Podcasts about Helmuth Rilling

“One of the things we know about the brain is that information that is acquired through problem solving is more likely to be retained. I might start rehearsal by saying 'take out the piece in D major,' 'let's start in the climactic moment of the Brahms,' 'take out the piece where fire is used as a metaphor for passion.' You start with a problem, so you're already engaging neurons. This works at any age."Sharon J. Paul holds the Robert M. Trotter Chair of Music at the University of Oregon, where she currently serves as Department Head of Music Performance and Director of Choral Activities. Her teaching includes graduate courses in choral conducting, repertoire, and pedagogy, along with conducting the internationally award-winning Chamber Choir.In March 2020, Oxford University Press published Dr. Paul's book, Art & Science in the Choral Rehearsal, which features many of the creative and evidence-based teaching strategies she has cultivated over her career.The University of Oregon Chamber Choir has placed first or second in four international choral competitions, most recently winning first prize in the Chamber Choir category at the Grand Prix of Nations Competition in Gothenburg, Sweden in August 2019. The Chamber Choir became a resident ensemble of the Oregon Bach Festival in 2014, performing each summer under conductors such as Helmuth Rilling, Matthew Halls, John Nelson, Jane Glover, and Joann Falletta.University of Oregon choirs under Dr. Paul's direction have performed at the National Association for Music Education's state and divisional conferences, and at ACDA Northwestern Division conferences.Dr. Paul has presented interest sessions at regional, state, division, national, and international conferences. She appears frequently as adjudicator, clinician, teacher, and honor choir director throughout the United States and abroad. In 2019, she received Oregon ACDA's Podium Award for “outstanding contributions to the choral arts,” and in the fall of 2014 she received the University of Oregon's Fund for Faculty Excellence Award.Dr. Paul completed her DMA in Choral Conducting at Stanford University, her MFA in Conducting from UCLA, and her BA in Music from Pomona College.To get in touch with Sharon, you can email her at sjpaul@uoregon.edu or find her on Facebook (@sharon.paul.50).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace HudsonPodMatchPodMatch Automatically Matches Ideal Podcast Guests and Hosts For Interviews

Ben Jones is an award-winning singer, comedian, storyteller and actor who has appeared in front of audiences worldwide. He's shared the spotlight with the likes of Rita Moreno, Michael Tilson Thomas, Frederica von Stade, Nathan Gunn, Isabel Leonard, Helmuth Rilling, Michael Morgan, Val Diamond and the Bang on a Can All-Stars. Ben's versatile voice has been featured on recordings on the Albany, Naxos and Delos labels, on A Prairie Home Companion, on the soundtracks for the best-selling video game franchises Halo and Civilization, and on commercials for Coors Light and Meow Mix. Ben made his Carnegie Hall debut virtually in 2021, performing a selection from Greg Pliska and Charles Moorey's new Musical A Most Dangerous Man in Carnegie Hall's Voices of Hope festival. He was most recently seen in Off-Broadway productions of Twist of Fate and Brooklyn's Bridge at The York Theatre. Ben received the Bay Area Theatre Critics Circle Award for Best Performance in a Musical for his portrayal of Sid Sorokin in The Pajama Game. Two of his solo shows–I Think I'm in Love and I Think We Should See Other People–were featured in BroadwayWorld's Best of 2022.

Nicht nur die Internationale Bachakademie Stuttgart ist in der Landeshauptstadt eine Institution, sondern auch ihr Leiter, Hans-Christoph Rademann. Und das will was heißen nach nur zwölf Jahren Amtszeit und der jahrzehntelangen Ära von Helmuth Rilling.

SynopsisIt's nice when talent in one field recognizes and appreciates it in another. But this is not always the case. Take, for example, Jonathan Swift, one of the greatest English writers of the 18th century, and Georg Frideric Handel, one of that century's greatest composers.In 1742, Handel was in Ireland, preparing for the premiere of his sacred oratorio Messiah at the Music Hall on Dublin's Fishamble Street, and wanted to use the choirboys from Dublin's two cathedrals, Christ Church and St. Patrick's. Swift was the Dean of Patrick's, and, on today's date, the author of “Gulliver's Travels penned a flaming reply to his sub dean:“I do hereby require and request not to permit any of the choristers to attend or assist at any public musical performances ... and whereas it hath been reported that I gave a license to assist a club of fiddlers in Fishamble Street, I do annul said license, entreating my said Sub-Dean to [refuse] such songsters, fiddlers, pipers, trumpeters, drummers, drum-majors or any [such] sonic quality.”History does not record Handel's response, but he did, in point of fact, eventually get to use the St. Patrick's choir boys and other “songsters” he requested.Music Played in Today's ProgramGeorge Frederic Handel (1685-1757) Messiah; Oregon Bach Festival; Helmuth Rilling, cond. Hännsler 98.198

"In this small community, they're going to hear Beethoven's 9th Symphony in their backyard. The festival has the intention to broaden the horizons of this community through music. That's why we do what we do: to learn and grow and teach and support each other." - Shelby Laird"I've always been in love with the choral rehearsal. It is so methodical and engaging. Every step is planned out, but there's always room for flexibility and growth. That kind of stuff that is so streamlined and normal in the choral classroom is something we can really learn from in the instrumental world." - Micah LairdShelby Laird is from Hays, Kansas and has grown up entrenched in the choral world. Throughout her education she has had the privilege to work and learn from some inspiring and brilliant conductions including Dr. Judy Bowers, Dr. Anton Armstrong, Simon Carrington, Helmuth Rilling, Kim Ritzer, and Dr. Edith Copley. She was a Young Artist for the Ad Astra Music Festival in Russell, KS, in 2015 and now serves as their Festival Manager and sings on select projects. Shelby graduated from Northern Arizona University in December 2018 with a degree in choral music education. While at NAU, she performed with Shrine of the Ages Choir, High Altitude, Handbell Choir, and Women's Chorale, and student conducted University Singers. Additionally, Shelby served as NAU's Student Chapter President of ACDA and planned the Student Symposium for the state of Arizona in 2017. She was awarded the Outstanding Future Choral Educator of the Year for the state of Arizona in 2018 and has sung with the Sedona Academy Chamber Singers for numerous exciting projects including recording GRAMMY nominated composer Michael Hoppé's Requiem and singing backup for Josh Groban. Shelby taught choir in the Independence School District at William Chrisman High School for three years outside of Kansas City. Currently, Shelby is pursuing a master's degree in choral conducting at the University of Oregon and working with Dr. Sharon Paul. In her first year, she sang with the UO Chamber Choir and conducted the Repertoire Singers ensemble. Shelby joined the Eugene Symphony Chorus for a performance of Beethoven's Ninth Symphony and then served as Eugene Symphony Chorus Manager for Ravel's Daphnis et Chloe. This summer Shelby is singing with the University of Oregon's Chamber Choir as a part of the renowned Oregon Bach Festival. Micah Laird is a graduate of Northern Arizona University where he obtained a degree in Instrumental Music Education as the Outstanding Senior in the School of Music. During his time at NAU, Micah was an active member of the School of Music, performing with numerous instrumental and vocal ensembles including the Flagstaff Symphony Orchestra. While in college, Micah also toured the country with the World Champion Blue Devils Drum and Bugle Corps in 2015 and 2016. Micah lived and taught in Blue Springs, Missouri, where he was the assistant director of bands at Brittany Hill Middle School and an associate director of bands for the Golden Regiment Marching Band from Blue Springs High School. In addition to his public-school teaching, he was on the instructional staff for the Academy Drum and Bugle Corps and the Blue Devils Drum and Bugle Corps for the 2022 season. Micah is also a part of the administrative staff for the Ad Astra Music Festival based out of Russell, Kansas. This is his first year at the University of Oregon working towards a graduate degree in Wind Conducting, studying under Dr. Dennis Llinás.To get in touch with Shelby and Micah, you can find them on Instagram: @shelbylaird19 and @micahtlaird.Choir Fam wants to hear from you! Check out the Minisode Intro Part 2 episode from May 22, 2023, to hear how to share your story with us. Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

durée : 01:59:04 - Le Bach du dimanche du dimanche 28 mai 2023 - par : Corinne Schneider - Au programme de cette 254e émission : on fête l'anniversaire de Helmuth Rilling qui aura 90 ans demain lundi 29 mai 2023, à l'écoute d'extraits du Magnificat, des Brandebourgeois, de la Messe en si min et des Cantates les plus célèbres ; et aussi la Pentecôte, avec les trois cantates de 1724 ! - réalisé par : Anne-Lise Assada

In den 1980er-Jahren spielte Helmuth Rilling als erster Dirigent überhaupt Bachs gesamtes Vokalwerk ein. Bis heute ist sein Name eng mit dem großen Komponisten verknüpft: Als Gründer und Leiter der Bachakademie Stuttgart, des Bach-Collegiums und der Gächinger Kantorei ist er ein Pionier in Sachen Musikvermittlung. Am 29. Mai feiert Helmuth Rilling seinen 90. Geburtstag.

"It's not about only 'what do you hear,' it's about how you hear. What is the color of the sound you hear? What do you hear in the vocal mechanism? What are some of the things that they are doing that maybe are reflected in my conducting? Is my conducting reflective of the music? Is my conducting causing the issues?"Jo-Michael Scheibe, a Southern California native, has spent years cultivating his passion for choral music and higher education. Mike, currently retired, recently chaired the Thornton School of Music's Department of Choral and Sacred Music at the University of Southern California, where he conducted the USC Chamber Singers, taught choral conducting and choral methods, and supervised the graduate and undergraduate choral program. Before his time at USC, he spent fifteen years in Miami directing Choral Studies at University of Miami's Frost School of Music.Dr. Scheibe has prepared many choruses at USC and around the world. These include works with Sir Colin Davis and the London Symphony Orchestra, Helmuth Rilling, Michael Tilson Thomas and the New World Symphony, Franz Welser-Möst and the Cleveland Orchestra, and the Formosa Singers in Taiwan. Under his leadership, ensembles have performed at National ACDA Conventions and National Conventions of the Music Educators National Conference. Walton, Albany, Colla Voce Music, and Naxos publish recordings of Scheibe's ensembles.Dr. Scheibe received his B.A. and M.M. degrees from California State University at Long Beach and D.M.A. from USC.A champion of contemporary music, Scheibe regularly commissions and performs new works of choral literature. He has helped to launch careers of promising young composers and to promote music by international composers largely unknown in the United States. Music publishers Walton, Colla Voce Music and Santa Barbara distribute the Jo-Michael Scheibe Choral Series internationally. Composers in his series include Eric Whitacre, Susan LaBarr, Stacey V. Gibbs, David Dickau, and many others.To get in touch with Mike, you can find him on Facebook (@drjomichaelscheibe) or send him an email at jscheibe@usc.edu.Choir Fam wants to hear from you! Check out the Minisode Intro episode from September 16, 2022, to hear how to share your story with us. Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson from Pexels

This week on The Hamilton Review Podcast, Dr. Bob welcomes American conductor Troy Quinn to the show! In this conversation, Troy shares the details of his impressive musical and academic background as well as his deep love for music. Troy is the new conductor of the Santa Monica Symphony Orchestra and the city is excited to have him lead the beloved orchestra.  Don't miss this great conversation! American conductor Troy Quinn is quickly establishing himself as one of his generation's most versatile young artists. Lauded for his energetic and riveting, yet sensitive conducting, Quinn is in his sixth season as Music Director of the Owensboro Symphony Orchestra in Kentucky. He is also the Music Director of the Venice Symphony in Florida where he conducts both the classical and pops concert series. Quinn's engagements have included performances with many prestigious orchestras in the United States, including the Los Angeles Chamber Orchestra, Rochester Philharmonic Orchestra, Chamber Orchestra of Philadelphia, and the Rhode Island Philharmonic, where he serves as the Summer Pops conductor. He is also the former Music Director of the Juneau Symphony. Since making his conducting debut with the Rochester Philharmonic Orchestra in their young conductor preview, Quinn has been the recipient of numerous accolades, including awards from the Presser Foundation, Rislov Foundation, Anna Sosenko Assist Trust, and a Rhode Island Foundation grant for his contributions to the musical landscape in New England. Equally at home in the pops and commercial world, Quinn has performed and recorded with some of the most popular artists of our time, including The Rolling Stones, Barry Manilow, Lee Greenwood, Josh Groban, Jennifer Hudson, Rockapella, Michael Feinstein, and Linda Eder. As an accomplished vocalist, Quinn has also collaborated with such prominent maestros as Helmuth Rilling, Carl St. Clair, and Dan Saunders of the Metropolitan Opera. In addition to his concert work, Quinn has worked extensively in the television and recording industry, having made appearances on such hit TV shows as Fox's GLEE, NBC's The Voice, and The Tonight Show with Jay Leno while recording on films like The Call of the Wild and Indiana Jones and the Kingdom of the Crystal Skull. He has also appeared at many of the world's major music centers and at such famed venues as the Hollywood Bowl and Walt Disney Concert Hall. A native of Connecticut, Quinn pursued a bachelor of arts degree from Providence College where he was the recipient of the Leo S. Cannon award for superior achievement in the music field. He went on to earn his masters degree with honors from the Manhattan School of Music, studying conducting with David Gilbert and voice with highly acclaimed Metropolitan Opera singer Mark Oswald. He completed his doctorate in conducting at the University of Southern California's Thornton School of Music, where he studied with Larry Livingston and Jo-Michael Scheibe and was awarded the outstanding doctoral graduate of his class. Quinn has participated in numerous masterclasses as a conducting fellow, attending conducting institutes at the Royal Academy of Music, Eastman School of Music, and Bard Conservatory of Music. He has been mentored by such renowned conductors as Benjamin Zander, Neil Varon, and Leon Botstein. Quinn serves on the conducting faculty at the University of Southern California's Thornton School of Music and has previously served as a faculty member at Providence College. How to contact Troy Quinn: Troy Quinn website How to contact Dr. Bob: Dr. Bob on YouTube: https://www.youtube.com/channel/UChztMVtPCLJkiXvv7H5tpDQ Dr. Bob on Instagram: https://www.instagram.com/drroberthamilton/ Dr. Bob on Facebook: https://www.facebook.com/bob.hamilton.1656

Mr. Henry and Mr. Fite had the pleasure of chatting with Dr. Henry Alviani. Dr. Alviani is one of Mr. Henry's former college professors! Dr. Alviani has a rich knowledge of choral music as a singer, conductor, and composer. Here's a little more info about Dr. Alviani: Henry Alviani is Director of Choral and Vocal Music Studies and Assistant Professor of Music at Clarion University of Pennsylvania. He earned the BA in Music Education from Mount St. Mary's College, Los Angeles; the MM in Choral Conducting from California State University, Fullerton; and the DMA in Choral Music from Arizona State University. His conducting instructors include Paul Salamunovich, Howard Swan, and Douglas McEwen. He twice performed with Helmuth Rilling at the Oregon Bach Festival, once as a member of the Conductor's Master Class. He also worked extensively with John Cooksey at CSUF. After twelve years as a public junior and senior high school choral director in Southern California, he has directed choral ensembles of all kinds and has taught studio and class voice, choral conducting and methods, and music theory and history at the college level since 1993. Currently he also sings with the Pittsburgh Opera Chorus.  On to the show! Check out our YouTube channel: Remember to Share and Subscribe! https://www.youtube.com/channel/UCdGhqK_DWpRIKS45ICqN3eQ   ***Classroom Teachers and Homeschoolers***  Find our digital resource to help enhance your classroom HERE!   Like us on Facebook!    Support The Music Podcast for kids on Patreon HERE!   Mr. Fite Check out original fun and educational music from Mr. Fite at  https://brucefite.com/music and subscribe to Mr. Fite's YouTube Channel   Mr. Henry Are you looking for affordable piano lessons for your 6-10-year-old? Start the music journey with Mr. Henry by taking a sneak peek into the Premier Membership with the free mini-piano course! https://www.mrhenrysmusicworld.com/piano   FREE Rock Out Loud Online Music Teaching Platform  [Disclosure: The Music Podcast for Kids is an affiliate of Rock Out Loud which means we receive a percentage of sales if a teacher decides to upgrade the service. There is no additional cost to the user. Our link gives access to the app for free as well!]

Synopsis On today's date in 1733, music-loving readers of a Leipzig newspaper called the “Nachricht auch Frag und Anzeiger” would have seen this welcome announcement: “Tonight at 8 o'clock there will be a Bach concert at Zimmermann's Coffeehouse on Catharine Street.” So, in addition to a Grandé Latté or Double-shot Depth-Charge, Zimmermann's patrons could treat themselves to a Grand Suite or Double-Concerto by Johann Sebastian Bach. As if Bach wasn't busy enough providing all those sacred cantatas and organ chorales for TWO Leipzig's churches every Sunday, he was also in charge of that city's Collegium Musicum, an organization that presented more secular musical fare. It's likely that on occasional weekday nights at Catharine Street, most of Bach's concertos and chamber works were performed by Bach himself, alongside many of the same musicians he employed each Sunday for his church music. Given his staggering workload, it's not TOO far-fetched to assume that caffeine helped Bach stay focused and alert: One of his secular cantatas might even be considered as an early form of an advertising plug: the humorous text of Bach's ‘Coffee Cantata' recounts how a young woman's addiction to coffee triumphs over her stuffy father's moral objections to the tasty brew. Music Played in Today's Program Johann Sebastian Bach (1685-1750) — Harpsichord Concerto in f, S. 1056 (Gustav Leonhardt, Herbert Tachezi, hc; Leonhardt Consort) Teldec 35778 Coffee Cantata, S. 211 — Christine Schaefer, sop.; (Stuttgart Bach-Collegium; Helmuth Rilling, cond.) Hanssler 98.161

Synopsis As a busy church musician Johann Sebastian Bach wrote around 300 sacred cantatas. That seems a high number to us – but consider that his contemporaries Telemann and Graupner composed well over a thousand cantatas each! In what surviving documents we have, Bach himself rarely uses the Italian term “cantata” to describe these pieces, preferring “concertos” or simply “the music” to describe these works intended for Lutheran church services. It was only in the 19th century, as Bach's music was being collected and catalogued, that the term “cantata” would become the official label for this sizeable chunk of Bach's output. On today's date in 1731, the 27th Sunday after Trinity that year, Bach presented what would become one of his most popular cantatas: “Wachet auf, ruft uns die Stimme”, or “Awake, the Voice calls to us.” In that 19th century catalog of Bach's works, this is his Cantata No. 140. The text is based on a Gospel parable recounting the story of the wise and foolish virgins, who are called, ready or not, to participate in a wedding feast. The opening choral melody may have been already familiar to Bach's performers and congregation, but his dramatic setting of it is downright ingenious. Music Played in Today's Program J.S. Bach (1685 – 1750) — Cantata No. 140 (Wachet auf, ruft uns die Stimme) (Bach Ensemble; Helmuth Rilling, cond.) Laudate 98.857

Synopsis The year 2000 marked both the arrival of a new millennium and the 250th anniversary of the death of the great German Baroque composer Johann Sebastian Bach. The International Bach Academy in Stuttgart decided to mark the occasion by commissioning four very different composers to write four new passion settings, one each after the Gospel accounts of the evangelists, Matthew, Mark, Luke, and John. A German composer, Wolfgang Rihm, was chosen for the St. Luke Passion; a Russian, Sofia Gubaidulina for St. John's; an Argentine, Osvaldo Golijov for St. Mark's; and a Chinese composer, Tan Dun, for the Passion according to St. Matthew. And on today's date in 2000, Helmuth Rilling conducted the world premiere of Tan Dun's “Water Passion after St. Matthew.” Tan said he was struck by the references to water in St. Matthew's gospel, so his setting includes seventeen large, illuminated bowls of water, positioned on stage in the form of a cross. These divide the chorus, with three percussionists and a group of additional soloists stationed at the four points of this cross. In Tan's “Water Passion,” natural sounds of water mix with a wide range of vocal techniques, including Tuvan throat singing and the stylized virtuosity of Peking Opera. Music Played in Today's Program Tan Dun (b. 1957) – Water Passion (Stephen Bryant, bass; Mark O'Connor, violin; ensemble; Tan Dun, cond.) Sony 89927 On This Day Births 1841 - Czech composer Antonin Dvorák, in Nelahozeves; 1894 - Dutch composer Willem Pijper, in Zeist; 1933 - American composer Eric Salzman, in New York City; 1934 - British composer Sir Peter Maxwell Davies (whose last name, despite its spelling, is pronounced "Davis" by the British); 1934 - Canadian composer Srul Irving Glick, in Toronto; Deaths 1613 - Italian nobleman, composer, lutenist, and murderer (of his first wife and her lover) Don Carlo Gesualdo, age c. 53, at his castle in Gesualdo; 1949 - German composer and conductor Richard Strauss, age 85, in Garmisch-Partenkirchen; 1991 - American composer Alex North, age 80, in Pacific Palisades, Calif.; Premieres 1961 - Earle Brown: "Available Forms I" for 18 players, in Darmstadt; 1971 - Bernstein: gala premiere "Mass (A Theater Piece)" at the inauguration of the John F. Kennedy Center in Washington, D.C., choreographed by Alvin Ainley, directed by Gordon Davidson, and conducted by Maurice Peress (Bernstein shared a box section with members of the Kennedy family, including Senator Ted Kennedy and his mother, Rose; Jacqueline Kennedy Onasis did not attend this performance); A dress rehearsal performances of this new work was also open to the public and specially-invited members of Congress the preceding day; 1975 - Paul Chihara: "Ceremony V (Symphony in Celebration)," in Houston; 1994 - Michael Torke: "Javelin," by the Atlanta Symphony, Yoel Levi conducting; 1995 - Lou Harrison: "New First Suite for Strings," in Majorca, by the Stuttgart Symphony, Dennis Russell Davies conductin; 2000 - Tan Dun: "Water Passion after St. Matthew," in Stuttgart (Germany), with vocal soloists Elizabeth Keusch and Stephen Bryant, violinist Mark O'Connor, cellist Maya Beiser, and percussionist David Cossin, and the orchestra of the Bach Academy conducted by the composer; This work was one of four passion settings commissioned by the International Bach Academy to honor the 250th anniversary of Bach's death in the year 2000 (see also: Aug. 29 Sept 1 5). Links and Resources On Tan Dun More on Tan Dun

Dr. Sharon J. Paul is a performer and educator who holds the Robert M. Trotter Chair of Music at the University of Oregon, where she currently serves as Interim Department Head of Music Performance and Director of Choral Activities. Her teaching includes graduate courses in choral conducting, repertoire, and pedagogy, along with conducting the internationally award-winning Chamber Choir, which has placed first or second in four international choral competitions, most recently winning first prize in the Chamber Choir category at the Grand Prix of Nations Competition in Gothenburg, Sweden in August 2019. The Chamber Choir became a resident ensemble of the Oregon Bach Festival in 2014, performing each summer under conductors such as Helmuth Rilling, Matthew Halls, John Nelson, Jane Glover, and Joann Falletta.In March 2020, Oxford University Press published Dr. Paul’s book, Art & Science in the Choral Rehearsal, which features many of the creative and evidence-based teaching strategies she has cultivated over her career. Dr. Paul has also presented interest sessions at regional, state, division, national, and international conferences, appearing frequently as adjudicator, clinician, teacher, and honor choir director throughout the United States and abroad, with recent appearances nationally in Minnesota, California, Colorado, Pennsylvania, Nevada, Utah, Washington, and internationally in Singapore, Estonia, Sweden, and England. In 2019, she received Oregon ACDA’s Podium Award for “outstanding contributions to the choral arts,” and in the fall of 2014 she received the University of Oregon’s Fund for Faculty Excellence Award.The Question of the Week is, “What are elements of effective teaching in classical music?” Dr. Paul and I discuss what the core elements of her teaching style is, teachers in her life that she found effective (and others she didn’t), her incredible book Art and Science in the Choral Rehearsal, what science has taught us about how the brain learns, and the toxic relationships that can develop between teachers and their students.

Helmuth Rilling juhatab koori Gächinger Kantorei Stuttgart ja ansamblit Bach-Collegium Stuttgart. Kõlab Ludwig van Beethoveni "Missa C-duur" (1807). Solistid on sopran Katherine van Kampen, alt Ingeborg Danz, tenor Keith Lewis ja bass Michel Brodard.

Helmuth Rilling juhatab koori Gächinger Kantorei Stuttgart ja ansamblit Bach-Collegium Stuttgart. Kõlab Ludwig van Beethoveni "Missa C-duur" (1807). Solistid on sopran Katherine van Kampen, alt Ingeborg Danz, tenor Keith Lewis ja bass Michel Brodard.

This episode features my interview with the legendary Dr. Jerry Blackstone. Jerry is a Grammy award-winning conductor who is well known for his work as a professor of choral music at the University of Michigan. In our discussion, Jerry shares his views on repertoire, inspiring musicians, and the art of music-making.    Topics include: (04:09) Jerry talks about his life, background, and current role as a visiting professor at Wheaton College (12:32) Score study (30:05) Connecting students to the music they perform (34:20) Rehearsal methodology (42:31) Framing verbal instruction (47:28) Jerry’s approach to conducting  (1:11:37) Getting musicians to fall in love with music (1:15:04) Favorite rehearsal tactics (1:16:24) Why do we teach music?  (1:20:15) Todd discusses leaders that have made an impact on his life  (1:24:20) Advice for music educators   Links:  Jerry’s University of Michigan page: https://smtd.umich.edu/about/faculty-profiles/jerry-blackstone/ Jerry conducting Ein deutsches Requiem, op. 45 at UoM: https://www.youtube.com/watch?v=iAGxnqRpiF0 Jerry conducting William Brehm’s “Allulia” and “Jubilee!” at UoM: https://www.youtube.com/watch?v=AWVFUfXRkzE Jerry giving a clinic on compelling musical performances: https://www.youtube.com/watch?v=vw8FtiyRXMo Bio:  Grammy Award winner Jerry Blackstone is a leading conductor and highly respected conducting pedagogue.  Now emeritus professor of conducting, he served on the faculty of the University of Michigan School of Music, Theatre & Dance for thirty years where as director of choirs he led the graduate program in choral conducting and oversaw the University’s eleven choirs.   In February 2006, he received two GRAMMY Awards (“Best Choral Performance” and “Best Classical Album”) as chorusmaster for the critically acclaimed Naxos recording of William Bolcom’s Songs of Innocence and of Experience. The Naxos recording of Milhaud’s monumental L’Orestie d’Eschyle, on which Blackstone served as chorusmaster, was nominated for a 2015 GRAMMY Award (“Best Opera Recording”). Opera Magazine reviewer Tim Ashley wrote: “the real stars, though, are the University of Michigan’s multiple Choirs, who are faced with what must be some of the most taxing choral writing in the entire operatic repertory. Their singing has tremendous authority and beauty, while the shouts and screams of Choéphores are unnerving in the extreme. Their diction is good too: the occasions when we don’t hear the words are Milhaud’s responsibility, rather than theirs. It’s an extraordinary achievement, and utterly mesmerizing.” The University of Michigan Chamber Choir, conducted by Blackstone, performed by special invitation at the inaugural conference in San Antonio of the National Collegiate Choral Organization (NCCO) and presented three enthusiastically received performances in New York City at the National Convention of the American Choral Directors Association (ACDA).  As conductor of the University of Michigan Men’s Glee Club from 1988-2002, Professor Blackstone led the ensemble in performances at ACDA national and division conventions and on extensive concert tours throughout Australia, Eastern and Central Europe, Asia, South America, and the United States. In 2017, NCCO presented him with its prestigious Lifetime Achievement Membership Award and, in 2006, for “significant contributions to choral music,” he received the ACDA-Michigan chapter’s Maynard Klein Lifetime Achievement Award.  From 2003-2015, Dr. Blackstone served as conductor and music director of the University Musical Society (UMS) Choral Union, a large community/university chorus that frequently appears with the Detroit Symphony Orchestra (DSO) and the Ann Arbor Symphony and presents yearly performances of Handel’s Messiah and other major works for chorus and orchestra. Choirs prepared by Blackstone have appeared under the batons of Valery Gergiev, Neeme Järvi, Leonard Slatkin, Hans Graf, Michael Tilson Thomas, John Adams, Helmuth Rilling, James Conlon, Nicholas McGegan, Rafael Frühbeck de Burgos, Peter Oundjian, and Yitzak Perlman. Professor Blackstone is considered one of the country’s leading conducting teachers, and his students have been first place award winners and finalists in both the graduate and undergraduate divisions of ACDA’s biennial National Choral Conducting competition.  His 2016 rehearsal techniques DVD, Did You Hear That? (GIA Publications) deals with the conductor’s decision-making process during rehearsal.  Santa Barbara Music Publishing distributes Blackstone’s acclaimed educational DVD, Working with Male Voices and also publishes the Jerry Blackstone Choral Series. Blackstone is an active guest conductor and workshop presenter and has appeared in forty-two states as well as New Zealand, Australia, Hong Kong, Shanghai, and Sicily. In the summer, he leads the Adult Choir Camp and the Choral Conducting Institute at the Interlochen Center for the Arts. Prior to coming to the University of Michigan in 1988, Dr. Blackstone served on the music faculties of Phillips University in Oklahoma, Westmont College in California, and Huntington University in Indiana.    

Sara Guttenberg, soprano, is highly sought after as a soloist and chamber artist, charming critics and audiences with her “vocal finesse” (South Florida Sun-Sentinel) and “soaring tones” (Miami Herald). Guttenberg is a member of Seraphic Fire and the Berwick Chorus of the Oregon Bach Festival. Known for her vocal versatility, she has performed and recorded music of multiple vocal genres. She is also a featured soloist on Naxos recordings of William Bolcom’s Songs of Innocence and of Experience, which earned four GRAMMY® awards. Guttenberg has sung under the batons of Nicholas McGegan, Michael Tilson Thomas, John Nelson, Leonard Slatkin, and Helmuth Rilling. Currently, she is pursuing a doctoral degree in Choral Conducting at University of Wisconsin-Madison. Previously, she spent seven years teaching at Southern Utah University, where she conducted multiple ensembles in addition to teaching choral music education classes and applied voice. Guttenberg holds Master’s degrees in Voice Performance and Choral Conducting from University of Michigan, and a Bachelor’s degree in Music Education from University of Wisconsin-Madison.

Join William Sitwell as he welcomes Alexander Armstrong into the Classical Kitchen. Alexander is a BAFTA winning comedian and host of ‘Pointless’ on BBC One, but he’s also an accomplished bass-baritone singer who trained at Cambridge University. In this episode, William explores Xander’s culinary roots in 1970’s cookbooks, discovering his voice, and the splendour of Tudor evening-song. Together they prepare a fragrant dish close to Xander’s heart - a Beautifully Simple Gujarati Sweet Potato Curry with oven baked Naan. The pieces played in this episode are: Bach. Cantatas No. 208 'Sheep May Safely Graze'. Extreme Music Bach. St Matthew's Passion: Aria: Mache Dich, Mein Herze, rein, Stuttgart Bach Collegium, Helmuth Rilling, Gachinger Kantorei. Chandos Elgar. The Enigma Variations, Royal Scottish National Orchestra, Sir Alexander Gibson. Chandos Handel. Jephtha: HWV 70, Act II, Scene 2: Recitative. "Again Heav'n Smiles" - Airia "Freedom Now”. Solo Tenor: James Gilchrist, Chandos. Verdi. La Traviata. Extreme Music. Purcell. Hear My Prayer, O Lord. Extreme Music. Albinoni, Oboe Concerto in D Minor, Extreme Music. Grieg. Piano Concerto in A Minor- Adagio. Extreme Music Beethoven Symphony No.7, Allegretto, 2nd Movement. Extreme Music

Imposter syndrome is real, and it means that you are human and have achieved success. Be thankful that you have these feelings; they mean you are accomplishing something worthwhile. But that doesn’t make it easy to deal with. For this penultimate podcast episode, Ryan returns to one of the post prevalent issues plaguing directors. Name your imposter syndrome, call it out for what it is, and then keep on doing amazing things. [Subscribe on iTunes] [Subscribe on Android] Show Notes:   Feeling like an imposter?   Yes. Duh. Of course. Anyone who has achieved any modicum of success (unless they're up their own butt) deals with imposter syndrome.   What is it? It’s the fear that you'll be found out; the idea that you're actually a fraud and don't deserve what you've worked so hard to achieve. YOU worked hard and have realized some success. And because YOU'RE responsible for your own success, you feel like YOU put yourself there. Which you did. Which is why it's easier to tell yourself you're a fraud.   The reality You deserve your success, for the same reason you feel like an imposter: YOU earned it yourself. Remember, everyone else is working toward their own successes, so why should you feel like you shouldn't.   Being successful puts you in the spotlight Now you not only deal with imposter syndrome, you deal with people who hate you for your success. So, now you speak negativity to yourself for the same reasons: Maybe because you took something other than the traditional path, and they watched you take a shortcut and are envious. Maybe you're just plain talented and don't have to work as hard. Maybe you worked harder than others were willing to work. Maybe your focus was on serving others, and those others are giving you all the attention. Maybe you operate in an environment where your peers believe in a zero-sum game, even though you don't. Maybe you're anti-establishment and just popped out of nowhere, not taking the traditional path to success. Maybe those with a higher degree of education (or debt) are struggling, but you chose a different route. Maybe… You name it.   The problem with listening to your imposter syndrome You stop doing what helped you achieve success in the first place. You, by proxy, allow your critics to control you and your level of anxiety. It's a losing scenario, because if you listen to your imposter syndrome and kill your success your self-talk changes and attacks you for being a failure.   So what do you do? Understand that it's part of being successful. Say “Of course. Just when I'm trying to enjoy life… Here you are!” Name it. (Mine is Phil) Put it in a bubble. Push it out. Affirm, out loud, that you deserve success. Name, out loud, all the people that have benefited along the way. Keep a “Smile File” of notes, emails, cards, articles, and things having to do with your journey that make you smile. Have someone you can talk to about your imposter syndrome who will be your cheerleader. Could be a best friend or spouse, or it could be someone you meet in Choir Nation. Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility for all aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. In 2017, Ryan created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and for-profit choral ensemble  and musical theater business in central New Jersey. Ryan’s choirs have been heard alongside GRAMMY winners Kenny Rogers, Linda Davis, and The Chieftains and on the stages of Boston’s Symphony Hall, Philadelpha’s Mann Music Center, and the Barclays Center in Brooklyn, to name a few. In July 2017, he made his Wolf Trap debut as Chorusmaster with the National Symphony Orchestra as they performed the music of the wildly popular Zelda video game. Ryan was the keynote speaker at the 2017 Iowa Choral Directors Association Annual Summer Symposium, has been a presenter at the Chorus America Annual Conference, and a guest speaker at various other conferences and workshops throughout the year in both the choral and podcasting niches.Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: Agnes Isn’t the Boss of You, with Lynn Lyons Choir Nation group on Facebook Sponsored by: Introducing Sheet Music Deals!     Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)     My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) WHILE YOU ARE THERE, PREORDER CHOIRS ARE HORRIBLE!      

This episode first aired in July 2017: Drawing on lessons learned while losing at pool, Ryan shares what it means to have an entrepreneurial mindset as a  choir director. You will hear strategies about how to win at pool, how to lose at pool, and how to embarrassingly injure a friend during pool (with a step by step guide in the show notes). You will also hear why it is so important that we mindfully choose which kind of game we are going to play, which entrepreneurial super-skills you already posses, and how to avoid the traps that prevent you from being the real thing.   Highlight to Tweet: “If your win is a standing ovation, you need a bigger win” - Ryan Guth   Show Notes: You are already functioning as an entrepreneur in 2 WAYS: Through Task: Recruitment = Sales Market concerts Concert Programs = Graphic Design Press releases = PR Concerts = Event planning Working one-on-one with a student who’s more invested than the others = Coaching Talking to parents = Counseling/Negotiation Sending detailed emails so your students do what you need them to do = Copywriting Making resources for students like practice tracks = content marketing Updating your “teacher page” = web design Creating and upholding the rules in your choir handbook = Contracts Making an itinerary for your choir’s trip to Disney World = Travel planning Budgeting = Budgeting Picking the uniforms = fashion design Problem solver Through thought: Knows his/her own “why” Stands for something Abundance-minded Proactive Solutions-oriented Focused on personal growth and learning. Self-aware Places the greatest value on helping others before themselves. Knows other people's “Why” Takes ego out of the equation Confident in his/her unique value proposition to the world.   What’s holding you back from being great? Listening to haters and critics. It’s a long game, and a numbers game. You have to get through your “no’s.” “Good” concerts are part of the process. They aren’t all great. Worrying about things outside your control. Blaming others Comparing yourself to others Zero-sum mentality When you get close to success, imposter syndrome tries to shut you down. The biggest pitfall is sometimes the smallest one: small goals that produce small wins   Construct a big “win”...not one based solely on applause, scores, or the admiration of others. Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a high school choir director in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan will be the keynote speaker at the Iowa Choral Directors Association Annual Summer Symposium, a presenter at the Chorus America Convention in the Summer of 2017, and a guest speaker at various other conferences and workshops throughout the year. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder.   Resources/links Mentioned: Choir Nation group on Facebook Email Patreon - Support the podcast! Instructions for setting up a nut-shot in a game of pool:1. Tell the unsuspecting victim you know a cool trickshot, but that you’ll need him to be your assistant. 2. Place the quarter about 8 inches from the end of the table, right down the center line. 3. Have your victim position himself behind  the quarter.4.  Hand him the two balls and, whilst patting him on the back, tell him “Now you have 4!”5. Ask the victim to place one ball at each of the corner pockets, hanging over the edge, just about to fall in.6. Direct your victim to place his pointer fingers on each ball to prevent them from accidentally falling into the pocket. 7. He will need to brace himself, so remind him to take a step back and balance on both feet.8. Now, walk to the other end of the table, and explain that through magic and complex feats of 9th grade geometry, in one shot, you will hit the two balls into each pocket. ;)9. Place the cue ball on the dot, aim for the quarter, and… if you hit the quarter just right… it’ll jump off the table directly into the victim’s unsuspecting “huevos rancheros”. 10.  Lastly, point at your victim and have a good laugh at his expense.   Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!) Sheet Music Deals (Use promo code "NINJA" to receive 20% off all Bri-Lee and Carl Fischer Music publications)    

In December especially, choral directors spend their days focused on serving others so much that they often neglect their own needs. Here are some ways to stay charged in the coming weeks until Christmas! You have to take care of yourself before you can take care of others. You have so many in your choirs who depend on your gifts to get them through this often very difficult season. You have the potential to help heal the pain of loss or loneliness that some people feel at this time. It make take extra energy, compassion, and patience in order to serve the members of your choir in a time when energy, compassion, and patience are in short supply. [Subscribe on iTunes] [Subscribe on Android]   Highlight to Tweet: “Pee clear, pee often.” - Amanda Simon Show Notes: This is a long, but incredibly rewarding season. Remember to keep these items in mind to maximize the rewards of your work and stay present with those who need you! Keep in mind: You’re a servant and a leader year-round and especially in December! Wake up with a sense of duty and be grateful! You get to do what you love, and get paid for it. You will make audience members’ days/months/years with your musical offerings. You’ll touch people that you’ll never meet and in ways that you’ll never know. You’re giving families a reason to get together and celebrate with each other for potentially the only time in a year. Your duty IS your escape from December. If you do it well, you won’t need an escape, because your soul will be fed by what you do. Thank your family for supporting you/putting up with you by… smiling (sometimes you fake it till you make it so your brain believes your happy – See distress tolerance techniques). showing more affection to your loved ones/significant other. hugging your kids and reading them bedtime stories every night you can. reschedule dinner at a new common time with your loved ones so that you don’t miss that very essential part of your life. Follow these nutrition guidelines to stay on top of your game Avoid fast food. If necessary, choose healthy options. Eat a big breakfast PROTEIN/COMPLEX CARBS: Eggs scramble (loaded with avocado and veggies like spinach, peppers, tomatoes) Cook in healthy oils such as coconut oil or avocado oil Oatmeal Berries Smoothie (banana, peanut butter, almond milk, with optional protein powder) BUY A NUTRIBULLET Stay prepared Pack your meals (lunch or dinner) if you won’t be home to make them Carry snacks with you, so you don’t end at in the vending machine Protein bar (like Quest or Luna bars) with less than 10g of sugar Mixed nuts (packs like Trader Joe’s) Apples for appetite suppression “Batch prepare” your meals Stay hydrated (pee clear and often) It’ll keep you full Heightens energy Keeps the voice working Minimizes the chance of stress headaches Aids in proper digestion Releases toxins Remember, it’s okay to say no… to requests that may derail your momentum to substances that may slow you down feeling guilty when you’re not working Don’t give up on exercise If you don’t have a regular routine, you can look up 15 minute exercises on YouTube to do naked in your bedroom before school. Get sleep 7-8 hours/per night – especially before performances Your DVR is your best friend You can catch up on your shows during the Christmas break Sleep in a dark room Lavender on the pillow Use meditations like these to fall asleep In the case of a meltdown Go back to gratitude. Close your eyes and do this meditation. (Warning: Bad Language) Breathe in for 4 counts, hold for 2, breathe out for 6. Do a grounding exercise 5 things you see 4 things your hear 3 things you feel 2 things you smell 1 thing you taste Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly.He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best.Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America.Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: Choir Nation group on Facebook Email Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)     My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)    

The Cost of Early Adoption, with Ryan Guth   The best choir directors are innovators, which is great for their choirs. But there are costs and risks involved in blazing a new trail, and those risks don’t just land on your shoulders, Director; they are shared by your choir. So before you implement that new vision or schedule or teaching method, make sure you are aware of your responsibilities. Ryan shares the lessons he has learned as a lifelong innovator/entrepreneur, focusing on his most recent venture, the Choirs Are Horrible card game.   Tweet this: “If you are going to trailblaze a new path, there is going to be some fallout.” - @RyanMGuth          Show Notes: “Early adopters” are those who buy into the product from the first. Whether it’s Tesla, solar panels, or Choir Ninja, early adopters pay a premium for being first in line. The cost is higher, and the product is not as good as it will be in a few years. Sometimes you go to a conference or summer class and get a new vision for your choir program. It’s time for big exciting changes! But this means your students are early adopters. There are risks involved in being an innovator, and the risks are shared by you and your students. Your responsibilities: Admit what you don’t know. Be transparent. Embrace under promising and over delivering. Ask for feedback. It’s okay to apologize when thing don’t turn out according to your plan. Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly.He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best.Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America.Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: Ryan’s ICDA Keynote   Choirs Are Horrible, the World’s Best Choral Card Game   ***NEW*** Choir Emoji Posters! Get them for free!!! Choir Nation group on Facebook Email Patreon - Support the podcast!   Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!)     My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)    

TEACHERS: Share this episode with your choir! In our “winning is everything” culture, the goals of competition seem crystal clear: the medal, the role, the spot in the honor choir. Sometimes when the competition is fierce, those rewards don’t seem worth the effort. But there are rewards inherent in the audition process, and they are enduring. Competition is one of the most effective ways to become better at your art, and it deserves a place in your curriculum. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet:         “Winning is important. But I want to put it into perspective.” - Ryan Guth “No one has ever regretted the effort to become a better musician.” - Ryan Guth “You miss 100% of the shots you don't take.” - Wayne Gretzky Show Notes: Competition should have a place in your curriculum. Performance is important, but it’s not everything a musician needs to know. Some lessons are taught better by competition. But there are lots of ways to compete Region/Area/State Auditions Solo and Ensemble contest Auditions for solos in school performance Auditions for parts in school musical School talent show What competition teaches How to practice effectively How to budget your time for long term goals How to persevere, even when the music isn’t fun How to focus in the midst of distractions How to perform under pressure How to win How to lose How to prepare for the next audition What do you say to your students who win? What do you say to your students who lose? What you actually win when you win: the spot in the choir, the medal, the rating What you actually win even when you lose: Everything you gained in your preparation, you keep. Every bit of technique you perfected, you keep. Every step forward into greater musical maturity and expression, you keep. Every note of expanded range, you keep. Every extra second of breath you gained, you keep. Every nuanced understanding of lyrics or poetry, you keep. Everything you learned about the composer or the music’s historical context, you keep. Every bit of dynamic variation you mastered, you keep. Every bit of confidence and poise you earned, you keep. Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: Choirs Are Horrible, the World’s Best Choral Card Game Kintsugi ***NEW*** Choir Emoji Posters! Get them for free!!! Choir Nation group on Facebook Email Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

You probably never studied graphic design, but your audience still deserves a concert program that doesn’t look like a church bulletin from 1998. If the economic and ecologic costs of paper programs have you concerned, Ryan is here to teach you how to go digital. He will lay out the advantages of digital programs, address some of the disadvantages, and walk you through the process of creating them step by step. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet:         “Before you get up in arms about devices at your concert, let’s weigh the options.” - Ryan Guth Show Notes: Physical paper programs (traditional) It is the piece of your concert your audience takes home with them Use canva.com for design assistance to make your programs beautiful and professional looking Physical programs (non-traditional) Incorporate something that represents your theme Creates a distinctive keepsake Think creatively - printing on items like balloons or fans may be cheaper than a glossy traditional paper program Digital or virtual programs - viewed on your personal digital device Advantages Save paper Save money Save space in the landfill Can be viewed in full color Zoom feature important for visually impaired Content is “clickable” - great for promoting your social media channels or your GoFundMe page or a link to the site for parents to pay for the choir trip link to a virtual ad to businesses that want to support you survey email list subscription concert evaluation Disadvantages Being on their devices could be a distraction during the concert Encourage your audience to keep phone muted and the screen dimmed Access Digital programs are accessed through a url (not a QR code. Come on, man.) Tinyurl.com Create program on Canva.com; add your active links; download as a pdf; upload to google drive; find the “view” url; make a custom “slug” at tinyurl.com Project the program url on the wall Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a financial advisor in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: Canva webinar Tinyurl.com Sample digital program here: tinyurl.com/theworkofxmas QR Codes Kill Kittens, by Alison Kramer and Scott Stratten NEW Choir Emoji Posters! Choir Nation group on Facebook Email Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

As choir directors, we train hard to be able to help our singers and students. But whether you studied Music Ed or Sacred Music, it’s unlikely that financial literacy was part of your program. Today Ryan outlines how to read your credit report, and gives some simple tips for strengthening your credit score. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet:  “Nobody’s going to spend crazy on the gas, because then it starts overflowing and catches fire.” Show Notes: Why should you care about your credit score? Other important people will care about your credit score: mortgages, insurance companies, auto loans, furniture stores, your future employers Your piece of mind It helps you set quantifiable goals Identity fraud: who else is using your social security number? Catch errors on your report Try Creditkarma.com, a free web service Transunion Equifax Dave Ramsey’s podcast What’s important to look for: Credit card use: keep it under 30% Payment history: 100% Derogatory remarks No credit history? Establish one with something easy to pay off, like gas. Derogatory comments? Call them. See if you can get it removed. Often they are willing to work with you. Request a credit limit increase. Don’t use it; but having it available improves your credit use percentage. Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a high school choir director in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: www.creditkarma.com Dave Ramsey Choir Nation group on Facebook Email Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Achieving Mastery, with Ryan Guth and Stevie Berryman Ryan and Stevie discuss ways choir directors can increase their grit and become masters in their field. Citing Grit: The Power of Passion and Perseverance by Angela Duckworth, they discuss what separates people who want to the be the best in their field from those who actually are. You’ll learn the 4 steps for deliberate practice that will help you progress rather than just put in time. Listen: Highlight to Tweet:         “Talent counts. But effort counts twice” - Angela Duckworth “The work comes first.” - @steviebetweetin Show Notes: The people who succeed in music, or any endeavour, are the ones who are willing to do the work. Work sometimes involves risk. It rarely involves art. But the ones who work will succeed. Angela Duckworth defines GRIT as: sustained passion and perseverance for especially long term goals. It is the hallmark for high-achievers in every human domain. Even if you were born with talent, you weren’t born an expert. Expertise takes skill over time. Talent x effort = skill Skill x effort (over time) = achievement To increase your skill, you must put in deliberate practice. Set a Stretch Goal -- Focus 100% -- Get Feedback --Reflect and Refine The Choir Nation Facebook group is a great resource for getting feedback! Time to set your stretch goal! Look for an accountability partner in the Choir Nation Facebook group! Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a high school choir director in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Stevie Berryman is shockingly good at video games. She can fold a fitted sheet so it looks like it came right out of the package. Likewise, her skills as music director and teacher have also been acquired through long hours of arduous and dedicated practice. For much of her career Stevie has directed seven or more ensembles each week, meaning she has 98 years of experience (in dog years). Her effusive energy and wild creativity found a perfect setting in 2013 when she became the Artistic Director of the Houston Chamber Ringers, which has let her smash together her love for music, laughter, and tacos in a truly remarkable way. She has a particular passion for teaching children how to ring, and her innovative methods have made her a sought after educator at area and national handbell festivals. Stevie loves helping other choirs as a private clinician, or planning epic concerts for them as a creative consultant. Her next step in global domination is to take over the choral world, which is a side bonus of her job as Chief Awesomeness Officer at the Choir Ninja Podcast. Resources/links Mentioned: Grit: The Power of Passion and Perseverance by Angela Duckworth Angela Duckworth’s TED Talk Planet Money Will Smith will not be outworked Stevie’s blog Choir Nation group on Facebook Email Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

Drawing on lessons learned while losing at pool, Ryan shares what it means to have an entrepreneurial mindset as a  choir director. You will hear strategies about how to win at pool, how to lose at pool, and how to embarrassingly injure a friend during pool (with a step by step guide in the show notes). You will also hear why it is so important that we mindfully choose which kind of game we are going to play, which entrepreneurial super-skills you already posses, and how to avoid the traps that prevent you from being the real thing. Listen: Highlight to Tweet: “If your win is a standing ovation, you need a bigger win” - Ryan Guth Show Notes: You are already functioning as an entrepreneur in 2 WAYS: Through Task: Recruitment = Sales Market concerts Concert Programs = Graphic Design Press releases = PR Concerts = Event planning Working one-on-one with a student who’s more invested than the others = Coaching Talking to parents = Counseling/Negotiation Sending detailed emails so your students do what you need them to do = Copywriting Making resources for students like practice tracks = content marketing Updating your “teacher page” = web design Creating and upholding the rules in your choir handbook = Contracts Making an itinerary for your choir’s trip to Disney World = Travel planning Budgeting = Budgeting Picking the uniforms = fashion design Problem solver Through thought: Knows his/her own “why” Stands for something Abundance-minded Proactive Solutions-oriented Focused on personal growth and learning. Self-aware Places the greatest value on helping others before themselves. Knows other people's “Why” Takes ego out of the equation Confident in his/her unique value proposition to the world. What’s holding you back from being great? Listening to haters and critics. It’s a long game, and a numbers game. You have to get through your “no’s.” “Good” concerts are part of the process. They aren’t all great. Worrying about things outside your control. Blaming others Comparing yourself to others Zero-sum mentality When you get close to success, imposter syndrome tries to shut you down. The biggest pitfall is sometimes the smallest one: small goals that produce small wins Construct a big “win”...not one based solely on applause, scores, or the admiration of others. Bio: Having spent most of his middle and high school career in detention, Ryan Guth loves to speak to audiences about ways for choral directors to engage the seemingly un-engageable. Ryan learned fearlessness and indomitable spirit from a young age through many years studying the martial arts while also pursuing music – especially the time in middle school when he tried to break a board with his head in front his entire ninth grade class and failed spectacularly. He believes the best choir directors face challenges head-on (no pun intended), are solutions-oriented, and take full responsibility forall aspects of their program.  Ryan’s most popular and surprisingly positive article “Your Choir Sucks Because You Suck” was shared over 2,200 times in 48 hours, and has since become his manifesto, mantra, and the platform that his work was built upon. Through his first podcast, Find Your Forte, Ryan connected thousands of weekly listeners with some of the most brilliant minds in choral music such as Helmuth Rilling, Patrick Quigley, Joseph Flummerfelt, James Bass, and 80-plus others. He recognizes the fact we become the best when we learn from the best. Ryan Guth recently created the Choir Ninja podcast to share solutions with middle and high school choral directors so they learn to work smarter – not harder. That’s why he focuses on sharing what works in choral programs across Choir Nation in a way that makes running a great choral program approachable, fun, and rewarding. When not dressing up in his ninja jammies or buffing his diploma from Westminster Choir College, Ryan is a high school choir director in Albuquerque, New Mexico. Before that, he spent a decade building a large middle school program and six-figure-choral-ensemble-based-for-profit-business in central New Jersey. He is also the founder and sole member of the Hyphenation Club of America. Ryan will be the keynote speaker at the Iowa Choral Directors Association Annual Summer Symposium, a presenter at the Chorus America Convention in the Summer of 2017, and a guest speaker at various other conferences and workshops throughout the year. Ryan enjoys getting lost outdoors with his beautiful fiancé, Amanda, and pitbull-lab Sasha. He also dislikes socks and only wears them when absolutely necessary. This bio was sponsored by Gold Bond Powder. Resources/links Mentioned: Choir Nation group on Facebook Email Patreon - Support the podcast! Instructions for setting up a nut-shot in a game of pool: 1. Tell the unsuspecting victim you know a cool trickshot, but that you’ll need him to be your assistant. 2. Place the quarter about 8 inches from the end of the table, right down the center line. 3. Have your victim position himself behind  the quarter. 4.  Hand him the two balls and, whilst patting him on the back, tell him “Now you have 4!” 5. Ask the victim to place one ball at each of the corner pockets, hanging over the edge, just about to fall in. 6. Direct your victim to place his pointer fingers on each ball to prevent them from accidentally falling into the pocket. 7. He will need to brace himself, so remind him to take a step back and balance on both feet. 8. Now, walk to the other end of the table, and explain that through magic and complex feats of 9th grade geometry, in one shot, you will hit the two balls into each pocket. ;) 9. Place the cue ball on the dot, aim for the quarter, and… if you hit the quarter just right… it’ll jump off the table directly into the victim’s unsuspecting “huevos rancheros”. 10.  Lastly, point at your victim and have a good laugh at his expense. Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

I programmet diskuteras bl.a. Melnikovs första vol av Prokofjevs pianosonater, countertenoren Iestyn Davies sjunger Bach samt Capucons tolkning av Glass Violinkonsert. Sofia möter Ann Hallenberg. I panelen Edward Klingspor, Johanna Paulsson och Niklas Lindblad som tillsammans med vikarierande programledaren Magnus Lindman betygsätter följande skivor:  JOHANN SEBASTIAN BACH Kantater Iestyn Davies, countertenor Arcangelo-ensemblen Jonathan Cohen, dirigent Hyperion CDA 68111 PHILIP GLASS LEONARD BERNSTEIN Violinkonsert nr 1 Serenade after Platos Symposium Renaud Capucon, violin Bruckner Orchester Linz Dennis Russell Davies, dirigent Orange Mountain Music 0114 SERGEJ PROKOFJEV Pianosonater nr 2, 6 och 8 Alexander Melnikov, piano Harmonia Mundi HMC 902202 FRANZ LISZT En Faust-symfoni Steve Davislim, tenor Chorus Sine Nomine Orchester Wiener Akademie Martin Haselböck, dirigent Alpha Classics ALPHA 475 Referensen Magnus jämför med och refererar till en inspelning av Liszts En Faust-symfoni med tenoren Kenneth Riegel, Tanglewood Festival Chorus och Bostons symfoniorkester allt under ledning av Leonard Bernstein. Inspelad på Deutsche Grammophon.    Sofia möter Ann Hallenberg Sofia Nyblom träffade världsmezzosopranen för ett samtal om bl.a. det stora intresset för barockmusik. Detta i samband med att sångerskan höll romansafton i Grünewaldsalen i Stockholms konserthus i april.  Andra i programmet nämnda eller rekommenderade inspelningar: Bachs kantat nr 82, Ich habe genug med Dietrich Fischer-Dieskau tillsammans med Münchens Bach-orkester ledda av Karl Richter på DG samt med Bach Collegium Stuttgart under Helmuth Rilling på Novalis; Lorraine Hunt Lieberson med Orchestra of Emmanuel Music dirigerade av Craig Smith på Nonesuch samt med alten Nathalie Stutzmann och Hannover Band ledda av Roy Goodman på RCA. Berlioz Symphonie fantastique i jämförelse med Liszts Faust-symfoni. Prokofjevs pianosonater med Emil Gilels inspelad på Chant du Monde samt med Svjatoslav Richter på Praga. Philip Glass Violinkonsert nr 1 med Gidon Kremer och Wiens filharmoniker ledda av Christoph von Dohnanyi på skivmärke DG. Philip Glass Violinkonsert nr 2  Svepet Magnus sveper över och spelar valda delar ur ett album med Philip Glass pianoverk. Pianisten heter Vikingur Olafsson och skivmärket är DG.

Mezzosopran/Alt, Lied, Konzert, Oper: barocke und zeitgenössische Musik;        experimentelles Musiktheater (Mathis Nitschke). Eigene Konzertreihe: kunst.salon auf wanderschaft (zusammen mit Monika Lichtenegger und Michel Watzinger): Musik und Literatur verbinden, neue Interpretationen und Kompositionen anregen. Mitglied der Gruppe 3Gesang (mit Ruth Geiersberger, Performance, und Georg Glasl, Zither): Verbindung von zeitgenössischer und bayr. Volksmusik Dozentin für Ariengestaltung am Masterstudiengang Musiktheater an der August -Everding-Akademie, München. Stimmbildnerin beim Münchner Mädchenchor Nach der Musikhochschule München nahm sie Engagements an verschiedenen Opernhäusern an, widmete sich aber auch gleichermaßen dem Konzert- und Liedgesang. Die Mezzosopranistin arbeitete mit Dirigenten wie Enoch zu Guttenberg, Helmuth Rilling, Armin Jordan, Alicja Mounk, Paul Goodwin und Constantinos Carydis und war Gast u.a. beim Rheingau-Musikfestival, den Internationalen Festwochen in Stuttgart, dem Osterklang Wien und dem International Festival of Music in Bath/England. Martina Koppelstetter ist eine gefragte Interpretin für zeitgenössische Musik. Sie war wiederholt Gast bei der Münchener Biennale für modernes Musiktheater und trat bei Konzerten der Reihe „das neue werk“ des NDR in Hamburg, beim A.Devantgart-Festival und bei „musica viva“ des BR in München auf, sowie bei den Tagen für Neue Musik in Darmstadt und Witten. Sie gastierte am Stadttheater Klagenfurt, Theater Ulm, Tiroler Landestheater und am Staatstheater am Gärtnerplatz, München, dem Sie von 2003 bis 2007 als Ensemblemitglied angehörte. Dort war sie u.a. als Dorabella, Hänsel, Suzuki, Orlofsky, Nancy und Frau Reich zu hören und arbeitete mit Regisseuren wie Claus Guth, Doris Dörrie und Katharina Wagner. In der Saison 2012/13 debutierte Martina Koppelstetter an der Opéra National de Montpellier mit „What next?“ von E. Carter und „Jetzt“ von Mathis Nitschke, sowie als „Fili“ in Händels „Acis and Galatea“ am Théâtre des Champs-Élysées, Paris, und dem Theater an der Wien. Im Sommer 2015 u.a. erarbeitete sie mit Mathis Nitschke dessen interaktive Kurzoper im öffentlichen Raum „Viola“ in der Titelrolle, im Rahmen des Festivals „pasing by“ in München. Eine Fortsetzung dieses Aufsehen erregenden Konzeptes bildete „Katharina“ im September 2016 im Rahmen von „München dezentral“. (katharina.mathis-nitschke.com). 2017 wird sie in nun die „Maya“ im gleichnamigen Werk des Komponisten verkörpern. Eine enge Zusammenarbeit verbindet die Künstlerin auch mit dem Ensemble für Alte und Neue Musik Così facciamo. Hier war sie als Herzog Polinesso in Händels „Ariodante“ und als Sorceress in „Dido & Aeneas“ von H. Purcell zu hören sowie als Messagiera und Proserpina in „L'Orfeo“ und als Ottavia in „L'incoronazione di Poppea“ von C. Monteverdi. Mit dieser Partie war sie zuletzt 2016 u.a. im Münchener Cuvilliéstheater zu erleben. Zu ihren Einspielungen zählen die „Petite Messe Solennelle“ von Gioacchino Rossini, die „h-moll-Messe“ von Bach, „Der kleine blaue Bergsee“ und „Peter Pan“  von Wilfried Hiller (Deutsche Grammophon) und eine Reihe von Liedaufnahmen mit Werken von R. Schumann, B. Britten, R. Spring und J. Sibelius beim HR und BR. Martina Koppelstetter arbeitet als Gesangspädagogin u.a. beim Münchner Mädchenchor und hat eine Dozentur für Ariengestaltung im Masterstudiengang Musiktheater an der Bayerischen Theaterakademie inne. Buchempfehlung:  „Strudlhofstiege“ von Heimito von Dodoerer   „Alles hat seine Zeit“ Ole Knausgard  „Warum ich fühle, was du fühlst“ Joachim Bauer    Kontakt:  www.koppelstetter.com

A live interview with choral legend, Helmuth Rilling. The Maestro shares some heartwarming moments in his career and his opinion on American coffee...amongst other things.

Dominique Phinot's giljotinering 1556, Orfeusmyten med bögförtecken, Saint-Saëns i svandun, lesbiska symaskinsprinsessan de Polignac, Polarpristagaren Pierre Boulez och tonsättaren Thomas Adès. Tonsättaren R. Timothy Brady's opera Edalat Square hade premiär i Atlanta, USA, och handlar om två tonårskillar som 2005 avrättas i Iran för att de älskade män. Sedan den iranska revolutionen 1979 har ca 4 000 människor avrättats I Iran p g a lavaat, sex mellan män.I  Tjajkovskijs Ryssland är homosexualitet kriminellt ända till 1993, i Schuberts Österrike är homosexualitet olagligt ända till 1971. I Händels, Brittens och Pears England fram till 1967. I dagens Sverige, där samkönat sex varit tillåtet sedan 1944, vågar inte en homosexuell musikprofessor och en lesbisk sopran komma ut ur garderoben 2006. Medan Stockholms Gaykör firar 25 år i konfetti och tårar.Om programserien: "Det osynligas piano" - konstmusik komponerad på homoerotik och lesbiska passioner. Phinot I giljotinen. Corelli & Händel som Orfeus. Landowska och Boulanger i svatsjukedrama. Tjajkovskij och Saint-Saëns i svandun. Ravel i garderoben och Poulenc kommer ut. Ethel Smyth älskar symaskinsprinsessan. Horowitz' piller hjälper inte. Blitzstein och Vivier mördas. Oliveros rädd, lyssnar djupt. Meredith Monk ropar. Musikprofessor kränkt. Sopran tystnar. Musiklexikon censurerar. Thomas Adès gift. Schubert, Janne & Sverker Åström. Tiina, Stella, Ira och Gardeman. Tonårsbögar hängs I Iran Timothy skriver opera. Låtlista: När jag för mig själv i mörka skogen går Wilhelm Peterson-Berger (1867-1942) Stella Scott, sopran. The Hermiatge Orchestra. dir. Mats Liljefors   Live i S:t Petersburg Ur operan Edalat Square R Timothy Brady Liveinspelning I Atlanta 2007. Geschwinde, ihr wirbelnden Winde, BWV 201 Aria: Mit Verlangen druck ich deine zarten Wangen (Bass) BACH, J.S. Stuttgart Gachinger Kantorei  Stuttgart Bach Collegium  Helmuth Rilling, Conductor. Sibylla Rubens, soprano / Ingeborg Danz, alto / Lothar Odinius, tenor / James Taylor, tenor / Matthias Goerne, baritone / Dietrich Henschel, bass BACH, J.S.: Contest Between Phoebus and Pan (The), BWV 201 (Secular Cantata) Hännsler CLASSIC CD92.061 (NAXOS) VIVONS MAMYE ET LAMOUR POURSUYVONS Motett PHINOT, DOMINIQUE. CATULLUS, GAJUS VALERIUS HUELGAS ENSEMBLE. Van, dirigent Inspelad: BELGIEN  2000 Lent Barraqué, Jean Herbert Henck, piano Barraque, Jean - Sonate Pour Piano ECM NEW SERIES 1621 453 914-2 Varjele, Jumala, soaste Veljo Tormis Stockholms Gaykör Kärlek förändrar allt Inspelat maj 2006 Nybrokajen 11 Sonata XII Movement 2 Allegro Arcangelo Corelli (1653-1713) Hugo Reyne, blockflöjt m fl Corelli : Christmas Concerto Opus 111 Concerto XI Con Quattro Violini Obligati In A Op 7 Presto Guiseppe Valentini Adrian Chandler, Violin And Conductor Mhairi Lawson Soprano The Rise Of The North Italian Violin Concerto: 1690-1740 AVIE AV2106 Oboe Sonata In G Minor, HWV 404 - 1. Andante Emma Kirkby, Charles Medlam; London  Baroque Händel, Georg Friedrich Handel: Sacred Cantatas BIS-CD-1065 Mut! Schubert, Franz Benjamin Britten; Peter Pears Schubert Winterreise (D. 911) Benjamin Britten 1963 Decca 466 382-2 DECCA 417 473-2 Quintet - Third Movement Adés, Thomas Adés, Thomas, piano; Arditti Quartet Adés Schubert Piano Quintets EMI Classics 7243 5 57664 2 Valse Scherzo, Op. 34 Piotr Ilich Tchaikovsky (1840-93) Itzhak Perlman, violin, Yuri Temirkanov; Leningrad Philharmonic Orchestra Tchaikovsky Gala In Leningrad RCAVictor Red Seal RD60739 Chansons Francaises, Op. 65 - 6. Rondel Piotr Ilich Tchaikovsky (1840-93) Jessye Norman. Evgeni Shenderovich Tchaikovsky Gala In Leningrad RCAVictor Red Seal RD60739 Da, Chas Nastal! - Prostite VI The Maid Of Orleans Tchaikovsky, Peter Ilych (1840-1893) Olga Borodina Olga Borodina - Arias - Orchestra Of The Welsh National Opera - Carlo Rizzi PHILIPS 446 663-2 The Swan Camille Saint-Saëns Clara Rockmore And Nadia Reisenberg Gravikords, Whirlies & Pyrophones ellipsis arts CD3530 Pavane pour une infante defunte Ravel, Maurice (1875-1937) Pierre Boulez, dir. The Cleveland Orchestra Ravel, Debussy - Voice & Orchestra Works DG 471 614-2

What a befitting way to begin the Christmas Season!  The noted organist, conductor and scholar Dr. J. Owen Burdick drops in to discuss the upcoming performance of Handel's Messiah at Washington, D. C.'s Church of  the Ascension and Saint Agnes.  Dr. Owen shares with us the significance of this performance and the special appeal of the timeless masterpiece.  Owen is no stranger to the work, with his many perfornances at Trinity Church Wall Street in New York City being praised by critics and music lovers alike.  Burdick served as Director of Music at Trinity from 1990-2008.  He now serves as Organist/Choirmaster at Church of the Ascension and Saint Agnes.   A graduate of State University of New York at Purchase and the Juilliard School (where his principal teachers included Albert Fuller, Anthony Newman, and Igor Kipnis), Burdick received his Ph.D. in music composition from the University of California in Los Angeles and holds the Associate and Choirmaster Certificates from the American Guild of Organists. He was recently made a Fellow of the Royal School of Church Music and has studied as a conducting fellow with Helmuth Rilling and at IRCAM with Pierre Boulez. Since his Carnegie Hall debut in 1978, Burdick has toured internationally as a harpsichord soloist and with the Musical Offering Baroque Ensemble, with whom he accompanied Maurice André, Arleen Auger, and Henryk Szeryng. Burdick has recorded for the NAXOS, Hänssler Classic, Nonesuch, Summit, Gothic, and Centaur labels and is represented by Slaymaker Special Projects.         I

Lucie Skeaping looks at Vivaldi's groundbreaking Op.3 set of concertos for one, two or four violins entitled "L'Estro Armonico", which were published 300 years ago. Vivaldi had them published in Amsterdam, which meant they were readily available throughout northern Europe. The 8 partbooks even landed on the desk of JS Bach, who found them so inspirational he set about making transcriptions of some of them for keyboard instruments. We'll hear some of Vivaldi's concertos in recordings by The English Concert and I Musici, as well as one of Bach's transcriptions - the Concerto for 4 Harpsichords in a performance by Bach Collegium Stuttgart conducted by Helmuth Rilling.