enabled him to live abroad for extended stays, where, he said: “I can make my income last and live extremely well with my own villa and garden at a cost that would provide a hole-in-the-wall, coldwater flat in America . . . There is a spiritual nourishment, too, in that cradle of serious music [and] quiet for concentration that could never be found in an American city.” Defending his more traditional approach, Diamond wrote: “It is my strong feeling that a romantically inspired contemporary music, tempered by reinvigorated classical technical formulas, is the way out of the present period of creativity chaos in music... To me, the romantic spirit in music is important because it is timeless.” Music Played in Today's Program David Diamond (1915-2005) Symphony No. 1 Seattle Symphony; Gerard Schwarz, conductor. Delos 3119

Synopsis In the spring of 1775, shots were fired at Lexington and Concord, Massachusetts, and the sparks of the American Revolution burst into flames at the Battle of Bunker Hill. Far away in Salzburg, Austria, a 19-year-old composer named Wolfgang Mozart was spending most of that year composing five violin concertos. The fifth, in A major, was completed on this day in 1775. At the time, Mozart was concertmaster of the orchestra in the court of the Archbishop of Salzburg. Archbishops don't have their own orchestras now, but they did then—at least in Europe, if not in the American colonies. A century and a half later, America was celebrating its sesquicentennial, and the magazine Musical America offered a prize of $3,000 for the best symphonic work on an American theme. The prize was awarded unanimously to Ernest Bloch, a Swiss-born composer who had arrived in this country only a decade before. But already, sailing into the harbor of New York, he had conceived of a large patriotic composition. Several years later, it took shape in three movements as America—An Epic Rhapsody for Orchestra. It premiered in New York on today's date in 1928, with simultaneous performances the next day in Boston, Philadelphia, Chicago, Cincinnati, San Francisco and Los Angeles. Fifteen other orchestras programmed it within a year. Curiously, although Bloch remains a highly respected composer, his America Rhapsody from 1928 is seldom performed today. Music Played in Today's Program Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 5 Jean-Jacques Kantorow, violin; Netherlands Chamber Orchestra; Leopold Hager, conductor. Denon 7504 Ernest Bloch (1880-1959) America: An Epic Rhapsody Seattle Symphony; Gerard Schwarz, conductor. Delos 3135

Synopsis On today's date in 1955, the Boston Symphony was celebrating its 75th anniversary season with the premiere performance of a brand-new symphony—the sixth—by the American composer Walter Piston. At the time, Piston was teaching at Harvard, and his association with the Boston Symphony went back decades. Even so, Piston paid the orchestra an extraordinary compliment, crediting its musicians as virtual partners in its composition: “While writing my Sixth Symphony,” Piston wrote, “I came to realize that this was a rather special situation. I was writing for one designated orchestra, one that I had grown up with, and that I knew intimately. Each note set down sounded in the mind with extraordinary clarity, as though played immediately by those who were to perform the work. On several occasions it seemed as though the melodies were being written by the instruments themselves as I followed along. I refrained from playing even a single note of this symphony on the piano.” This symphony may have been tailor-made for the Boston players, but Piston was practical enough to know other orchestras would be interested, and so added this important footnote: “The composer's mental image of the sound of his written notes has to admit a certain flexibility.” Music Played in Today's Program Walter Piston (1894-1976) Symphony No. 6 Seattle Symphony; Gerard Schwarz, conductor. Delos 3074

Synopsis Traditionally, the harmonica is the instrument of the loner: the cowboy by the campfire, the hobo riding the rails, the bluesman pouring out his soul at midnight. The Harmonica seems a little out of place in a concert hall — especially when played by someone wearing a tuxedo. But every so often a virtuoso player comes along who commissions a new concert work for the instrument. In the mid-1950s the American harmonica virtuoso John Sebastian asked the Brazilian composer Heitor Villa-Lobos for just such a work. On today's date in 1959, Sebastian premiered Villa-Lobos' Concerto for Harmonica and Orchestra in Jerusalem. This work is now regarded as one of the finest concertos ever written for the instrument, but when the British harmonica virtuoso Tommy Reilly wanted to record it some 20 years after its 1959 premiere, he said had a very hard time tracking down the score. Even Villa-Lobos' own publisher didn't seem aware of its existence! Truth be told, Villa-Lobos was both a very prolific and not always very organized composer, so his poor publisher may be forgiven for his ignorance of the work. Even Villa-Lobos couldn't remember all the pieces he had written, and once said: “I am like a father of a family too numerous who doesn't always recognize his own infants.” Music Played in Today's Program Heitor Villa-Lobos (1887-1959) Harmonica Concerto Robert Bonfiglio, harmonica; New York Chamber Orchestra; Gerard Schwarz, cond. RCA/BMG 7986

Synopsis On today's date in 1944, a 29-year-old American composer named David Diamond had his Second Symphony premiered by the Boston Symphony under the famous Russian conductor Serge Koussevitzky. Diamond says he had written this music for the charismatic Greek maestro Dimitri Mitropoulos, then the music director of the Minneapolis Symphony. “Mitropoulos had given a fine performance of my First Symphony,” said Diamond. “When I showed him the score of the Second he said, ‘you must have the parts extracted at once!' As these were readied, I asked him whether he was planning to perform the work. He then told me he thought he would not stay on in Minneapolis, but said, ‘Why don't you send it to Koussevitzky?' I did so, and Koussevitzky [invited me to a] trial reading at Symphony Hall. When it was over, the orchestra applauded like crazy. Koussevitzky turned to me and said, ‘I will play!'” Successful as Diamond was back in 1944, for many decades thereafter his neo-Romantic symphonic scores were neglected until Gerard Schwartz's CD recordings of some of them with the Seattle Symphony sparked a revival.  By then, Diamond was in his 70s, and commented: “The romantic spirit in music is important because it is timeless.” Music Played in Today's Program David Diamond (1915-2005) — Symphony No. 2 (Seattle Symphony; Gerard Schwarz, cond.) Delos 3093

Synopsis As the season begins, we offer you this “Autumn Music” — a woodwind quintet by American composer Jennifer Higdon. Higdon says she wanted to write a companion piece to another famous woodwind quintet titled “Summer Music” by Samuel Barber. Higdon's “Autumn Music” was commissioned by Pi Kappa Lambda, the national music honorary society, and premiered at their 1994 national convention in Pittsburgh. “Autumn Music,” says Higdon, “is a sonic picture of the season of brilliant colors. The music of the first part represents the explosion of leaves and the crispness of the air of fall. As the music progresses, it becomes more spare and introspective, moving into a more melancholy and resigned feeling.” Jennifer Higdon was born in Brooklyn in 1962, and teaches at the Curtis Institute of Music in Philadelphia. Her chamber and orchestral pieces have been performed by ensembles coast to coast. She's also active as a performer and, as she explains, as an enthusiastic member of the audience: “I love exploring new works — my own pieces and the music of others — in a general audience setting, just to feel a communal reaction to new sounds. Music speaks to all age levels and all kinds of experiences in our lives. I think it can express anything and everything.” Music Played in Today's Program Jennifer Higdon (b. 1962): Autumn Music –Moran Woodwind Quintet (Crystal 754) On This Day Births 1875 - Lithuanian composer Mikolajus Ciurlionis, in Varena (then the Kaunas province of the Russian Empire; Julian date: Sept. 10); 1933 - Spanish composer Leonardo Balada, in Barcelona; 1961 - American composer Michael Torke, in Milwaukee, Wisc.; Deaths 1989 - American song composer Irving Berlin, age 101, in New York City; Premieres 1869 - Wagner: opera, "Das Rheingold," in Munich at the Hoftheater, Franz Wüllner conducting; The opera was performed at the Bavarian emperor Ludwig II's request, but against the composer's wishes; 1938 - Webern: String Quartet, Op. 28, at South Mountain, Pittsfield, Mass., during the Berkshire Chamber Music Festival; This work was commissioned for $750 by the American music patron, Elizabeth Sprague Coolidge; 1964 - Jerry Bock: musical "Fiddler On the Roof" opens on Broadway: It would run for 3,242 performances before closing; 1971 - Barber: "The Lovers" for solo voice and chorus (after a poem by Pablo Neruda), in Philadelphia; 1989 - Bernstein: "Arias and Barcarolles" (orchestrated version prepared by Bright Sheng), at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; The first version of this work, for soloists and piano four-hands, premiered on May 9, 1988, at Equitable Center Auditorium in New York City; 1990 - James MacMillan: "The Beserking" (Piano Concerto), at Henry Wood Hall in Glasgow by pianist Peter Donohoue and the Royal Scottish Orchestra, Matthias Bamert conducting; 1990 - Christopher Rouse: "Jagannath" for orchestra, by the Houston Symphony Orchestra, Christoph Eschenbach conducting; 2000 - Philip Glass: “Tirol Concerto” for piano and orchestra, by Dennis Russell Davies (piano and conductor) with the Stuttgart Chamber Orchestra, at the 7th annual Klangspuren Festival in Schwaz, Tirol (Austria); 2000 - Zwilich: "Millennium Fantasy" for piano and orchestra, by the Cincinnati Symphony, Jesús Lopez-Cobos conducting with soloist Jeffrey Biegel; Others 1937 - During the Spanish Civil War, Mexican composer Silvestre Revueltas conducts his 1935 composition “Homage to Federico Garcia Lorca” in Madrid while the city was under siege by Spanish fascist forces; The Spanish poet Lorca had been killed by the Falangists; Links and Resources On Jennifer Higdon On Barber's "Summer Music"

Super excited to welcome back Doris Hall-Gulati, to The Story!Most recently, Doris won a 2018 GRAMMY AWARD as clarinet soloist with “The Crossing” on an Oratorio by Lansing McLoskey titled ZEALOT CANTICLES. Doris can also be heard on the MMC, Naxos and New World record labels. About the recent Naxos recording of Hansen's "Nymphs and Satyr Ballet Suite," Paul Cook of classicstoday.com, was moved to say, "I was particularly taken (by) Doris Hall-Gulati on the clarinet." A new recording of clarinet and bass clarinet works by John Carbon was released in September 2017, and in 2018 she has recorded new works with several composers and is awaiting their release. Most recently, Doris has recorded works with Lyric Fest, Mendelssohn Club of Philadelphia, The Crossing and composer Kile Smith.After being awarded First Prize in the Louise D. McMahon International Music Competition, Doris gave her New York City debut, performing the world premiere of John Carbon's "Rhapsody for Clarinet and Orchestra," at Avery Fischer Hall, Lincoln Center, with Gerard Schwarz and the New York Chamber Symphony. About the performance, Allan Kozinn of The New York Times wrote, "... a demandingly agile clarinet line, played with both virtuosity and nuance by Doris J. Hall-Gulati, wove its way through a variegated orchestra fabric." Ms. Hall-Gulati made her Carnegie (Weill) Hall debut playing with the Alaria Chamber Ensemble, and her Merkin Hall debut, premiering Thea Musgrave's "Ring Out Wild Bells," with the Philadelphia Trio.In addition to her position as Principal Clarinet in The Chamber Orchestra of Philadelphia, The Ocean City, NJ Pops Orchestra and the PA Philharmonic Orchestra. Doris is also Acting Principal Clarinet/ Bass Clarinetist of Opera Philadelphia and Assistant Principal/Bass Clarinetist with the Lancaster Symphony. She also performs regularly with the PA Ballet, The Philly Pops, the Delaware Symphony, Orchestra 2001 and Vox Amadeus. In 2011, Doris became an Artist-in-Residence at Franklin & Marshall College in Lancaster, PA and is happy to have joined the faculty of the Lancaster Bible College in 2015.Doris earned her Bachelor's degree from the Peabody Conservatory of Music, and she received a Masters in Music studying on a graduate fellowship from the University of Michigan. Doris is a Phi Kappa Lambda. Her principal instructors have been Ignatius Gennusa, Loren Kitt, and Fred Ormand. She was introduced to chamber music by Karen Tuttle, whom Doris greatly admired.Find Doris' work here:Youtube: https://www.youtube.com/channel/UCAnH0WHnyRA4RDB-E3S0ulwSpotify: https://open.spotify.com/artist/61CswefV5Xl3aTf0MMCWMw...Support this podcast at — https://redcircle.com/the-story/donations

Trumpet has always been part of my life, and even though it's not my main source of income, it's something for which a flame in the inner man continues to burn. So much so that I continue to create new episodes of my Trumpet Dynamics podcast. It's a hobby for the time being, but it is something I do take quite seriously and am ramping things up to release brand new episodes this month.  In the meantime, I've been republishing a series of episodes I recorded in 2017 called Secrets of the Musical Mind. It's rapid fire questions of world-class musicians asking them what are the secrets to performing at a high level day in and day out.  I'm only keeping these episodes up until the new episodes are released, after which they'll go back into the vault for only the True Listeners to partake. So if you want to take in an episode or two, I suggest you hightail it over to https://email.e.berserkermail.com/c/eJw9j0tLxDAURn9Ns7Pc5Oa5yMIyDgquRnBbkuaGdpw-aCLiv7cjInzrc75DnmvlJCLnmiWfRU5SsMkLEAIsCHBouWhjkG5AE5zCzLnhjQRqI-2F9g_a5zDd2mGd2egzOUcKdCJrUgRujIQgMFoeZQwispsfa91Kg4-NOB-r--e8UU3fS5inodwxDZ77flvLVKd16fsGT8Do7ngOZfQPb69XJOy6y1aeRpgIL6eODetSw1BfktdcWgMInBykrIdsSZGyyHZ_DTOVtNDXIYlHwravdV3-3_8x3o-sQ_wr00Il7awES9Jo4YyOZKWKP4LEYII (trumpetdynamics.com) immediately and subscribe on your favorite free podcast player (click or tap the "follow" button on the player to see the options available to subscribe.)

For 61 years, the nationally recognized Eastern Music Festival (EMF) in Greensboro has been providing first rate educational opportunities to hundreds of young musicians from across the country and around the world. The festival also includes top notch performances featuring faculty, students, and internationally renowned soloists. Conductor Gerard Schwarz, who is the Eastern Music Festival music director, talks about this year's festival, the educational opportunities it provides young musicians, and the Adolphus Hailstork work the EMF Orchestra will premiere. He also talks about why he keeps coming back to Greensboro year after year. Learn more about the Eastern Music Festival Pictured: Gerard Schwarz; photo by Ben VanHouten

The Cultured Mind: Gerard Schwarz Interview

I can't overstate how excited I am to introduce new guest, Doris Hall-Gulati, to The Story!Most recently, Doris won a 2018 GRAMMY AWARD as clarinet soloist with “The Crossing” on an Oratorio by Lansing McLoskey titled ZEALOT CANTICLES. Doris can also be heard on the MMC, Naxos and New World record labels. About the recent Naxos recording of Hansen's "Nymphs and Satyr Ballet Suite," Paul Cook of classicstoday.com, was moved to say, "I was particularly taken (by) Doris Hall-Gulati on the clarinet." A new recording of clarinet and bass clarinet works by John Carbon was released in September 2017, and in 2018 she has recorded new works with several composers and is awaiting their release. Most recently, Doris has recorded works with Lyric Fest, Mendelssohn Club of Philadelphia, The Crossing and composer Kile Smith.After being awarded First Prize in the Louise D. McMahon International Music Competition, Doris gave her New York City debut, performing the world premiere of John Carbon's "Rhapsody for Clarinet and Orchestra," at Avery Fischer Hall, Lincoln Center, with Gerard Schwarz and the New York Chamber Symphony. About the performance, Allan Kozinn of The New York Times wrote, "... a demandingly agile clarinet line, played with both virtuosity and nuance by Doris J. Hall-Gulati, wove its way through a variegated orchestra fabric." Ms. Hall-Gulati made her Carnegie (Weill) Hall debut playing with the Alaria Chamber Ensemble, and her Merkin Hall debut, premiering Thea Musgrave's "Ring Out Wild Bells," with the Philadelphia Trio.In addition to her position as Principal Clarinet in The Chamber Orchestra of Philadelphia, The Ocean City, NJ Pops Orchestra and the PA Philharmonic Orchestra. Doris is also Acting Principal Clarinet/ Bass Clarinetist of Opera Philadelphia and Assistant Principal/Bass Clarinetist with the Lancaster Symphony. She also performs regularly with the PA Ballet, The Philly Pops, the Delaware Symphony , Orchestra 2001and Vox Amadeus. In 2011, Doris became an Artist-in-Residence at Franklin & Marshall College in Lancaster, PA and is happy to have joined the faculty of the Lancaster Bible College in 2015.An advocate for new music, Doris has performed in music festivals and on multiple Series as soloist and chamber musician throughout the world. Doris is a member of the FULBRIGHT-HAYS awarded ensemble Trio Clavino, performing throughout the US, Europe and Asia. Doris also performs annually with Beyond Ourselves, a group of chamber musicians who performs to help raise monies for MCC (Mennonite Central Committee) peace-keeping efforts around the world. In 2018, this four-member ensemble plus guests raised funds for the MCC/MDS post-hurricane efforts in Puerto Rico and Haiti. Doris also spent time in CUBA and BERMUDA in June 2017, volunteering as a clarinet instructor and mentor.Doris earned her Bachelor's degree from the Peabody Conservatory of Music, and she received a Masters in Music studying on a graduate fellowship from the University of Michigan. Doris is a Phi Kappa Lambda. Her principal instructors have been Ignatius Gennusa, Loren Kitt, and Fred Ormand. She was introduced to chamber music by Karen Tuttle, whom Doris greatly admired.Doris and her husband Andy are active in the Catastrophic Relief Alliance. This is a grass roots organization composed of college students and local craftspeople whose mission is to help those in need. CRA strives to provide support by rebuilding homes affected by natural disasters. Their most recent trip was in January 2019, traveling to New Orleans to assist with the continued recovery from the Hurricane Katrina devastation.Find Doris' work here:Youtube: https://www.youtube.com/channel/UCAnH0WHnyRA4RDB-E3S0ulwSpotify: https://open.spotify.com/artist/61CswefV5Xl3aTf0MMCWMw...Support this podcast at — https://redcircle.com/the-story/donations

Ignat Solzhenitsyn is recognized as one of today's most gifted artists, and enjoys an active career as both a conductor and pianist. His lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has also partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC's Nightline. Follow Ignat on Twitter here:https://www.twitter.com/isolzhSUPPORT ME ON TWITTER: https://www.twitter.com/cliftonaduncan SUBSCRIBE TO MY SUBSTACK: https://cliftonduncan.substack.com Intro/Outro: https://www.epidemicsound.com/track/s...Support this podcast, as well as small business, by clicking the link below and enjoying some delicious Twin Engine Coffee, our first sponsor!

Chris and Sridhar discuss session gigs, band education, Chris' dream of becoming a piano salesman, Howard Hanson's Symphony No. 2, Gerard Schwarz, the Seattle Symphony, and the art of conducting. Join the discussion: Tweet us @shreggz and @chris_arkin Episode clips on Instagram @impolitemedia Useful links: Pierre Boulez with hula girls Karajan conducts Sibelius: Finlandia Karajan conducts Smetana: The Moldau Karajan conducts Wagner: Overture to Die Meistersinger Wayne Bergeron Malcolm McNab Movies Jim Walker has played in Ratatouille - Wall Rat (Jim Walker flute solo) Alexander Malofeev plays Rachmaninoff - Lilacs Gerard Schwarz conducts Howard Hanson's Symphony No. 2 Howard Hanson - wikipedia Hanson Symphony No. 2 - wikipedia Gerard Schwarz - wikipedia Bernstein plays Gershwin: Rhapsody in Blue Aaron Copland: Duo for Flute and Piano Copland: Fanfare for the Common Man Claudio Abbado conducts Beethoven: Symphony No. 6, "Pastoral" András Schiff: Schubert documentary Seattle Symphony on YouTube Trumpet player disagrees with Bernstein - BBC Symphony Leonard Bernstein rehearses Elgar's Enigma Variations

This week on The Sound Kitchen you'll hear the answer to the question about the Paris Marathon. There are musings on doing nothing and the happiness it can bring, plenty of good music, and of course, the new quiz question, too. Just click on the “Audio” arrow above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all! Be sure you check out our wonderful podcasts! In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more. There's Paris Perspective, Africa Calling, Spotlight on France, and of course, The Sound Kitchen. We have a bilingual series - an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too. As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our excellent staff of journalists. You never know what we'll surprise you with! To listen to our podcasts from your PC, go to our website and click on the three horizontal bars on the top right, choose “Listen to RFI / Podcasts”, and you've got ‘em ! You can either listen directly or subscribe and receive them directly on your mobile phone. To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show.  Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below.  Another idea for your students: My beloved music teacher from St Edward's University in Austin, Texas, Dr Gerald Muller, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.  Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload! And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”). There's a Facebook page for members of the general RFI Listeners Club, too. Just click on the link above and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do! This week's quiz: On 9 April, I asked you a question about the Paris Marathon. You were to send me the name of the man and the woman who won, as well as their nationalities and their run times.  The answer is: Ethiopia's Deso Gelmisa won the men's title, and Kenya's Judith Jeptum secured the women's title. Gelmisa finished in two hours, five minutes, and seven seconds - 14 seconds outside his personal best. Kenya's Judith Jeptum won the women's race by beating the course record in two hours, 19 minutes, and 48 seconds. The winners are: Nuraiz bin Zaman, a member of the RFI Amour Fan Club in Rajshahi, Bangladesh; Asif Ahemmed, a member of the RFI International DX Radio Listeners Club in Murshidabad, India; RFI Listeners Club member Muhammad Nasyr from Katsina State, Nigeria; RFI English listeners Tapsi Bain from the Pariwar Bandhu SWL Club in Chhattisgarh, India, and Bidhan Chandra Tikader, the president of the Gopalganj International Radio Club in Gopalganj, Bangladesh. Congratulations winners! Here's the music you heard on this week's program: The allegretto from David Diamond's Symphony No. 4, performed by the Seattle Symphony conducted by Gerard Schwarz; a traditional Batacuda written by Rafa Navarro and played by PercuFest; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov, and “O Namorado Da Viúva” by Jorge Ben, performed by the composer and his ensemble. Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... You have to listen to the show to participate. After you've listened to the show, refer to Laura Angela Bagnetto's article “COP15: Securing land rights is crucial to land restoration in Africa” to help you find the answer. You have until 6 July to enter this week's quiz; the winners will be announced on the 9 July podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number. Send your answers to: english.service@rfi.fr or Susan Owensby RFI – The Sound Kitchen 80, rue Camille Desmoulins 92130 Issy-les-Moulineaux France or By text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number. To find out how you can win a special Sound Kitchen prize, click here. To find out how you can become a member of the RFI Listeners Club, or to form your own official RFI Club, click here. 

Synopsis Temple Emanu-El in San Francisco is one of America's foremost reform congregations. For some 50 years its cantor was Reuben Rinder, who, in addition to his liturgical duties, was a composer, impresario, and musical mentor. Cantor Rinder influenced the careers of two of the 20th century's greatest violinists, Yehudi Menuhin and Isaac Stern, and also commissioned two of the 20th century's most famous concert versions of the Jewish liturgy, the Evening and Morning Sabbath Service settings of Ernst Bloch and Darius Milhaud. Milhaud's Sabbath Morning Service was first heard at Temple Emanu-El on today's date in 1949, with its composer conducting. Milhaud was born in Provence and wrote that the Provencal Jewish tradition evoked in his score differs somewhat from the more standard Ashkenazi liturgy prevalent in most American synagogues then and now. The composer's intention was to create a personal musical statement that could serve as both an actual liturgy for the faithful and as an ecumenical musical experience for any and all who hear the work, whether in temple or concert hall. In that respect, Milhaud's Sacred Service was a great success. Alongside Bloch's setting, written in the early 1930s, shortly before the onset of the Holocaust, Milhaud's setting, written in the years following the conclusion of World War II, remains a powerful and moving affirmation of religious faith. Music Played in Today's Program Darius Milhaud (1892 - 1974) — Sabbath Morning Service (Prague Philharmonic Choir; Czech Philharmonic; Gerard Schwarz, cond.) Naxos 8.559409

All of us are made with unique gifts—ultimately so we can bless the world. But how can we discover our gifts and lean into our calling? Join host Richard Dahlstrom as he talks with John Carrington, the Principal Harpist with the Pacific Northwest Ballet Orchestra, the Bellevue Philharmonic and the Auburn Symphony.  Seattle native John Carrington appears regularly with the Seattle Symphony and Seattle Opera where he was Guest Principal Harpist for several seasons. He performs with the Fifth Avenue Theatre Orchestra and has worked as solo harpist on Cunard Line's "Queen Elizabeth 2" performing for its World Cruise on six continents John's classical background includes performances with such conductors as Seiji Ozawa, Charles Dutoit, Leonard Slatkin, Gerard Schwarz, Asher Fisch and John Rutter. His popular music experience is equally notable, as he has shared the stage with Tony Bennett, José Carreras, Josh Groban, Olivia Newton-John, Rita Moreno, Doc Severinsen, and James Taylor, to name a few. In addition, John is a sought-after recording artist, participating in over 200 motion picture soundtracks and including “Mr. Holland's Opus”, “The Wedding Planner,” and several Disney and Hallmark Hall of Fame productions. He's also performed on video game soundtracks including "Halo" and "World of Warcraft." He received his Master of Music degree from the Cleveland Institute of Music after earning his Bachelor of Music from the University of Washington.

Verdi's masterpiece returns to Seattle Opera May 2023. Initially this sumptuous, tuneful, utterly human tragedy sparked controversy, but it quickly became one of the world's most beloved operas. Seattle Opera Dramaturg Jonathan Dean introduces La traviata, with musical examples from previous Seattle Opera productions including 1996 (conducted by Gerard Schwarz and starring Gordon Hawkins and Lauren Flanigan), 2009 (conducted by Brian Garman and starring Francesco Demuro and Eglise Guttierez), and 2016 (conducted by Stefano Ranzani and starring Angel Blue).

Synopsis Today's date marks the birthday of a significant American composer with an intriguing name, sounding at once both French and Slavic. Henri Lazarof was born in Sofia, Bulgaria, on April 12, 1932, and began his musical studies at the age of 6. He graduated from the Sofia Academy at the age of 16, studied composition in Rome with the Italian modernist Goffredo Petrassi, came to the United States in 1957 for further study, and eventually settled in California, securing a teaching position at the University of California, Los Angeles, where he taught not only composition, but French language and literature as well. Lazarof organized L.A.'s first festival of contemporary music in 1963 and has continued enthusiastically promoting new music. In a Festival brochure, Lazarof once wrote that his music series was “dedicated to the presentation of the entire broad range of this historically evolving art without adopting a single ideology but the one of continuity – accepting tradition and altering it in terms of contemporary experimentation, which in turn is to become the legacy for the next generation to alter." Music Played in Today's Program Henri Lazarof (1932 - 2013) — Violin Concerto (Yukiko Kamei, violin; Seattle Symphony; Gerard Schwarz, cond.) Naxos 8.559159

Synopsis In a creative life that spanned over 60 years, the American composer Howard Hanson never wavered in his belief that music should be tonal in nature and fundamentally Romantic in style, with strong and clear melodic lines. By the mid-1950s, many other European and American composers were espousing a far different approach to music, favoring an abstract and often densely complex style, more in harmony with the non-representational canvases of the painter Jackson Pollack than the meticulous realism of, say, Norman Rockwell. On today's date in 1955, this music, Hanson's Symphony No. 5, had its premiere performance by the Philadelphia Orchestra under Eugene Ormandy. It's the most compact of Hanson's seven symphonies, a single-movement work in three sections lasting just 15 minutes. Hanson titled the work “Sinfonia Sacra” or “A Sacred Symphony,” and suggested it was inspired by the account of Christ's resurrection in the Gospel of St. John. “The Sinfonia Sacra does not attempt programmatically to tell the story of the first Easter,” wrote Hanson, “but does attempt to invoke some of the atmosphere of tragedy and triumph, mysticism and affirmation of this story, which is the essential symbol of the Christian faith.” Music Played in Today's Program Howard Hanson (1896 - 1981) — Symphony No. 5 (Sinfonia Sacra) (Seattle Symphony; Gerard Schwarz, cond.) Delos 3130 On This Day Births 1632 - Italian composer Giovanni Battista Vitali, in Bologna; 1864 - American music publisher Gustave Schirmer, Jr., in New York City, son of the German-born music publisher Gustave Schirmer, Sr. 1915 - French composer Marcel Landowski in Prêt L'Abbé (Finistère); 1939 - Brazilian composer, conductor and pianist Marlos Nobre, in Recife; Deaths 1956 - French composer French composer Gustave Charpentier, age 95, in Paris; Premieres 1743 - Handel: oratorio “Samson,” at Covent Garden Theatre in London, and possibly the premiere of Handel's recently-completed Organ Concerto Op. 7, no. 2 at the same concert (Gregorian date: Mar. 1); 1874 - Rimsky-Korsakov: Symphony No. 3, in St. Petersburg (Gregorian date: Mar. 2); 1893 - Berlioz: "La Damnation de Faust" (as a staged opera), in Monte Carlo with a cast headed by tenor Jean de Reske; Berlioz conducted the first concert performance of this work (as an oratorio) at the Opéra-Comique in Paris on Dec. 6, 1946; 1893 - Brahms: Intermezzo No. 1, for piano, from Op. 117, in Vienna; 1895 - Loeffler: Quintet for three violins, viola and cello, at Boston's Union Hall by the Kneisel Quartet joined by violinist William Kraft; 1916 - Daniel Mason: First Symphony (first version), by the Philadelphia Orchestra, Leopold Stokowski conducting; 1919 - Deems Taylor: chamber suite "Through The Looking Glass," by the New York Chamber Music Society; 1947 - Menotti: one-act opera "The Telephone," in New York City at the Heckscher Theater; 1952 - Prokofiev: Sinfonia Concertante, Op. 125 (as "Cello Concerto" No. 2), in Moscow, with Sviatoslav Richter conducting and Mstislav Rostropovich the soloist; 1955 - Hanson: Symphony No. 5 ("Sinfonia Sacra"), the Philadelphia Orchestra, Eugene Ormandy conducting; 1965 - Ginastera: Harp Concerto, by harpist Nicanor Zabaleta , with the Philadelphia Orchestra, Eugene Ormandy conducting; 1998 - Thea Musgrave: "Phoenix Rising," at the Royal Festival Hall in London, by the BBC Symphony, Andrew Davis conducting. Links and Resources On Howard Hanson

Episode 63 An Electronic Poetry Slam   Playlist Roland Giguere, “Les Heures Lentes” from Voix De 8 Poètes Du Canada (1958 Folkways). Spoken poetry intermixed with musique concrete by Francois Morel. The electronic music and poetry are never heard simultaneously on this album, but the music was composed to set the tone for each work that followed. 1:29. François Dufrêne & Jean Baronnet, “U 47” from A Panorama Of Experimental Music, Vol. 1: Electronic Music / Musique Concrete (1967 Mercury). Dufrêne was a French sound poet and visual artist who performed what he called "crirythmes," a style of vocal noises. The electronic music on tape was composed by Baronnet, who was a co-founder, with Pierre Henry, of Studio Apsome, their private studio for electronic music, after their break from the GRM studios of Pierre Schaeffer in 1958. Recorded under the supervision of Pierre Henry, in collaboration with the sound laboratories of the West German Radio (Cologne), Italian Radio (Milan), French Radio and Television (Paris), and the Studio Apsome (Paris). 3:33 Intersystems, “A Cave in the Country” from Peachy (1967 Pentagon). This was the Canadian experimental music band that produced some radically original music and performed live events mostly in the Toronto area from 1967 to 1969. Poetry and vocals by Blake Parker. Electronic music using the Moog Modular synthesizer by John Mills-Cockell. Performers, Blake Parker, Dik Zander, John Mills-Cockell, Michael Hayden. 1:50 Intersystems, “Carelessly Draped in Black” from Peachy (1967 Pentagon). This was the Canadian experimental music band that produced some radically original music and performed live events mostly in the Toronto area from 1967 to 1969. Poetry and vocals by Blake Parker. Electronic music using the Moog Modular synthesizer by John Mills-Cockell. Performers, Blake Parker, Dik Zander, John Mills-Cockell, Michael Hayden. 4:32 Bruce Clarke, “Of Spiralling Why” from The First See + Hear (1968 See/Hear Productions). From See/Hear, a quarterly publication of recordings of contemporary sound arts. There were three issues total. All from Canada. When there was electronic music, it was provided and created by Wayne Carr using a Buchla Box. Carr was associated with all three of the See/Hear albums/issues. This piece was commissioned for the Adelaide 1968 Arts Festival by the Melbourne ISCM, fragments of poetry were chosen at random from the unpublished works of the late Ann Pickburn, whom I believe you hear performing her words on this track. 9:35 Jim Brown and Wayne Carr, “Blues for Electric” from Oh See Can You Say (1968 See/Hear). Poetry and synthesizer. Poetry and voice, Jim Brown; engineer, Buchla Box, Wayne Carr. The second LP of this quarterly LP/magazine that seemed to only have three issues. “Wayne Carr plays synthesizer whenever it happens.” This is noted on another LP as a Buchla Box, so I've assumed that's what he used on all three albums. 3:09 bill bissett & Th Mandan Massacre (sp), “fires in th tempul” from Awake In Th Red Desert (1968 See/Hear Productions). Poetry and voice, Bill Bissett; Toy Flute, Roger Tentrey; Flute, Tape Recorder, Ross Barrett; Guitar, Terry Beauchamp; Percussion, Gregg Simpson, Harley McConnell, Ken Paterson, Martina Clinton; Producer, Jim Brown; Buchla Box, engineer, Wayne Carr. 3:32 bill bissett & Th Mandan Massacre (sp), “now according to paragraph c” from Awake In Th Red Desert (1968 See/Hear Productions). Poetry and voice, Bill Bissett; Toy Flute, Roger Tentrey; Flute, Tape Recorder, Ross Barrett; Guitar, Terry Beauchamp; Percussion, Gregg Simpson, Harley McConnell, Ken Paterson, Martina Clinton; Producer, Jim Brown; Buchla Box, engineer, Wayne Carr. 2:40 Ruth White, “The Irremediable” from Flowers Of Evil (1969 Limelight). Electronic music, translations, and vocalizations by Ruth White. Words by Charles Baudelaire. Legendary American electronic music pioneer, most noted for her early explorations of sound using the Moog synthesizer. "An electronic setting of the poems of Charles Baudelaire composed and realized by Ruth White." 4:55 Ruth White, “The Cat” from Flowers Of Evil (1969 Limelight). Electronic music, translations, and vocalizations by Ruth White. Words by Charles Baudelaire. Legendary American electronic music pioneer, most noted for her early explorations of sound using the Moog synthesizer. "An electronic setting of the poems of Charles Baudelaire composed and realized by Ruth White." 3:27 Charles Dodge, “Speech Songs: No. 1 When I Am With You (Excerpt)” and “Speech Songs: No. 2 He Destroyed Her Image (Excerpt)” from from 10+2: 12 American Text Sound Pieces (1975 1750 Arch Records). Realized at the Bell Telephone Laboratories for computer music in 1975. 3:45 William Hellermann, “Passages 13 – The Fire (For Trumpet & Tape)” from Peter Maxwell Davies / Lucia Dlugoszewski / William Hellerman, Gerard Schwarz, Ursula Oppens, The New Trumpet (1975 Nonesuch). Composed by William Hellermann; voices, Jacqueline Hellerman, John P. Thomas, Marsha Immanuel, and Michael O'Brien; words by Robert Duncan. This poem was first published in 'Poetry,' April-May 1965. Tape realized by Hellerman at the Columbia-Princeton Electronic Music Center. 25:28 Robert Ashley, “In Sara, Mencken, Christ And Beethoven There Were Men And Women (Excerpt)” from 10+2: 12 American Text Sound Pieces (1975 1750 Arch Records). Lyrics By – John Barton Wolgamot; Moog Synthesizer,Paul DeMarinis; Voice, Robert Ashley. Excerpt from an album-length work released in 1974 on Cramps Records. 3:53 Robert Ashley, “Interiors with Flash” from Big Ego (1978 Giorno Poetry Systems). A study for what would become Automatic Writing, a longer work by Ashley. recorded at Mills College, Oakland, California, May 14, 1978. Voice, Mimi Johnson; Electronics, Polymoog, Voice, written, produced, and mixed by Robert Ashley. 3:05 Joan La Barbara, “Cathing” from Tapesongs (1977 Chiaroscuro Records). Composed, produced, edited and sung by Joan La Barbara. The story behind this piece is a great one. In the 1970s, La Barbara, along with Meredith Monk, emerged in America as two of the premiere practitioners of avant garde vocalizing. Some might recognize the name of this piece as possibly a tribute to Cathy Berberian, the earlier generation's version of an avant garde diva (La Barbara and Monk would never consider themselves as divas in the sense that Berberian was). Rather than being a tribute to Berberian, La Barbara was responding to a radio interview (apparently broadcast during the intermission of her concert at the 1977 Holland Festival). Berberian was outspoken about the new generation of vocalists and wondered out loud how any respectable composer could write for “one of those singers.” La Barbara's response, composed in response, took excerpts from the interview (20 phrases), edited and rearranged them, altered them electronically to compose this piece. In her liner notes, she only identifies Berberian as another “professional singer.” Take that! 8:01. Laurie Anderson, “Closed Circuits” from You're The Guy I Want To Share My Money With (1981 Girono Poetry Systems). One of Anderson's tracks from this 2-LP collection of text and poetry that also includes works by John Giorno and William Burroughs. I think this was the tenth album from Giorno that began in 1975 with the Dial-A-Poem Poets. Electronics (Microphone Stand Turned Through Harmonizer), Wood Block, voice, Laurie Anderson. 7:23. Background music for opening Laurie Anderson, “Dr. Miller” from You're The Guy I Want To Share My Money With (1981 Girono Poetry Systems). Another of Anderson's tracks from this 2-LP collection of text and poetry that also includes works by John Giorno and William Burroughs. This is another version of a track that later appeared on Anderson's Unted States Live LP in 1984. Saxophone, Perry Hoberman; Synthesizer, Percussion, voice, Laurie Anderson. 4:19 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Synopsis On today's date in 1903, violinist and conductor Harry West led the very first performance by the Seattle Symphony. At that time, the orchestra comprised just 24 players. For their first program, the aptly named Maestro “West” conducted Schubert and Rossini, two long-dead classical masters, and also programmed works by three living composers: Max Bruch, Jules Massenet, and Pablo Sarasate. More recently, under music director Gerard Schwarz, the Seattle Symphony earned worldwide attention with its recordings of both classical and contemporary works, including critically acclaimed recordings of symphonic works by modern American masters like Howard Hanson, David Diamond, and Alan Hovhaness, as well as newer pieces by a younger generation of American composers including Richard Danielpour and Stephen Albert.That tradition continued under Gerard Schwarz's successor Ludovic Morlot, who took particular interest in fostering music from Seattle composers, including composers within the orchestra itself. And the Seattle Symphony commissioned and premiered a work by the American composer John Luther Adams entitled “Become Ocean,” which went on to win the 2014 Pulitzer Prize for Music and the 2015 Grammy Award for Best Classical Contemporary Composition. Music Played in Today's Program Max Bruch (1838–1920) — Violin Concerto No. 2, Op. 44 (Nai-Yuan Hu, violin; Seattle Symphony; Gerard Schwarz, cond.) Delos 3156 John Luther Adams (b. 1953) – Become Ocean (Seattle Symphony; Ludovic Morlot, cond.) Cantaloupe 21161

Synopsis In the 1930s and 40s, radio's so-called “Golden Age,” Deems Taylor was the dominant “voice” of classical radio. Taylor was both the broadcast announcer of the New York Philharmonic on the CBS Network, and the opera commentator for NBC. He was also the voice-over narrator in the famous Disney animated film “Fantasia”. In his day, Deems Taylor was also a very successful composer, producing a wide variety of works ranging from orchestral works to grand operas, including two that were commissioned by and staged at the prestigious Metropolitan Opera in New York: “The King's Henchman,” composed to a libretto by Edna St. Vincent Millay premiered there in 1927, and “Peter Ibbetson,” based on a novel by George du Maurier, in 1931. Deems Taylor was also a very fine writer and critic on musical topics, and the author of several books. He was born in New York City on today's date in 1885 and died there in 1966. The year after his death, ASCAP, the American Society of Composers, Authors, and Publishers, established the annual Deems Taylor Awards to acknowledge outstanding coverage of music topics – and in the interest of full disclosure, this program, Composers Datebook was one of the recipients of that award. Music Played in Today's Program Deems Taylor (1885–1966) — Through the Looking Glass (Seattle Symphony; Gerard Schwarz, cond.) Delos 3099

Synopsis In 1944, while the Second World War ground on in Europe and Asia, David Diamond's “Rounds for String Orchestra” received its premiere performance by the Minneapolis Symphony and its then conductor, Dimitri Mitropoulos.  “Write me a happy work,” Mitropoulos had asked Diamond. “These are distressing times, most of the difficult music I play is distressing. Make me happy.” To some in 1944, “Rounds” sounded as if Diamond had turned to traditional American folk music, but, as the composer put it, “the tunes are original. They sound like folk tunes, but they are really the essence of a style that must have been absorbed by osmosis.” Even the stodgy conservative music critic of the St. Paul Pioneer Press expressed her grudging admiration: “it reveals a good deal of talent and resourcefulness” was her verdict. Reviewing a subsequent Boston Symphony performance under Koussevitzky, New York Times critic Olin Downes was much more enthusiastic. He wrote: “It is admirably fashioned, joyous and vernal. There is laughter in the music.” “Rounds” has gone on to become one of Diamond's most frequently performed works. Perhaps joy and laughter in music remains as rare and precious a commodity now as it was back in those distressed days of 1944. Music Played in Today's Program David Diamond (1915-2005) — Rounds (Los Angeles Chamber Orchestra; Gerard Schwarz, cond.) Nonesuch 79002

Listen to four specially selected works from David's recordings, discussions about each work and, of course, all things six strings!Guest:David LeisnerAn extraordinarily versatile musician with a multi-faceted career as an electrifying performing artist, a distinguished composer, and a master teacher.“Among the finest guitarists of all time”, according to American Record Guide, David Leisner's career began auspiciously with top prizes in both the 1975 Toronto and 1981 Geneva International Guitar Competitions. His recent seasons have taken him around the US, including his solo debut with the Atlanta Symphony, a major tour of Australia and New Zealand, and debuts and reappearances in China, Japan, the Philippines, Germany, Hungary, Switzerland, Austria, Denmark, Sweden, Ireland, the U.K., Italy, Czech Republic, Greece, Puerto Rico and Mexico. An innovative three-concert series at Weill Recital Hall in Carnegie Hall included the first all-Bach guitar recital in New York's history, and currently he is the Artistic Director of Guitar Plus, a New York series devoted to chamber music with the guitar. He has also performed chamber music at the Santa Fe, Music in the Vineyards, Vail Valley, Crested Butte, Rockport, Cape and Islands, Bargemusic, Bay Chamber, Maui, Portland, Sitka and Angel Fire Festivals, with Zuill Bailey, Tara O'Connor, Eugenia Zukerman, Kurt Ollmann, Lucy Shelton, Ida Kavafian, the St. Lawrence, Enso, Escher and Vermeer Quartets and many others. Celebrated for expanding the guitar repertoire, David Leisner has premiered works by many important composers, including David Del Tredici, Virgil Thomson, Ned Rorem, Philip Glass, Richard Rodney Bennett, Peter Sculthorpe, Osvaldo Golijov, Randall Woolf, Gordon Beeferman and Carlos Carillo, while championing the works of neglected 19th-century guitar composers J.K. Mertz and Wenzeslaus Matiegka.A featured recording artist for Azica Records, Leisner has released 9 highly acclaimed CDs, including the most recent, Arpeggione with cellist Zuill Bailey, and Facts of Life, featuring the premiere recordings of commissioned works by Del Tredici and Golijov. Naxos produced his recording of the Hovhaness Guitar Concerto with Gerard Schwarz and the Berlin Radio Orchestra. Other CDs include the Koch recording of Haydn Quartet in D with the Santa Fe Chamber Music Festival and Hovhaness Spirit of Trees for Telarc with harpist Yolanda Kondonassis. And Mel Bay Co. released a solo concert DVD called Classics and Discoveries. Mr. Leisner is also a highly respected composer noted for the emotional and dramatic power of his music. Fanfare magazine described it as “rich in invention and melody, emotionally direct, and beautiful”. South Florida Classical Review called him “an original and arresting compositional voice.” Recent commissioners include the Rob Nathanson for the New Music Festival at UNC Wilmington, Cavatina Duo, baritone Wolfgang Holzmair, Arc Duo, Stones River Chamber Players (TN), Fairfield Orchestra (CT), Red Cedar Chamber Music (IA), and the Twentieth Century Unlimited Series (NM). Recordings of his works are currently available on the Sony Classical, ABC, Dorian, Azica, Cedille, Centaur, Town Hall, Signum, Acoustic Music, Athena and Barking Dog labels. The Cavatina Duo's recording of his complete works for flute and guitar, Acrobats (Cedille) was released to exceptionally strong reviews. His compositions are mostly published by Merion Music/Theodore Presser Co., as well as AMP/G. Schirmer, Doberman-Yppan and Columbia Music.David Leisner has been a member of the guitar faculty at the Manhattan School of Music since 1993, and also taught at the New England Conservatory from 1980-2003. Primarily self-taught as both guitarist and composer, he briefly studied guitar with John Duarte, David Starobin and Angelo Gilardino and composition with Richard Winslow, Virgil Thomson, Charles Turner and David Del Tredici. His book, Playing with Ease: a healthy approach to guitar technique, published by Oxford University Press, has received extraordinary acclaim.Website: www.davidleisner.com

Synopsis On today's date in 1959, the Detroit Symphony under the eminent French conductor Paul Paray gave the first performance of some brand-new music by the eminent American composer Walter Piston.  Piston had studied in Paris with the famous French composition teacher Nadia Boulanger and the great French composer Paul Dukas, so perhaps this was a very astute paring of composer and conductor. In any case, to help celebrate the 100th Worcester Festival, Paray and the Detroit orchestra were on hand in Massachusetts for the premiere of Piston's "Three New England Sketches," an orchestral suite whose movements were entitled: "Seaside," "Summer Evening," and "Mountains." Piston didn't intend these titles to be taken literally: "[They] serve in a broad sense to tell the source of the inspirations, reminiscences, even dreams that pervaded the otherwise musical thoughts of one New England composer," he noted. Piston certainly qualified as a bonafide "New England" composer. He was born in Rockland, Maine, in 1894, taught at Harvard, had a vacation home in Vermont, and died in Belmont, Massachusetts in 1976. Even so, the most striking hallmark of Piston's music remains its quite cosmopolitan style and neo-classical form – the lasting influence, perhaps, of his two famous French teachers. Music Played in Today's Program Walter Piston (1894 – 1976) — Three New England Sketches (Seattle Symphony; Gerard Schwarz, cond.) Delos 3106

Synopsis On today's date in 1950, the famous oboist Marcel Tabuteau gave the premiere performance of this “Pastorale” for solo oboe, harp, and strings, with his colleagues from the Philadelphia Orchestra. The music was by Howard Hanson, who dedicated the piece to his wife Peggy. Hanson was born in Wahoo, Nebraska in 1896. As a talented teenager, Hanson recalls a German-born musician in New York asking him: “Well, now, Hanson, why do you waste your time at futile efforts in composition when you could became a great concert pianist?” This, said Hanson, from someone who had never heard one note he had written. “In the true German tradition,” Hanson recalled, “he figured that nobody from Nebraska could possibly write good music. It took 40 years to get rid of that kind of thinking in the U.S. – and we're not over it yet.” Hanson was a successful composer, conductor, and educator in his early 80s when he made those comments, but retained his sense of humor, as evidence by this comment from the octogenarian: “Peggy will say to me, ‘What are you going to do now?' and I'll say, ‘I'm going upstairs to waste my time in futile efforts at composition.'” Music Played in Today's Program Howard Hanson (1896 – 1981) — Pastorale (Randall Ellis, oboe; Susan Jolles, harp; Seattle Symphony; Gerard Schwarz, cond.) Delos 3105

Synopsis On today's date in 1944, a 29-year-old American composer named David Diamond had his Second Symphony premiered by the Boston Symphony under the famous Russian conductor Serge Koussevitzky. Diamond says he had written this music for the charismatic Greek maestro Dimitri Mitropoulos, then the music director of the Minneapolis Symphony. “Mitropoulos had given a fine performance of my First Symphony,” said Diamond. “When I showed him the score of the Second he said, ‘you must have the parts extracted at once!' As these were readied, I asked him whether he was planning to perform the work. He then told me he thought he would not stay on in Minneapolis, but said, ‘Why don't you send it to Koussevitzky?' I did so, and Koussevitzky [invited me to a] trial reading at Symphony Hall. When it was over, the orchestra applauded like crazy. Koussevitzky turned to me and said, ‘I will play!'” Successful as Diamond was back in 1944, for many decades thereafter his neo-Romantic symphonic scores were neglected until Gerard Schwartz's CD recordings of some of them with the Seattle Symphony sparked a revival.  By then, Diamond was in his 70s, and commented: “The romantic spirit in music is important because it is timeless.” Music Played in Today's Program David Diamond (1915-2005) — Symphony No. 2 (Seattle Symphony; Gerard Schwarz, cond.) Delos 3093

Synopsis On today's date in 1959, the Swiss-born American composer Ernest Bloch died in Portland, Oregon, just short of his 79th birthday. Bloch came to America in 1916, when he was 36 years old. His music made an immediate impression, and an all-Bloch orchestral concert in New York presented the premiere of his most famous work, a rhapsody for cello and orchestra entitled “Schelomo,” after the Hebrew name for King Solomon. The success of that concert led to a contract with the publisher G. Schirmer, who published Bloch's compositions with what was to become a trademark logo – the six-pointed Star of David with the initials E.B. in the center, an imprimatur that firmly established for Bloch a Jewish identity in the public mind.In 1924, Bloch became a naturalized American citizen, and in 1928, he composed an orchestral piece entitled “America,” selected as the winner of a Musical America competition for the best symphonic work glorifying American ideals. In the 1930s, Bloch returned to Switzerland for a time, but, with the rise of anti-Semitism in Germany and Italy, returned to America and settled in Agate Beach, Oregon where he continued to compose, and a new Oregon coast hobby: collecting and polishing agates. Music Played in Today's Program Ernest Bloch (1880 – 1959): America (Seattle Symphony; Gerard Schwarz, cond.) Delos 3135

Synopsis On today's date in 1959, the Swiss-born American composer Ernest Bloch died in Portland, Oregon, just short of his 79th birthday. Bloch came to America in 1916, when he was 36 years old. His music made an immediate impression, and an all-Bloch orchestral concert in New York presented the premiere of his most famous work, a rhapsody for cello and orchestra entitled “Schelomo,” after the Hebrew name for King Solomon. The success of that concert led to a contract with the publisher G. Schirmer, who published Bloch's compositions with what was to become a trademark logo – the six-pointed Star of David with the initials E.B. in the center, an imprimatur that firmly established for Bloch a Jewish identity in the public mind.In 1924, Bloch became a naturalized American citizen, and in 1928, he composed an orchestral piece entitled “America,” selected as the winner of a Musical America competition for the best symphonic work glorifying American ideals. In the 1930s, Bloch returned to Switzerland for a time, but, with the rise of anti-Semitism in Germany and Italy, returned to America and settled in Agate Beach, Oregon where he continued to compose, and a new Oregon coast hobby: collecting and polishing agates. Music Played in Today's Program Ernest Bloch (1880 – 1959): America (Seattle Symphony; Gerard Schwarz, cond.) Delos 3135

Synopsis On this date in 1970, the New York Philharmonic, led by Andre Kostelanetz, introduced the world's largest vocal soloists in the premiere performance of “And God Created Great Whales,” by American composer Alan Hovhaness. The New York Times review found the music accompanying the recorded songs of whales “fairly inconsequential,” but pleasant enough.  “Faced with such an irresistible soloist,' the review continued, “Mr. Hovhaness must have suspected he would be harpooned.  But with his customary skill he put up a battle . . . conjuring up the sea by unmeasured bowing and overlapping patterns and setting brass and percussion to echoing the real thing.” Hovhaness died on June 21, 2000 at the age of 89, having written over 500 works, including 67 symphonies. He once said, “I'm very happy if somebody else likes [my music], but I don't mind if anybody doesn't, and I don't have ANY respect for critics.” Hovhaness did have his champions, like Leopold Stokowski, who asked him for a new symphony in the early 1950's.  Hovhaness said Stokowski asked him to give it a title, since people liked titles. So Hovhaness called his new symphony, “Mysterious Mountain.”  Stokowski was pleased – and right. “Mysterious Mountain” went on to become Hovhaness's best-known work. Music Played in Today's Program Alan Hovhaness (1911 - 2000): And God Created Great Whales (Seattle Symphony; Gerard Schwarz, cond.) Delos DE-3157

Synopsis On this date in 1970, the New York Philharmonic, led by Andre Kostelanetz, introduced the world's largest vocal soloists in the premiere performance of “And God Created Great Whales,” by American composer Alan Hovhaness. The New York Times review found the music accompanying the recorded songs of whales “fairly inconsequential,” but pleasant enough.  “Faced with such an irresistible soloist,' the review continued, “Mr. Hovhaness must have suspected he would be harpooned.  But with his customary skill he put up a battle . . . conjuring up the sea by unmeasured bowing and overlapping patterns and setting brass and percussion to echoing the real thing.” Hovhaness died on June 21, 2000 at the age of 89, having written over 500 works, including 67 symphonies. He once said, “I'm very happy if somebody else likes [my music], but I don't mind if anybody doesn't, and I don't have ANY respect for critics.” Hovhaness did have his champions, like Leopold Stokowski, who asked him for a new symphony in the early 1950's.  Hovhaness said Stokowski asked him to give it a title, since people liked titles. So Hovhaness called his new symphony, “Mysterious Mountain.”  Stokowski was pleased – and right. “Mysterious Mountain” went on to become Hovhaness's best-known work. Music Played in Today's Program Alan Hovhaness (1911 - 2000): And God Created Great Whales (Seattle Symphony; Gerard Schwarz, cond.) Delos DE-3157

Hi, this is James Newcomb and I'm excited to republish an episode of the show from way back in February of 2016. This was one of the best received, one of the most downloaded episodes of the first year of the podcast, 2016. To this day, it's one of my top highlights of my podcasting career. And at that time I think I realized I'm onto something really special, to talk to people who held someone like William Vacchiano in such high esteem. And it was just a real honor to be a part of it. I think it led to me wanting to take podcasting seriously and make it my career. In this biography style episode, you're going to hear Brian Shook, who is the author of https://amzn.to/3oVMnCY (Last Stop, Carnegie Hall). It also features Manny Laureano, Ronald Romm, and finally Gerard Schwartz. It also features a couple of guests we may or may not hear from in the future... In this episode, you'll hear:-We meet Don Clarino, founder of the Genco Valve Oil company, patriarch of the Clarino crime family...00:33"...Then I said to my wife, 'for justice, we must go to Don Clarino...'" -Vacchiano's view of the trumpeter's role in the bigger picture...09:45"You're a musician first, the trumpet is how you express the music." -Vacchiano was supposed to play the clarinet...12:00-"Aside from your tone, your rhythm, your articulation, not bad..." Gerard Schwarz' first lesson w/ Mr. Vacchiano...14:50He got me to play and sound the he wanted - and the way I wanted -Miles Davis and Vacchiano like oil and water...17:30"The horn goes back into the case," said Miles when quizzed on a tricky transposition situation -(Gerard Schwarz) Why Mr. Vacchiano never attended concerts put on by his students...20:37"Gerry, I had no idea you could play like that!" -(Manny Laureano) A style of teaching designed to make the student become their own teacher...24:05-How to study with Vacchiano if you didn't go to Juilliard...25:38-(Ron Romm) "Vacchiano was all about getting it done..."...28:07"Is the fan too loud? Do you want it closer to you?" -Knowing how to keep the ego in check, going to bat for your guys...31:17-(Ronald Romm) Not trying to be a leader, just doing what is necessary to get the job done...35:15"He was not a ball hog" "Everything he taught us was from a leadership position" -What Brian Shook was looking for when he began his research, and how that changed over time...45:15-The one thing young players today can learn from Vacchiano's methods...49:11http://jamesnewcombontrumpet.com/wp-content/uploads/2021/05/Vacchiano-Transcript.pdf (Click here to download a written transcript of this episode) Resources mentioned in this episode:-http://williamvacchiano.com (williamvacchiano.com) -https://amzn.to/3oVMnCY (Last Stop, Carnegie Hall) by Brian Shook -https://mannylaureano.com (Manny Laureano's personal blog) -https://www.rommtrio.com (Ron Romm's family trio) -https://www.gerardschwarz.com (Gerard Schwarz website) Credits:Trumpet Dynamics: The Story of the Trumpet, In the Words of Those Who Play It "It's Always About the Music": William Vacchiano Remembered by (a few of) Those Who Knew Him Best Originally published: 1 February 2016 Republished: 31 May 2021 Host: James Newcomb Guests: Brian Shook: Author, https://amzn.to/3oVMnCY (Last Stop, Carnegie Hall) Manny Laureano: Principal trumpet, http://mnorch.org (Minnesota Orchestra) Ronald Romm: Founding member, http://canadianbrass.com (Canadian Brass) Gerard Schwarz: Former trumpeter; longtime music director, http://seattlesymphony.org (Seattle Symphony) "For Justice, We Must Go to Don Clarino": Written by James Newcomb Performed by James Newcomb and "Destill" username on fiverr.com Audio editing and show notes for this episode done by James Newcomb For a full service podcast production option, visit https://committedmedia.org/podcast-artistry/ (podcastartistry.com) Copyright 2021 James Newcomb and Committed Media, LLC

Synopsis On today’s date in 1980, at 8:32 a.m. Pacific Time, Mount St. Helens erupted, its north face collapsing in a massive rock avalanche. Pressurized gasses from the volcano flattened 150 miles of forest, and killed every living thing within a ten-mile radius. A mushroom-shaped column of ash rose thousands of feet skyward, and day was turned to night as grey ash fell over eastern Washington state. It was an awe-inspiring spectacle witnessed by the American composer, Alan Hovhaness, who, in 1983, wrote his Symphony No. 50, a work subtitled “Mt. St. Helens.” “Since 1972,” said Hovhaness, “I have lived between the young, volcanic Cascades and the oceanic Olympic range with rain forests, and find inspiration from the tremendous energy of these powerful, youthful, rugged mountains.” As a Washington resident, and as the composer of the “Mysterious Mountain” Symphony, his Symphony No. 2 from 1955, Hovhaness was a natural choice for such a commission. In explaining the title of that earlier “mountain” symphony, Hovhaness wrote: “Mountains are symbols, like pyramids, of man’s attempt to know God… symbolic places between the mundane and spiritual world.” Music Played in Today's Program Alan Hovhaness (1911 – 2000) Symphony No. 50 (Mount St. Helens) Seattle Symphony; Gerard Schwarz, cond. Delos 3137

Raymond Jones speaks with conductor Gerard Schwarz about his upcoming concerts with the Virginia Symphony and more.

Synopsis Some classical music snobs look down their nose at film scores, considering them less “serious” than “art” music written for the concert hall. Aaron Copland, for one, deplored this attitude. He admired the work of composers like Bernard Herrmann, Alex North, David Raksin, and Elmer Bernstein, whose successful Hollywood careers earned them financial rewards on the West Coast, if not the respect of the snootier East Coast music critics. Copland himself had spent some time in Hollywood, and knew what was involved in completing a film score on time AND on budget. On today’s date in 1940, at Grauman’s Chinese Theater in Hollywood, the press was invited to a special preview showing of a new film version of Thornton Wilder’s popular stage play “Our Town.” To match Thornton Wilder’s nostalgic play about American life in Grover’s Corners, New Hampshire, Copland’s score employed harmonies suggestive of old New England church hymns. For once, audiences AND the critics were impressed, and Copland quickly arranged an “Our Town” concert suite, which premiered on a CBS Radio broadcast in June of 1940, and reworked this suite for its first public performance by the Boston Pops and Leonard Bernstein in May of 1944. Music Played in Today's Program Aaron Copland (1900 – 1990) Our Town Suite Saint Louis Symphony; Leonard Slatkin, cond. BMG 61699 On This Day Births 1740 - Italian composer Giovanni Paisiello, in Roccaforzata, near Taranto; 1814 - German pianist and composer Adolph von Henselt, in Schwabach,Bavaria; Deaths 1707 - German organist and composer Dietrich Buxtehunde, age c. 70, in Lübeck; 1770 - (on May 9 or 10) English composer, conductor and writer on music Charles Avison, age 61, in Newcastle upon Tyne ; 1791 - American statesman and songwriter Francis Hopkinson, age 53, in Philadelphia; He was one of the signers of the Declaration of Independence, and dedicated a book of his songs to George Washington; 1799 - French composer Claude Balbastre, age c. 72, in Paris; Premieres 1812 - Rossini's opera "La Scala di seta" (The Silken Ladder), in Venice; 1868 - Bruckner: Symphony No. 1, in Linz, composer conducting; 1893 - Rachmaninoff: opera "Aleko," in Moscow at the Bolshoi Theater (Julian date: April 27); 1924 - R. Strauss: ballet "Schlagobers" (Whipped Cream), in Vienna; 1940 - The film "Our Town" opens in Hollywood at Grauman's Chinese Theater; The film was based on the play of the same name by Thorton Wilder, and featured a filmscore by Aaron Copland; Copland arranged a suite of music from his filmscore, which premiered on CBS Radio on June 9, 1940; A revised version of the suite was given its first public performance by the Boston Pops conducted by Leonard Bernstein on May 7, 1944; 1981 - Christopher Rouse: "The Infernal Machine" for orchestra (Movement II of Rouse's "Phantasmata"), at the Evian Festival, France, by the University of Michigan Symphony Orchestra, Gustav Meier conducting; 1986 - Ellen Taaffe Zwilich: "Concerto Grosso" (after Handel's Sonata in D), by the Handel Festival Orchestra of Washington, Stephen Simon conducting; 1988 - Bernstein: "Arias and Barcarolles," at Equitable Center Auditorium in New York City, by vocalists Louise Edeiken, JoyceCastle, John Brandstetter, and Mordechai Kaston, with the composer and Michael Tilson Thomas at the piano; An orchestrated version of this work prepared by Bright Sheng premiered on September 22, 1989, at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; 1990 - John Harbison: "Words from Patterson" (to texts by William Carlos Williams), at the Kennedy Center in Washington, D.C., with baritone William Sharp and the members of the New Jersey Chamber Music Society; 1998 - John Tavener: "Wake Up and Die," for solo cello and orchestral cello section, at the Beauvais Cello Festival in Beavais , France; 1999 - Zwillich: "Upbeat!" by National Symphony, Anthony Aibel conducting; Others 1863 - American premiere of Berlioz's "Harold in Italy," by the Theodore Thomas Orchestra in New York. Links and Resources On the film "Our Town" The Copland Collection at the Library of Congress

Synopsis Some classical music snobs look down their nose at film scores, considering them less “serious” than “art” music written for the concert hall. Aaron Copland, for one, deplored this attitude. He admired the work of composers like Bernard Herrmann, Alex North, David Raksin, and Elmer Bernstein, whose successful Hollywood careers earned them financial rewards on the West Coast, if not the respect of the snootier East Coast music critics. Copland himself had spent some time in Hollywood, and knew what was involved in completing a film score on time AND on budget. On today’s date in 1940, at Grauman’s Chinese Theater in Hollywood, the press was invited to a special preview showing of a new film version of Thornton Wilder’s popular stage play “Our Town.” To match Thornton Wilder’s nostalgic play about American life in Grover’s Corners, New Hampshire, Copland’s score employed harmonies suggestive of old New England church hymns. For once, audiences AND the critics were impressed, and Copland quickly arranged an “Our Town” concert suite, which premiered on a CBS Radio broadcast in June of 1940, and reworked this suite for its first public performance by the Boston Pops and Leonard Bernstein in May of 1944. Music Played in Today's Program Aaron Copland (1900 – 1990) Our Town Suite Saint Louis Symphony; Leonard Slatkin, cond. BMG 61699 On This Day Births 1740 - Italian composer Giovanni Paisiello, in Roccaforzata, near Taranto; 1814 - German pianist and composer Adolph von Henselt, in Schwabach,Bavaria; Deaths 1707 - German organist and composer Dietrich Buxtehunde, age c. 70, in Lübeck; 1770 - (on May 9 or 10) English composer, conductor and writer on music Charles Avison, age 61, in Newcastle upon Tyne ; 1791 - American statesman and songwriter Francis Hopkinson, age 53, in Philadelphia; He was one of the signers of the Declaration of Independence, and dedicated a book of his songs to George Washington; 1799 - French composer Claude Balbastre, age c. 72, in Paris; Premieres 1812 - Rossini's opera "La Scala di seta" (The Silken Ladder), in Venice; 1868 - Bruckner: Symphony No. 1, in Linz, composer conducting; 1893 - Rachmaninoff: opera "Aleko," in Moscow at the Bolshoi Theater (Julian date: April 27); 1924 - R. Strauss: ballet "Schlagobers" (Whipped Cream), in Vienna; 1940 - The film "Our Town" opens in Hollywood at Grauman's Chinese Theater; The film was based on the play of the same name by Thorton Wilder, and featured a filmscore by Aaron Copland; Copland arranged a suite of music from his filmscore, which premiered on CBS Radio on June 9, 1940; A revised version of the suite was given its first public performance by the Boston Pops conducted by Leonard Bernstein on May 7, 1944; 1981 - Christopher Rouse: "The Infernal Machine" for orchestra (Movement II of Rouse's "Phantasmata"), at the Evian Festival, France, by the University of Michigan Symphony Orchestra, Gustav Meier conducting; 1986 - Ellen Taaffe Zwilich: "Concerto Grosso" (after Handel's Sonata in D), by the Handel Festival Orchestra of Washington, Stephen Simon conducting; 1988 - Bernstein: "Arias and Barcarolles," at Equitable Center Auditorium in New York City, by vocalists Louise Edeiken, JoyceCastle, John Brandstetter, and Mordechai Kaston, with the composer and Michael Tilson Thomas at the piano; An orchestrated version of this work prepared by Bright Sheng premiered on September 22, 1989, at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; 1990 - John Harbison: "Words from Patterson" (to texts by William Carlos Williams), at the Kennedy Center in Washington, D.C., with baritone William Sharp and the members of the New Jersey Chamber Music Society; 1998 - John Tavener: "Wake Up and Die," for solo cello and orchestral cello section, at the Beauvais Cello Festival in Beavais , France; 1999 - Zwillich: "Upbeat!" by National Symphony, Anthony Aibel conducting; Others 1863 - American premiere of Berlioz's "Harold in Italy," by the Theodore Thomas Orchestra in New York. Links and Resources On the film "Our Town" The Copland Collection at the Library of Congress

Synopsis Today’s date in 1913 marks the birthday of the American composer and musicologist George Perle, who won the Pulitzer Prize for music in 1986. In a 1985 interview, Perle vividly recalled his first musical experience, an encounter with Chopin’s Étude in F minor, played by an aunt. “It literally paralyzed me,” said Perle, “I was extraordinarily moved and acutely embarrassed at the same time, because there were other people in the room, and I could tell that nobody else was having the same sort of reaction I was.” In his own lyrical and well-crafted music, Perle employed what he called “12-tone tonality,” a middle path between rigorous atonality and traditional, tonal-based music. Whether tonal or not, for Perle music was both a logical and an emotional language. Perle once made this telling distinction between the English language and the language of music: “Reading a novel is altogether different from reading a newspaper, but it's all language. If you go to a concert, you have some kind of reaction to it. If the newspaper is Chinese, you can't understand it. But if you hear something by a Chinese composer, if it's playful, for instance, you understand.” Music Played in Today's Program George Perle (1915 - 2009) Serenade No. 3 for Piano and Chamber Orchestra (1983) Richard Goode, p; Music Today Ensemble; Gerard Schwarz, cond. Nonesuch 79108 On This Day Births 1915 - American composer George Perle, in Bayonne, N.J.; 1918 - Canadian composer Godfrey Ridout, in Toronto; Deaths 1667 - (on May 6 or 7) German composer and keyboard player Johann Jakob Froberger, age 50, in Hericourt, nearr Montbeliard , France; Premieres 1897 - Leoncavallo: opera "La Boheme" in Venice; 1981 - Rautavaara: Double-bass Concerto ("Angel of Dusk"),in Helsinki, with bassist Olli Kosonen and the Finnish Radio Symphony, Leif Segerstam conducting; 1985 - Ellen Taaffe Zwilich: "Concerto for Trumpet and Five Players," by the Pittsburgh New Music Ensemble; 1992 - Libby Larsen: Symphony No. 3 ("Lyric"), by the Albany Symphony (NY), Joel Revzen conducting; 1999 - Magnus Lindberg: Cello Concerto, by the Orchestre de Paris, with Esa-Pekka Salonen conducting and Anssi Karttunen the soloist; 1999 - Christopher Rouse: "Seeing" (Piano Concerto), at Avery Fisher Hall in New York, by the New York Philharmonic conducted by Leonard Slatkin, with Emanuel Ax the soloist; Others 1872 - Theodore Thomas conducts the first concert of the Cincinnati Music Festival ("May Festival"); His program includes Beethoven's Fifth, Handel's "Dettingen Te Deum," a Mozart aria, and a chorus from Haydn's "Creation." Links and Resources On George Perle More on Perle (NY Times obit)

Synopsis Today’s date in 1913 marks the birthday of the American composer and musicologist George Perle, who won the Pulitzer Prize for music in 1986. In a 1985 interview, Perle vividly recalled his first musical experience, an encounter with Chopin’s Étude in F minor, played by an aunt. “It literally paralyzed me,” said Perle, “I was extraordinarily moved and acutely embarrassed at the same time, because there were other people in the room, and I could tell that nobody else was having the same sort of reaction I was.” In his own lyrical and well-crafted music, Perle employed what he called “12-tone tonality,” a middle path between rigorous atonality and traditional, tonal-based music. Whether tonal or not, for Perle music was both a logical and an emotional language. Perle once made this telling distinction between the English language and the language of music: “Reading a novel is altogether different from reading a newspaper, but it's all language. If you go to a concert, you have some kind of reaction to it. If the newspaper is Chinese, you can't understand it. But if you hear something by a Chinese composer, if it's playful, for instance, you understand.” Music Played in Today's Program George Perle (1915 - 2009) Serenade No. 3 for Piano and Chamber Orchestra (1983) Richard Goode, p; Music Today Ensemble; Gerard Schwarz, cond. Nonesuch 79108 On This Day Births 1915 - American composer George Perle, in Bayonne, N.J.; 1918 - Canadian composer Godfrey Ridout, in Toronto; Deaths 1667 - (on May 6 or 7) German composer and keyboard player Johann Jakob Froberger, age 50, in Hericourt, nearr Montbeliard , France; Premieres 1897 - Leoncavallo: opera "La Boheme" in Venice; 1981 - Rautavaara: Double-bass Concerto ("Angel of Dusk"),in Helsinki, with bassist Olli Kosonen and the Finnish Radio Symphony, Leif Segerstam conducting; 1985 - Ellen Taaffe Zwilich: "Concerto for Trumpet and Five Players," by the Pittsburgh New Music Ensemble; 1992 - Libby Larsen: Symphony No. 3 ("Lyric"), by the Albany Symphony (NY), Joel Revzen conducting; 1999 - Magnus Lindberg: Cello Concerto, by the Orchestre de Paris, with Esa-Pekka Salonen conducting and Anssi Karttunen the soloist; 1999 - Christopher Rouse: "Seeing" (Piano Concerto), at Avery Fisher Hall in New York, by the New York Philharmonic conducted by Leonard Slatkin, with Emanuel Ax the soloist; Others 1872 - Theodore Thomas conducts the first concert of the Cincinnati Music Festival ("May Festival"); His program includes Beethoven's Fifth, Handel's "Dettingen Te Deum," a Mozart aria, and a chorus from Haydn's "Creation." Links and Resources On George Perle More on Perle (NY Times obit)

Our guest is the renowned orchestral conductor Gerard Schwarz, who will lead the Tulsa Symphony Orchestra in a special broadcast-only concert to be aiared on our sister station, Classical 88.7 KWTU-FM, on Saturday the 27th at 8pm -- with a rebroadcast happening on Sunday the 28th at 4pm. (In both cases, the over-the-air concert can be live-streamed online at publicradiotulsa.org .) Schwarz has had a pioneering, quite remarkable career in music, which he tells us about. Now serving as the Artistic and Music Director of the Palm Beach Symphony as well as the Music Director of the Frost Symphony Orchestra at the University of Miami, Schwarz was previously the Music Director of the Los Angeles Chamber Orchestra (1978 to 1986), the Music Director of New York's Mostly Mozart Festival (1982 to 2001), and moreover the Music Director of the Seattle Symphony (1985 to 2011). The concert he'll soon be conducting with the Tulsa Symphony will include works by Richard Wagner, Max Bruch, and Johannes

Landres won a spot with the prestigious United States Marine Band "The President's Own"  in his early twenties, while still a graduate student at the Yale School of Music. He gives us a primer on military bands, and discusses how he balances work and personal life to make time for his many hobbies, which include reading, cooking, and gardening. “Landres's Picks” - Favorite USMB Videos-SHOSTAKOVICH The Gadfly Suite, Overture-GRAINGER Lincolnshire Posy, 5. Lord Melbourne-"America's All-Star Band" - an Emmy Award-winning series in collaboration with Gerard Schwarz and American Public Television. All the big band rep in addition to contemporary composers like Jennifer Higdon and Bright Sheng. Episode 1, Episode 2, Episode 3-Women Marines Reserve Band - cool peek into what military band life was like for women during WWII-March of the Women Marines, written by a tuba player in the band-Commando March. Me playing on tour, in my hometown, across the street from my high school. Commando March = first recording of the Marine Band I heard, and the first time I remember getting jazzed about classical music.-Some Star Wars--because, why not?Follow us on Instagram at @Rising_Stars_Podcast_More about the host at caroljantsch.com

In this episode, we finish a two-part series where we play a concert presented in Armstrong Auditorium on January 7, 2021 — featuring conductor Gerard Schwarz, his son Julian Schwarz as cello soloist, the Mozart Orchestra of New York, in collaboration with another father-son duo. Video of the Vivaldi Double Cello Concerto at Armstrong Auditorium:www.facebook.com/258323144562283/…test_videos_card Video of the Haydn Cello Concerto at Armstrong Auditorium:www.youtube.com/watch?v=8UfraHAndT0

In this episode, we begin a two-part series where we play a concert presented in Armstrong Auditorium on January 7, 2021 — featuring conductor Gerard Schwarz, his son Julian Schwarz as cello soloist, the Mozart Orchestra of New York, in collaboration with another father-son duo. Video of the Haydn Symphony at Armstrong Auditorium: www.facebook.com/258323144562283/…test_videos_card Video of the Mozart Symphony at Armstrong Auditorium:www.facebook.com/GerardSchwarzCon…/?type=2&theater

Phillip speaks with Gerard Schwarz and Julian Schwarz

This weekend's INTERPLAY is a fascinating Conversation In Music with Gerard Schwarz. Maestro Schwarz's musicianship is a miracle. His breath of experience and the revelations of his work as a conductor, composer, and arranger are unique and truly astonishing. He is quite simply a world treasure. www.michaelshapiro.com www.gerardschwarz.com

The great Maestro Gerard "Jerry" Schwarz joins me to discuss his never-ending drive and his relationships with Alan Hovhaness and David Diamond. You don't want to miss what he has to say!www.gerardschwarz.comSupport this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

 So this is it, ladies and gents, the episode where we discuss the piece for which this podcast was named and the composer that wrote it: William Schuman and his Symphony No. 10 ‘American Muse'! The man literally got letters in the mail telling him either how awful his music was, OR how it had changed someone's life. Were he still alive today, I would absolutely send him a physical letter thanking him for so dramatically effecting my life. Ironically, I did in fact send his two children, Andrea and Anthony, physical letters to ask for their permission to use the music you just heard at the beginning of this podcast! Anyway, let's talk about this man and his fantastic compositions.###Background- I first heard music by William Schuman when I was an eager young musician in middle school. I listened to his Symphony No. 5, performed by Leonard Bernstein and the New York Philharmonic string section, recorded on a vinyl record (I kid you not). The opening bars explode with energy and melodic creativity unlike I had ever heard. It was forceful, bold, full of life. It drew me in and to this day has not let go. From that moment I knew I had to know more about this man and his music. He and his music are a large part of the reason I began this podcast, my blog, and my book to be released next year, _Secrets of American Orchestral Music_.####Bio- One of the first things one learns about Schuman is the story of how he came to be a composer in the first place. He did play bass in a dance band, but never considered it very serious. Then he went to a concert at Carnegie Hall and heard the New York Philharmonic, conducted by the great Arturo Toscanini. He was so blown away by the performance he said "I was overwhelmed. I had never heard anything like it. The very next day, I decided to become a composer." So, he dropped out of New York University, quit his job, enrolled at the Malkin Conservatory of music to study composition, and a short 5 years later he graduated from Columbia University. Who knew it could be so easy? While this anecdotal story is humorous, it accurately shows a key characteristic of Schuman's personality. He is an optimist, endlessly curious, and has a child-like approach to new endeavors. He is also steadfast and resolute in his values, many times refusing to compromise his artistic work or arts administration efforts. - Though not all of William Schuman's biographical history is pertinent here, some key positions and career events as well as insight into his composition process help to contextualize the unique nature of the man and his music. One fortuitous happenstance came at the beginning of his journey to become a composer. In 1930, primed by having just attended his first orchestral concert, Schuman saw a sign for the Malkin Conservatory, walked in, and according to him “registered for a course in harmony because he had heard somewhere that composers begin by studying harmony.” This placed him with Max Persin, a teacher more interested in discovering the intricacies of each individual piece rather than regurgitating from quote “a textbook of dull orthodoxy.” Not long after earning a teaching degree from the Columbia University Teachers College, Schuman carved out a teaching and administrative position at Sarah Lawrence College. The way in which this came about is characteristic of Schuman's free-form thinking and commitment to the highest quality in any endeavor he undertook. Schuman convinced the president and Faculty Advisory Committee on Appointments at Sarah Lawrence to make him the quote "one man... coordinator, working from a single focal point" on a new set of freshman focused courses. Schuman connected with the faculty and administration at Sarah Lawrence on a philosophical level, influenced by the progressive education movement of John Dewey and the concept that "making knowledge one's own was the central goal of education…” This desire for individuality and freedom from convention carried over into Schuman's composing. Keenly aware of contemporary trends, Schuman casts the "emergence of a contemporary tonal language" in the twentieth century as "a musical revolution." Referring to contemporary composers (presumably including himself), Schuman posits “[t]he process of seeking a way of creating fresh sounds is a natural one for a truly creative musician. It may be conscious or subconscious, or both. But whatever the process, the result is innovation in musical speech." Even Copland recognized the boldness of Schuman's work, describing it as "music of tension and power," and expounding on his rhythmic writing as "so skittish and personal, so utterly free and inventive."- Schuman's commitment to his own musical and educational standards resulted in his being tapped as president of Juilliard in 1945. Schuman was reluctant to even consider the post because, as Steve Swayne puts it in his biographic work _Orpheus in Manhattan_, “[h]e could see no possible marriage between Juilliard's hidebound, rote education and the progressive, student-oriented approach that he enjoyed at Sarah Lawrence." Partly due to this honesty expressed to Juilliard's board of directors, Schuman was offered and eventually accepted the position. As a sign of the school's desire for change, Schuman immediately made drastic alterations to the Juilliard curriculum and faculty. One program he spearheaded is particularly of note here. Showing his independent thinking and will to move forward, Schuman explains his educational philosophy:> The first requisite for a musician in any branch of the art is that he be a virtuoso listener. It has been a student who is adept at the writing of melodic dictation may be incapable of listening to a symphonic composition with an understanding of its design. In other words, an ability to hear the component parts of the language of music… does not ipso facto mean integrated understanding--an understanding that can only be achieved when the whole work is clearly viewed as the sum of these parts... In an effort to replace conventional theory with more meaningful studies, the Juilliard School has discontinued its Theory Department and added to its curriculum a new department--Literature and Materials of Music.- This is the kind of ideology Schuman applied to his composition and administrative roles. In a 1986 interview, Schuman illustrates the interconnected nature of all his endeavors: "composition has been the continuum of my life's work, but it's been by no matter of means my sole pursuit. I would never be happy just being a composer. I've always wanted and needed to do other things of a general societal nature."####Culture- Even through his compositional process, Schuman shows his independent thinking. Intending not to be bound by the limitations of both his piano skill and of the instrument itself, according to a biography written by Vincent Persichetti, Schuman "writes for the instruments of the orchestra directly... sings the parts at the top of his lungs... because his music is essentially melodic... He does, however, use the piano for new vocabulary departures; that is, for experimentation.”- One more quote by Schuman from 1977, helps summarize his philosophy on the balance of artistic honesty and the ambition needed for such a high profile career he had to that point:> I would like to be loved through my music, as anybody would be. But I recognized that this was not necessarily to be the case, and it would be much better to be despised and write what you want than to be loved and write what you didn't want.… I was asked that question just the other day [in February 1977] … “Why—when you write these difficult symphonies that hardly anybody ever plays, and you can write the New England Triptych or orchestrate Ives' Variations on America—why don't you write a holiday overture that would make you a lot of money and would be played a lot?”- Hopefully the continued reverence of Schuman's music will suffice as an answer to that question.- Schuman's symphonic output is quite varied, ranging from symphonies and concertos to ballet and opera. Schuman got the most mileage out of his symphonies, and he admittedly put most of his focus on their creation. Schuman's symphonies are most representative of all his compositional work, even by his own statements in an interview with Overtones: > “It never occurred to me not to write symphonies... I like every medium in music when I'm working on it… [but] I believe that as long as writers write long and complicated novels, composers are going to write in the symphonic forms, because they give an opportunity that nothing else gives.”- Schuman wrote 10 numbered symphonies, though he “withdrew” the first two.###Analysis of piece####Overall scope- Now to Symphony No. 10, the ‘American Muse' itself.- The recorded excerpts you will hear today are from a 2005 NAXOS recording of the Seattle Symphony conducted by Maestro Gerard Schwarz, a dear friend of this podcast.- Written and premiered in 1976, this symphony was commissioned for the American Bicentennial by the National Symphony Orchestra, and conducted by Antal Dorati. - The work is in 3 movements: Con Fuoco, Larghissimo, and the third movement goes through many different speeds, but does begin and end with a Presto.- The orchestration is outrageously large: 4 flutes, 3 oboes, English horn, Eb clarinet, 3 Bb clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, percussion that calls for 4 players, timpani, piano, harp, celesta, and strings. Whew! None of this would have been surprising coming from Schuman at that point, but even today that is quite a task to take on.####Excerpts- The opening fanfare sets a tone of muscularity, optimism as Schuman might put it...- And then gives way to a mostly brass chorale, punctuated by moments of woodwind interaction.- Not long after, we have a section of what we call homorhythm. This is when all or large portions of the orchestra are playing the same active rhythms, but not the same notes, in fact they are usually quite dissonantly contrasting notes. It is a powerful effect as Schuman builds a great deal of tension. In this excerpt there is a short unison of homorhythm followed by 2 independent layers.- After spending this entire movement in tonic disarray, giving a bit of tonal center, but then taking it away with swaths of dissonance, Schuman suddenly takes an about face at the end and we get, at first, blips of tonal, recognizable chords, before a final Eb major chord grabs hold and blares to the end as if we had been in that bright, happy key all along!- I LOVE that moment!- The second movement, Larghissimo, is a work of beauty, but you have to stick with it. Schuman lets his slow movements develop as organically as possible from the simplest of musical aspects. Here, he begins basically with a chord cluster, again moving only in homorhythmic motion, and very slowly at first. While the violas and then cellos take the lyrical line, which again does not change very much at all, but makes big glissando jumps when it does.- Then what follows is an iconic Schuman sound if there ever was one, I swear I could pick this writing out from any other composer on the planet. The violins slowly expand a high, and still higher reaching, melodic line over chromatically moving chordal movement in the violas and cellos, and just as the line starts to peak, he opens up the sound more, then again as another peak comes, he adds horns... and on and on, one layer after another. It is a long section, but here is a fairly representative moment. 『- And again, just like in the first movement, though this movement isn't quite so tonally wandering, he lets out all the tension, leaves off with a question mark... and gives us a big, fat, juicy Eb major chord!- The final movement, beginning Presto, starts a series of homorhythmic sections, first strings alone, then trading off with the woodwinds. The activity begins with much space, but quickly becomes lively, almost furious! 『- One element we had yet to come across was Schuman's craftiness with a fugue. Finally, in the last symphonic movement he ever wrote, in order to build up as much energy and tension as possible, Schuman writes a complex double fugue. This is not a tightly formed, rule-following Bach-like fugue you would expect, but most of the elements you would expect are there. It gives him the chance to push forward and pull back at will. One theme is very active, harmonically and rhythmically, while the other is long held out notes with little movement.- Now you must be wondering if and when we get that Eb major chord we've gotten at the end of every other movement. We do! And in similar fashion, Schuman prefaces it with heavy dissonance and confusion. This time, though, the final brilliant chord arrives and finishes in full fanfare. Instant standing ovation!###Closing- Beyond composition, Schuman taught at Sarah Lawrence College, served as president of the Juilliard School, facilitated it's move into the newly built Lincoln Center, founded the Juilliard String Quartet, served as president of Lincoln Center itself, and won 2 Pulitzer Prizes and the National Medal of Arts. Many people desire to change or effect the world in some way. William Schuman did that and more during his time. As long as we perform or hear his music, he still does.Music:Symphony No. 10By: William SchumanPerformed by: Gerard Schwarz; Seattle Symphony OrchestraCourtesy of Naxos of America, Inc.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

With Lew Smoley, and Gerard Schwarz

1a rad: Alltid hämtade jag inifrån trösten Uppläsning: Gunnar Ekelöf (inspelning från SR:s arkiv) Diktsamling: "Om hösten", (Bonniers, 1951) MUSIK Alan Hovhaness: Tredje satsen ur Symfoni nr 60 EXEKUTÖR Berlinradions symfoniorkester, Gerard Schwarz, dirigent

Playlist: Jordan Nobles, Victoria Guitar Trio - Concentric RingsLouis Andriessen, Ensemble Paramirabo, Thin Edge New Music Collective - Workers UnionDominick DiOrio, Simon Carrington Chamber Singers - Ode to PurcellDonnacha Dennehy, Crash Ensemble - Disposable DissonanceMatt Haimovitz, Christopher O'Riley, John McLaughlin - A Lotus on Irish StreamsLudovico Einaudi, Federico Mecozzi, Redi Hasa - AscentLudovico Einaudi, Federico Mecozzi, Redi Hasa - Golden Butterflies Var. 1Bright Sheng, Gerard Schwarz & Seattle Symphony - Black Swan (after Brahms' 6 Piano Pieces: No. 2 Intermezzo)Alexander Balanescu, Balanescu Quartet - SpotdanceTalivaldis Kennis, Latvia Festival Orchestra - Piano ConcertoKevin Lau, Ensemble Made In Canada - Race to the Midnight Sun

Ep. 107: Michael Crusoe, timpanist. Let's Talk Off The Podium with Tigran Arakelyan. Michael Crusoe is principal timpanist of the Seattle Symphony Orchestra, a position he has held since 1980. In addition, he also serves as principal timpanist of the Seattle Opera Association and the Mostly Mozart Summer Festival Orchestra at Lincoln Center in New York. Prior to joining the faculty at the University of Washington, he served as percussion instructor at the Waterloo Music Festival in New Jersey and has taught at Seattle Pacific University and Seattle University. Crusoe can be heard with the Seattle Symphony on the critically acclaimed Delos label recordings directed by Gerard Schwarz. In this podcast we talk about Michael Crusoe's passion for martial arts and early studies with Bruce Lee's protégé Jesse Glover, post retirement involvement in martial arts and continuing collaboration with the Grand Teton Music Festival. He spoke about timpani concertos, life changing moments, work with three different Music Directors of SSO during his tenure as a timpanist. Crusoe also told a number of interesting in-performance stories, diversity in music and much more! © Let's Talk Off The Podium, 2020

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Singspiel (that’s German for SongPlay) mixes songs, dialogues, choruses, and marvelous orchestral writing with fun and fantasy for a lowbrow, family friendly art form—the ancestor of today’s Star Wars movies. Mozart’s ever-popular Magic Flute is the perfect introduction to Singspiel, as well as one of the most beloved operas ever written. Another wonderful Singspiel, Weber’s Der Freischütz, demonstrates the power of this form to send a wonderfully creepy chill down your spine. Musical examples on this podcast drawn from Seattle Opera productions of The Magic Flute, 2017, conducted by Julia Jones and starring John Moore, Andrew Stenson, and Christina Poulitsi; Der Freischütz, 1999, conducted by Gerard Schwarz and starring Harry Peeters and Gabor Andrasy; Fidelio, 2003, conducted by Gerard Schwarz and starring Jane Eaglen and Kevin Langan; The Flying Dutchman, 2016, conducted by Sebastian Lang-Lessing; also Marschner’s Hans Heiling conducted by Ewald Körner (Marco Polo 1992); Fidelio starring Lucia Popp, Adolf Dallapozza, Gundula Janowitz, and René Kollo and conducted by Leonard Bernstein (Deutsche Gramophon, 1978); Der Stein der Weisen, Jane Giering-De Haan and Kevin Deas conducted by Martin Pearlman (Telarc, 1999); and the 1993 EMI recording of Die Meistersinger von Nürnberg conducted by Wolfgang Sawallisch. Stay tuned for one more podcast introducing another kind of opera next week!

In this episode, we explore a symphony by Haydn and one by Mozart in the lead-up to their performance at Armstrong Auditorium on Tuesday March 24 by the Mozart Orchestra of New York, under Gerard Schwarz. Schwarzes at Armstrongwww.armstrongauditorium.org/performance…of-new-york

Gerard Schwarz in in Pittsburgh to conduct the Carnegie Mellon University Philharmonic and Chorus on Sunday February 23rd, 7:30pm at Carnegie Music Hall.  The concert includes Bernstein's Chichester Psalms, the Walton Cello Concerto with Sameer Apte, and the Brahms Symphony No. 4.  The Maestro stopped by WQED-FM to help with our fundraiser, and to have an in-depth conversation with Jim Cunningham about this weekend's concert, his time spent at the Seattle Symphony, his book "Behind the Baton" and much more.  

Aaron Tindall is a tuba celebrity and has enjoyed a beautiful career that he has worked his tail off for. This is one of the most personal interviews I've had in that we talk about failure, being in HUNDREDS of thousand of dollars of debt (and how that tested his marriage) and the incredible ride music has taken him on. This guy is a treasure, and I hope you enjoy hearing from him.To find Aaron:Instagram: @tindalltubaFacebook: @frosttubasWebsite: tubatindall.comOfficial Bio:With his orchestral playing praised as "a rock-solid foundation" and his solo playing described as being "remarkable for both its solid power and its delicacy", Aaron Tindall is the principal tubist of the Sarasota Orchestra and the associate professor of tuba and euphonium at the Frost School of Music - University of Miami. In the summers he teaches at the Eastern Music Festival in Greensboro, NC, where he also serves as Principal Tuba with the EMF Festival Orchestra under the direction of Gerard Schwarz.Aaron has served as the acting principal tubist of the Iceland Symphony Orchestra, held the principal tuba position with the Aspen Festival Orchestra where he was an orchestral fellow, and has collaborated as guest tubist with orchestras such as the Teatro alla Scala Opera and Ballet Orchestra - Milan Italy, Melbourne Symphony Orchestra - Australia, National Symphony Orchestra-Kennedy Center, Baltimore Symphony Orchestra, Cincinnati Symphony Orchestra, Colorado Symphony Orchestra, Naples Philharmonic, New Jersey Symphony Orchestra, New World Symphony, and the Rochester Philharmonic Orchestra. He is a frequent soloist, guest artist/clinician, and orchestral tubist throughout the United States, Europe, and Asia. He has been featured at all of the International Tuba and Euphonium Conferences since 2006, performed in England with the National Champion Grimethorpe Colliery Brass Band, and his solo playing has been heard on NPR's "Performance Today" radio show. Tindall has been a prizewinner of many competitions (solo & chamber) across the world. He has also been a two-time finalist in the prestigious Concert Artist Guild Competition, and released three highly acclaimed solo recordings; Transformations (Winner of the International Tuba Euphonium Association's Roger Bobo Excellence in Recording Award, and winner of two 2017 Global Music Awards), This is My House...(Awarded two 2015 Global Music Awards), and Songs of Ascent.Aaron is an International Yamaha Performing Artist, and a Denis Wick - London artist and design specialist, having recently designed their complete Ultra Range AT signature series tuba mouthpieces.

A new production of Mozart’s classic promises a fresh look at the legendary seducer and how he is punished. Seattle Opera Dramaturg Jonathan Dean introduces the music and characters of Don Giovanni, with musical examples from Seattle Opera archival recordings of Don Giovanni from 1991, conducted by Gerard Schwarz; 1999, conducted by Klaus Donath, 2007, conducted by Andreas Mitisek; and 2014, conducted by Gary Thor Wedow. Voices include Vladimir Ognovienko as the Commendatore, Eduardo Chama, Ashraf Sewailam, and Kevin Langan as Leporello, Franzita Whelan, Sally Wolf, and Alexandra LoBianco as Donna Anna, Kurt Streit, Lawrence Brownlee, and Randall Bills as Don Ottavio, Elizabeth Caballero and Christine Goerke as Donna Elvira, Mark Walters, Marius Kwiecien, and Jason Howard as Don Giovanni, Anna Steiger, Laura Polvarelli, and Cecelia Hall as Zerlina, and John Kuether, Evan Boyer, and Chester Patton as Masetto.

Stel: je vindt een Vioolconcert van Bach… daar lijkt het op, als ik naar de bewerking van Ottorino Respighi luister. Het werkt, en zo hoorde je deze Bach nog nooit. Johann Sebastian Bach (arr. Ottorino Respighi), Vioolsonate, BWV.1023 (Concert), Ilkka Talvi (viool), Seattle Symphony olv Gerard Schwarz

This is a conversation with renowned cellist Julian Schwarz, who is soloing this Saturday evening with the Kenosha Symphony in the concert that kicks off the KSO's 80th anniversary season. Schwarz is the son of Gerard Schwarz, longtime conductor and music director of the Seattle Symphony.

We meet the occupant of the Charles Simonyi Principal Horn Chair in the Seattle Symphony. Jeffrey Fair has been playing in the SSO since 2003 when Gerard Schwarz was music director. In 2013 he won the principal horn position during Ludovic Morlot’s tenure as music director. Jeff Fair tells KING FM’s Dave Beck about Jeff’s journey as a musician from a grade school child picking up the french horn for the first time in Oklahoma, to performing the pinnacle horn solos of the symphonic repertory with one of the world’s finest orchestras, the Seattle Symphony.

Or rather, three nominees. Plus, Gerard Schwarz, the trumpeter/conductor whom Jay interviewed recently on his “Q&A” (here). This episode provides beauty, wonder, excitement, controversy, solace – it’s music. Links to the tracks in this week’s show: Haydn, Trumpet Concerto, final movement, Gerard Schwarz et al. Piston, Symphony No. 4, Seattle Symphony, Gerard Schwarz Stölzel, “Bist […]Join the conversation and comment on this podcast episode: https://ricochet.com/podcast/music-for-a-while/the-best-song-ever-written/.Now become a Ricochet member for only $5.00 a month! Join and see what you’ve been missing: https://ricochet.com/membership/.Subscribe to Music For a While in Apple Podcasts (and leave a 5-star review, please!), or by RSS feed. For all our podcasts in one place, subscribe to the Ricochet Audio Network Superfeed in Apple Podcasts or by RSS feed.

Or rather, three nominees. Plus, Gerard Schwarz, the trumpeter/conductor whom Jay interviewed recently on his “Q&A.” This episode provides beauty, wonder, excitement, controversy, solace – it's music. Tracks played: Haydn, Trumpet Concerto, final movement, Gerard Schwarz et al. Piston, Symphony No. 4, Seattle Symphony, Gerard Schwarz Stölzel, “Bist du bei mir,” Elisabeth Schwarzkopf, Gerald Moore Caccini, “Amarilli,” Janet Baker et al. Mahler, “Ich bin der Welt abhanden gekommen,” Christa Ludwig et al.

Gerard Schwarz is a leading conductor, and he started out as a leading trumpeter. He is also one of the best talkers about music – best teachers of music – you will ever encounter. Jay asks him to talk about everything from recordings to composers to Louis Armstrong to the future. This is a rich and fascinating hour (and even includes a little singing, at no extra charge). N.B. Source

In this episode, we explore Felix Mendelssohn’s beloved violin concerto — in the lead-up to its performance at Armstrong Auditorium November 1, by violinist Anne Akiko Meyers and the Mozart Orchestra of New York under Gerard Schwarz. We also spotlight these artists and have an exclusive interview with Ms. Meyers. https://www.armstrongauditorium.org/performance/anne-akiko-meyers-with-gerard-schwarz-and-mozart-orchestra-of-new-york

In this episode, we explore two well-known orchestral works by Felix Mendelssohn — his Hebrides Overture and his Italian Symphony — in the lead-up to their performance at Armstrong Auditorium November 1, by the Mozart Orchestra of New York, under Gerard Schwarz. All-Mendelssohn at Armstrong Auditorium:https://www.armstrongauditorium.org/performance/anne-akiko-meyers-with-gerard-schwarz-and-mozart-orchestra-of-new-york

TBJ85: Tom McCaslin, Tubist with the Calgary Philharmonic Orchestra on audition prep, recording yourself and all things Canada. Tom McCaslin, Tubist with the Calgary Philharmonic Orchestra, Soloist, Teacher, and Clinician has been described by Fanfare Magazine as “one of the contemporary tuba virtuosos”. Originally from Regina, Saskatchewan Tom’s playing and teaching have taken him around the globe. He has performed and taught in Canada, the United States, Switzerland, Portugal, Finland, New Zealand and Australia. As an orchestral musician he has performed with the Minnesota Orchestra, the Detroit Symphony, the Boston Symphony Orchestra, the North Carolina Symphony, the Regina Symphony, the Winnipeg Symphony, the New Mexico Symphony, the Orquestra Sinfónica do Porto Casa da Música (Portugal), the Lahti Symphony (Finland) and was acting Principal Tuba in the Auckland Philharmonia (New Zealand).  In the summers he teaches at the Eastern Music Festival in Greensboro, NC, where he serves Principal Tuba with the EMF Festival Orchestra under the direction of Gerard Schwarz. The Boston Brass “I Left My Pants in Sarnia, Canada” story New gig in Calgary Canada jokes! Audition preparation How he developed his ears with the help of Sam (Pilafian) and then on his own Put a premium on recording himself (84 hours worth!) Trust in your own abilities Use physicality to override thought, play your way out of it Audition prep with Sam at Tanglewood Systematic Used a randomizer app, put excerpts in and created rounds for himself Daily round of most likely candidates Day of audition, puts himself in a cocoon, noise-cancelling headphones Listened to Bill Simmons podcast and pop music to keep his head clear Studying with Sam Pilafian at Arizona State University Travelin’ Light Studying jazz Boston Symphony audition The support within Sam’s teaching studio Recording solos with Sam as producer Christmas his first year at ASU story, audition prep, followed by turkey prep Teaching at East Carolina University Looking for the quality of person more than quality of player Teaching studio curation The importance of the Studio Class hour, setting the expectations Studying with Roger Bobo in Switzerland The Dog Whisperer “Sack of nicknick” story at Banff Lance’s spot-on Jens impression Andrew’s Banff story with Joe Alessi in Jens’ Porsche Sweat out the bad LINKS: Tom's website CPO Bio page Tom's Yamaha artist page Calgary Philharmonic YouTube channel Want to help the show? Here are some ways: Help others find the show by leaving a rating and review on iTunes. Show us some love on Instagram, Facebook, and Twitter. Help us pay the bills (and get regular bonus episodes!) by becoming a Patreon patron. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Praised by the New York Times for his "understated but unmistakable virtuosity," Svet Stoyanov is one of the leading percussion soloists of our day. He has appeared at the Lincoln Center, Carnegie Hall, and the Kennedy Center, and has performed under the baton of Pierre Boulez, Marin Alsop, and Gerard Schwarz. As an advocate for contemporary music, he has premiered works by Andy Akiho, Mason Bates, and Paul Lansky. He serves as the Director of Percussion Studies at the University of Miami Frost School of Music.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and hello 1:45 Ben's teacher?! 4:00 Current projects? 7:50 New audio/video series  13:30 On pushing it, "being a little uncomfortable".  Do as I say not as I do21:20 Megan: Border Percussion story - Inuksuit performed across the Mexico/US border43:35 Ben: Alejandro Vinao1:00:37 Marco Schirripa: Your stage presence?  1:03:25 Will Marinelli:  Premiering the Phillip Glass two-timpani concerto at such a young age?

In this episode, we explore some of the great interview moments from the first season of our program, including talks with Gerard Schwarz, Eric Whitacre, Sara Sant’Ambrogio and many more — plus a few musical examples of pieces written to showcase the highest level of performance achievement.

Prima puntata: martedì 21 novembre 2017, ore 19 Contenuti | Illustrazione dei concetti di Homo Radix e dendrosofia. La sacralità della montagna per il compositore Alan Hovhaness. Incontro con le sequoie del Parco Burcina di Pollone (BI). Intermezzo musicale | Sinfonia n°50 Mount St. Helens di Alan Hovhaness, primo movimento Andante, grazioso, esecuzione diretta da Gerard Schwarz e la Royal Liverpool Philharmonic Orchestra, dal cd Misterious Mountains, Telarc 2003.

Prima puntata: martedì 21 novembre 2017, ore 19 Contenuti | Illustrazione dei concetti di Homo Radix e dendrosofia. La sacralità della montagna per il compositore Alan Hovhaness. Incontro con le sequoie del Parco Burcina di Pollone (BI). Intermezzo musicale | Sinfonia n°50 Mount St. Helens di Alan Hovhaness, primo movimento Andante, grazioso, esecuzione diretta da Gerard Schwarz e la Royal Liverpool Philharmonic Orchestra, dal cd Misterious Mountains, Telarc 2003.

Prima puntata: martedì 21 novembre 2017, ore 19 Contenuti | Illustrazione dei concetti di Homo Radix e dendrosofia. La sacralità della montagna per il compositore Alan Hovhaness. Incontro con le sequoie del Parco Burcina di Pollone (BI). Intermezzo musicale | Sinfonia n°50 Mount St. Helens di Alan Hovhaness, primo movimento Andante, grazioso, esecuzione diretta da Gerard Schwarz e la Royal Liverpool Philharmonic Orchestra, dal cd Misterious Mountains, Telarc 2003.

Iconic American conductor Gerard Schwarz offers his insights about music and conducting gained from an illustrious career at the pinnacle of the classical music world. Topics: Maestro Schwarz' musical beginnings, the American Brass Quintet, and the New York Philharmonic Four steps to success: Talent, Hard Work, Say Yes, Stay Positive Tips for conductors including thoughts about becoming more artistic, even with young ensembles and score preparation The importance of listening to learn styles and listening to your own old performances to gain insight on the music The All Star Orchestra and the Khan Academy Keep analyzing yourself and the perception of your career to keep improving. The conducting institute at the Eastern Music Festival Jerry's Experiences with conducting wind band, particularly the Marine Band Schwarz' new book Behind the Baton: An American Icon Talks Music The relevance of music in modern society and the importance of music in education  Links: Gerard Schwarz Eastern Music Festival All Star Orchestra Khan Academy Mahler: Symphony no. 8 Schwarz: Above and Beyond Behind the Baton: An American Icon Talks Music Biography: Internationally recognized for his moving performances, innovative programming and extensive catalog of recordings, American conductor Gerard Schwarz serves as Music Director of The All-Star Orchestra an ensemble of top musicians from America’s leading orchestras featured in twelve television programs that have aired throughout the United States on public television, worldwide by internet streaming and is the basis for their Khan Academy education platform that has already reached over 4 million students. As in baseball, Schwarz created an “all-star” team of top musical athletes to encourage a greater understanding and enjoyment of classical music. All programs are now released by Naxos on DVD and are awarded four Emmy Awards and ASCAP Award. Schwarz also serves as Music Director of the Eastern Music Festival in North Carolina and Conductor Laureate of the Seattle Symphony. His considerable discography of over 350 showcases his collaborations with some of the world’s greatest orchestras including Philadelphia Orchestra,  London Symphony,  Berlin Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Symphony and Seattle Symphony among others. Schwarz began his professional career as co-principal trumpet of the New York Philharmonic and has held leadership positions with Mostly Mozart Festival, Royal Liverpool Philharmonic and Los Angeles Chamber Orchestra and New York Chamber Symphony. As a guest conductor of both opera and symphony, he has worked with many of the world’s finest orchestras and opera companies. Schwarz, a renowned interpreter of 19th century German, Austrian and Russian repertoire, in addition to his noted work with contemporary American composers, completed his final season as music director of the Seattle Symphony in 2011 after an acclaimed 26 years a period of dramatic artistic growth for the ensemble. In his nearly five decades as a respected classical musician and conductor, Schwarz has received hundreds of honors and accolades including Emmy Awards, GRAMMY nominations, ASCAP Awards and the Ditson Conductor’s Award. He was the first American named Conductor of the Year by Musical America and has received numerous honorary doctorates. The City of Seattle and named the street alongside the Benaroya Hall “Gerard Schwarz Place.

Free Flow! - An conversation with Judith Saxton Judith Saxton enjoys a multi-faceted career as an international soloist, chamber and orchestral musician and educator and has been lauded as a “virtuoso player and superb soloist”. In addition to her performing and teaching, she offers Alexander Technique lessons and group seminars for a variety of populations globally.  As a recitalist, Ms. Saxton has performed in the UK, China, Brasil and Italy and concertizes nationally with Timothy Olsen, organ, and Allison Gagnon, piano with whom she recorded her acclaimed solo CD Concert and Contest Pieces for Trumpet, distributed globally to the International Trumpet Guild membership. As principal and soloist, she leads the Shenandoah Valley Bach Festival, and is on Eastern Music Festival (Greensboro, NC), faculty with whom she records annually under Gerard Schwarz’s leadership. She performs regularly with an array of orchestral and chamber organizations on the eastern seaboard of the US, and she offers master classes at conservatories, festivals and conferences world-wide as a Conn-Selmer clinician. Previously Ms. Saxton was principal and soloist with Hong Kong Philharmonic, Illinois, Wichita and Key West Symphonies, Chicago Chamber Orchestra; guest principal for St. Louis and extra for Chicago Symphony. Judith has recorded as a chamber musician on over 10 labels. Recently, she was soloist and principal solo cornet for North Carolina Brass Band’s 2014 debut CD First in Flight and 2016 Christmas Wrapped in Brass CD. She served 10 years at University of North Carolina School of the Arts as Trumpet Artist/Faculty and Brass/Percussion Chair. Previously, she was tenured Associate Professor at Wichita State University. Her students can be found performing and teaching around the world. She is a Certified Alexander Technique Teacher (ATI).  

Vi reder ut erotiska och musikaliska trådar mellan manliga tonsättare och deras musik i 1900-talets USA: Aaron Copland, Leonard Bernstein, David Diamond och grekiske dirigenten Dimitri Mitropoulos. I USA finns det antihomosex-lagar ända fram till 1975. Henry Cowell kallas Kaliforniens Oscar Wilde och sitter fem år i San Quentin-fängelset dömd för sodomi, vilket fortfarande är olagligt i ett tiotal amerikanska stater. Mellan 1947 och 1957 jagar senator McCarthy kommunister och homosexuella. Tonsättaren och accordeonisten Pauline Oliveros är 15 år när McCarthys jakt på icke önskvärda amerikaner inleds. Ur hennes rädsla för hatbrott utvecklar hon det djupa lyssnandet, Deep Listening. Det är på liv och död. - Det gäller att överleva när man tillhör en utrotningsshotad art, säger Oliveros i programmet Det osynligas piano.   Vi reder ut hur erotiska och musikaliska trådar löper samman bland manliga tonsättare och deras musik i 1900-talets USA. De inblandade är tonsättarna Aaron Copland, Leonard Bernstein, David Diamond och grekiske dirigenten Dimitri Mitropoulos. Bl a hade tonsättarna Leonard Bernstein och Aaron Copland en kärleksrelation.  Dimitri Mitropoulos hade erotiska relationer med Leonard Bernstein och David Diamond. Geniet och innovatören Harry Partch är en outsider. Här finns ingen gemensam gay estetik utan musiken spänner över neoklassisism, nyromantik, folkton, elektonmusik, abstrakt musik, modernism, minimalism, musical, operett, opera och kabaret. Den vänsterradikale judiske bögen Aaron Copland skapar en musikalisk symbol för den amerikanska myten. Tre judiska homo- och bisexuella män skapar en helamerikansk musical om heterosexuell, kristen romans.   Hur låter musiken kring det långa äktenskapet mellan tonsättarna Samuel Barber och Gian Carlo Menotti? Varför tar pianisten Vladimir Horowitz elchocker och antidepressiva medel? Och vem är den homosexuella skuggan bakom Duke Ellingtons musik?Låtlista: The Beauty of Sorrow Pauline Oliveros Pauline Oliveros, accordeon Taras Room Deep Listening DL 22-2004 CD Reason in Madness mixed Pauline Oliveros Pauline Oliveros, solo accordeon. Panaiotis, processing and mixing. CD-titel: Crone Music LOVELY MUSIC LTD CD 1903 Take The A Train Billy Strayhorn Duke Ellington Ellington Uptown COLUMBIA 512917 2 Chelsea Bridge Billy Strayhorn Billy Strayhorn, piano Piano Passion Storyville 101 8404 Le Tombeau De Couperin I Maurice Ravel/Marc H.Bonilla Gary Burton, vibrafon. Makoto Ozone, piano Virtuosi Concord Records CCD-2105-2 And On The Seventh Day, Petals Fell In Petaluma Harry Partch Harry Partch Gravikords, Whirlies & Pyrophones ellipsis arts CD3530 Aeolian Harp Henry Cowell Alan Feinberg The American Innovator argo 436 925-2 Fanfare for the Common Man Aaron Copland Slovak Radio Symphony Orchestra  Stephen Gunzenhauser, Conductor COPLAND: Appalachian Spring/Rodeo/Billy the Kid NAXOS 8.550282 America (West Side Story) Leonard Bernstein Leonard Bernstein, dir. Orch & Chorus. Kiri Te Kanawa, José Carreras,Tatiana Troyanos, Kurt Ollman. Bernstein on Broadway DG 447 898-2 Appalachian Spring Copland, Aaron Slovak Radio Symphony Orchestra  Stephen Gunzenhauser, Conductor COPLAND: Appalachian Spring/Rodeo/Billy the Kid NAXOS 8.550282 Concerto For Clarinet: II. Rather Fast Copland, Aaron (1900-1990) Dornbusch, Karin Barber, Copland, Ginastera Musica Vita CAPRICE CAP 21591 Barber: Adagio For Strings, Op. 11 Samuel Barber (1910-1981) Marin Alsop, dirigent; Wendy Warner, cello. Royal Scottish National Orchestra Barber: Cello Concerto, Medea Suite, Adagio For Strings NAXOS 8.559088 Cello Concerto - Molto Allegro E Appassionato Samuel Barber (1910-1981) Wendy Warner, cello. Marin Alsop, dirigent; Royal Scottish National Orchestra Barber: Cello Concerto, Medea Suite, Adagio For Strings NAXOS 8.559088 Suite from Sebastian I. Introduction Gian Carlo Menotti 1911 Spoleto Fest Orch; R. Hickox, Raphael Wallfisch, cello Apocalisse 1952; Fantasia Cello, Orch 1976 Sebasatian Ballet Suite 1944 Chandos Records CHAN 9900 III. Street fight Gian Carlo Menotti 1911 Spoleto Fest Orch; R. Hickox, Raphael Wallfisch, cello Apocalisse 1952; Fantasia Cello, Orch 1976 Sebasatian Ballet Suite 1944 Chandos Records CHAN 9900 Glitter and Be Gay (Candide) Leonard Bernstein Leonard Bernstein, dir. London symph orch, London Symph Chorus. Christa Ludwig, Nicolai Gedda, Della Jones  m fl. Bernstein on Broadway DG 447 898-2 Elegy In Memory Of Maurice Ravel David Diamond (b. 1915) Diamond, David John Adams, dirigent. Orchestra of St. Lukes American Elegies Albany Records TROY 082 Psalm Diamond, David (1915-2005) Janos Starker, Gerard Schwarz; Seattle Symphony Orchestra Diamond: Symphony #3, Psalm, Kaddish NAXOS 8.559155 Schumann-Traumerei Robert Schumann Vladimir Horowitz, piano The Magic of Vladimir Horowitz CD 1 DG 474 334-2

In this episode, we explore the overwhelming volume of music commissioned by kings, nobles and other influential patrons of the arts. Interview with legendary American conductor Gerard Schwarz. Handel’s Royal Fireworks in its original orchestration (no “fiddles”): www.youtube.com/watch?v=EXjY6w1KQMoThe Khan Academy: www.khanacademy.org

Here's the rough guide to our interview.00:00 - 02:35 Building the All-Star Orchestra02:36 - 03:45 Following Bernstein's tradition of music education05:45 - 09:28 Working without rehearsals09:30 - 13:09 Digital broadcasts and local shows15:50 - 16:57 Making the Symphony part of the community16:58 - 18:29 Navigating compensation questions18:30 - 27:10 MN Orchestra, music economics, and the role of conductors27:12 - 29:07 Life since retiring at the Seattle Symphony29:10 - 32:00 This weekend's program at the VSO

We're all over issues in performing arts this week. Be sure to look for the long version of our interview with Maestro Gerard Schwarz, coming soon.... 02:40 - 06:15 NYT outs Bacon triptych owner06:20 - 08:00 Glena the Movie08:15 - 14:00 DIY Kids15:45 - 18:40 OCT's Charlotte's Web18:45 - 21:50 PCS's Chinglish22:00 - 26:00 Profile Theatre's Eyes for Consuela 26:05 - 31:05 August Wilson's Red Door Project PEAC32:20 - 32:40 This week's music: Arturo O'Farrill33:10 - 39:30 White Bird Dance39:40 - 52:25 Maestro Gerard Schwarz

    In this episode, River Oaks Chamber Orchestra's Artistic Director, founder, and principal oboist, Alecia Lawyer takes Dacia inside the mind of an oboe player. In this strange world, people grow their own (bamboo), enjoy fame alongside Willie Nelson, and live on the edge without all of the annoying parachutes and bungee cords. Audio production by Todd Hulslander, with pearls of editing wisdom from Dacia Clay. Music used in this episode includes: – Le Tombeau de Couperin by Ravel:  St. Paul chamber Orchestra with Kathy Greenbanks, principal oboist – La Scala, by Rossini: rocohouston.org (look for the Season Finale) – Shostakovich Symph #5, Mvt. III – Tchaikovsky #4 Mvt. II, Lorin Maazel with the Cleveland Orchestra – Rimsky-Korsakov Scheherazade, Mvt III oboe solo     – Stravinsky Pulcinella Suite, Mvt II, Israel Philharmonic and Zubin Mehta     – William Schuman New England Tryptich,  Mvt. II. When Jesus Wept, Gerard Schwarz and the Seattle Symphony