Podcast appearances and mentions of holly mulcahy

In one of my better interviews, our guest provides great insight into film music and symphonic music. Holly Mulcahy is a master Violinist who has great thoughts on film music and symphonic music. She is currently the featured artist for the Concerto "Rose of Sonara" written by film composer George Clinton, performing around the country, Not only did we have a great wide ranging discussion but also played some great music by composers like Barry, Morricone, Horner and more. You'll find the discussion and music very entertaining.

Violinist Holly Mulcahy is concertmaster of the Wichita Symphony, and has previously held that position in other symphonic orchestras across the country. She is also a busy soloist and chamber musician who regularly performs at a maximum security prison. Holly Mulcahy is the founder and leader of an organization that strives to " … help people in need through the power of art, culture, communication, and live music." She spoke with Suzanne about her passion for bringing music to EVERYONE, and the intelligence and deep thinking she regularly encounters from the inmates she meets.

Holly Mulcahy, violinist and thought leader in classical music speaks with conductor Devin Patrick Hughes. They discuss what classical music can learn from the wine industry, programming for modern audiences, playing for prisoners, pandemic revelations, and tools to create classical music accessibility, including when to clap, and bringing kids to the symphony. Also featured on the show is Holly's performance of George Clinton's Rose of Sonora!  Holly Mulcahy is an in-demand American violin soloist, concertmaster of the Wichita Symphony and Chattanooga Symphony and Opera, a thought leader in the symphonic music field and non-profit world, and a true classical music entrepreneur. She has collaborated with many exciting living composers like Jennifer Higdon, Philip glass, and Hollywood composer George Stanley Clinton on the Rose of Sonora, a violin concerto and epic western adventure story inspired by love and revenge.  Holly founded Arts Capacity, which brings live interactive performances and art to prisons, is the author of Neo Classical, and is constantly brainstorming, advocating, and acting to make the orchestra more assessable to all.   Thank you for joining us on One Symphony and thanks to Holly Mulcahy for sharing her passions, performances, and insights. George S. Clinton's Rose of Sonora was performed by Holly Mulcahy.  You can learn more about Holly's advocacy, leadership, and performances at https://www.hollymulcahy.com and at https://insidethearts.com/neoclassical/ and her nonprofit https://artscapacity.org. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to lend your support. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

I can't think of a better purpose for harnessing the healing power of music than to re-humanize and reconcile people living in stressful and de-humanizing conditions. That is exactly what Arts Capacity is doing by bringing music's healing and hope to prisoners. Music is used to allow people to access their own emotions and develop tools to be successful in their future as free citizens. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode84 Connect with us: Facebook: https://www.facebook.com/EnhanceLifeMusic/ Instagram: https://www.instagram.com/enhancelifemusic/ LinkedIn: https://www.linkedin.com/in/mpetersonpiano/ Twitter: https://twitter.com/musicenhances In-episode promos: Rolflex Pro https://irolflex.com/?rfsn=4898858.8a3306 The Business Side of Music podcast https://www.businesssideofmusic.com/ 

An interview with violinist Holly Mulcahy, Concertmaster/Partner for Audience Engagement at the Wichita Symphony, concertmaster of the Chattanooga Symphony, soloist, recitalist, founder of Arts Capacity, and blogger. Highlights Her background - 6:47 When joy was missing - 8:26 Sometimes the energy is lacking - 11:08 Bringing out the level of the institution - 12:55 Good attitude vs. bad attitude - 14:26 Trying to influence attitudes - 16:16 Egos are so powerful - 20:00 Not feeling appreciated - 24:59 Stopped teaching and focused on her own practice - 28:25 What schools are teaching - 30:55 Never assume that people are going to like something - 34:55 We are terrible listeners - 42:26 Building trust together - 46:50 Relaxation with music - 54:04 Having a mobile career in the future - 56:50 The importance of listening to the audience - 1:00:58   Episode Resources Connect with Robert Hunt Simonds: roberthuntsimonds@gmail.com http://roberthuntsimonds.com/ http://craigwagnermusic.blogspot.com Connect with Holly Mulcahy: Holly's Recommendations: Yes, And: How Improvisation Reverses "No, But" Thinking and Improves Creativity and Collaboration--Lessons from The Second City: https://www.amazon.com/dp/B00KAC65NO/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1 Cork Dork: A Wine-Fueled Adventure Among the Obsessive Sommeliers, Big Bottle Hunters, and Rogue Scientists Who Taught Me to Live for Taste: https://www.amazon.com/Cork-Dork-Wine-Fueled-Sommeliers-Scientists-ebook/dp/B01KGZVT62/ref=sr_1_1?crid=11CN8VCXOTWZ8&dchild=1&keywords=cork+dork&qid=1614016635&s=digital-text&sprefix=cork+dor%2Cdigital-text%2C171&sr=1-1 On Thinking Institutionally: https://www.amazon.com/Thinking-Institutionally-Politics-Hugh-Heclo/dp/0199946000/ref=sr_1_1?crid=6CN4JFNZXIMX&dchild=1&keywords=on+thinking+institutionally&qid=1614016701&s=digital-text&sprefix=on+thinking+i%2Cdigital-text%2C164&sr=1-1 website: https://www.hollymulcahy.com 

Concertmaster Holly Mulcahy. Hear some of her music on Soundcloud! https://soundcloud.com/holly-mulcahy Blog articles mentioned in this podcast. https://insidethearts.com/neoclassical/2015/09/bowing-for-mahlers/ https://insidethearts.com/neoclassical/2017/04/its-more-than-wearing-pretty-shoes/

The Chattanooga native is a film composer whose works include two Austin Powers films, "Mortal Combat" and more. He has written a concerto for violin called "The Rose of Sonora" that he composed for Holly Mulcahy that will be premiered in April with the Chattanooga Symphony & Opera. 

Chattanooga Concertmaster and violinist Holly Mulcahy joins me to talk about the music program she created almost four years ago. She visits the Walker State Prison about twice a year to perform for the inmates there and then she asks them what they hear and feel while listening to the piece. The key is that there are "no wrong answers." 

Concertmaster of the Chattanooga Symphony & Opera and new music champion, Holly Mulcahy redefines the profile of the 21st century musician.  Through her purposeful approach of music-making, she is able to genuinely connect and bring people together, and have powerful and positive impact in the music world and the community at large.  In this episode, we discuss: How going with the flow and being adaptable shaped her career How her parents helped her establish a strong base that has stayed with her throughout the years How she defined and found her own success and what made her happy How being honest with oneself is key How letting go of a full-time job and challenging the traditional route lead her to a fulfilling life How she reaches out and engages with her audience in a meaningful way How understanding our audience and getting them curious can help us “find a way in” and help us create authentic connections with concert goers How a concert in a prison turned into a powerful project that positively affects prisoners' lives How she prepares and practices for an orchestra season as a concertmaster How being unprepared takes away the joy from the job How studying a score is important when preparing for a concert How spreading the work over several days is key in helping the brain absorbing the material and is important to solidify the preparation How she learns music by contemporary composers How she is mindful in her practice How adaptability is an important skill in a music career How keeping a notebook nearby helps her stay focus during a practice session     Holly Mulcahy: https://www.hollymulcahy.com/ Holly's blog, Neo Classical: https://www.insidethearts.com/neoclassical/ Chattanooga Symphony & Opera: http://chattanoogasymphony.org/ Drew McManus: “There is a difference in creating a musical market and a musical community”  https://adaptistration.com/2018/04/20/there-is-a-difference-in-creating-a-musical-market-and-a-musical-community/  Arts Capacity: https://artscapacity.org/about/ Violin Concerto in Five Scenes “The Rose of Sonora” by George S. Clinton: “Inspired by true stories about the lives of legendary women in the Old West, The Rose of Sonora is a compelling and dramatic musical narrative that takes the listener on an epic western adventure of love, loss, and revenge.”  https://www.facebook.com/theroseofsonora/ Yes, And: How Improvisation Reverses "No, But" Thinking and Improves Creativity and Collaboration--Lessons from The Second City by Kelly Leonard and Tom Yorton.  Executives from The Second City—the world's premier comedy theater and school of improvisation—reveal improvisational techniques that can help any organization develop innovators, encourage adaptable leaders, and build transformational businesses.   Biography After hearing Scheherazade at an early age, Holly Mulcahy fell in love with the violin and knew it would be her future. Since then, she has won multiple positions in symphonic orchestras from Richmond to Phoenix and is currently serving as concertmaster of the Chattanooga Symphony Orchestra. Holly began developing her leadership skills at the renowned Peabody Institute of the Johns Hopkins University with former Baltimore Symphony concertmaster Herbert Greenberg. In recent seasons she has enjoyed serving as traveling concertmaster for Emmy Award winner George Daugherty's Bugs Bunny at the Symphony, and as guest concertmaster for the Columbus Symphony (OH), Baltimore Chamber Orchestra, and a one-year appointment as interim concertmaster for Orchestra Iowa. As an in-demand performer, Holly balances her orchestral duties with numerous concerto performances around the country. Passionate about performing living American composers' works, Holly has been featured as soloist for concertos by Jennifer Higdon, Jim Stephenson, Philip Glass, and now a concerto being written for her by Hollywood film composer, George S. Clinton. This new concerto, The Rose of Sonora: a violin concerto in five scenes, is inspired by true stories about the lives of legendary women in the Old West and will take the listener on an epic western adventure of love and revenge. The world premiere performance will be in April 2019. Believing in music as a healing and coping source, Holly founded Arts Capacity, a charitable 501(c)3 which focuses on bringing live chamber music, art, artists, and composers to prisons. Arts Capacity addresses many emotional and character-building issues people face as they prepare for release into society. In addition to an active performing career, Holly is the author of Neo Classical, a monthly column on the future of classical music. On days off, Holly maintains a reputation for planning and hosting exquisite gourmet parties in her Chicago home. Holly performs on a 1917 Giovanni Cavani violin, previously owned by the late renowned soloist Eugene Fodor, and a bespoke bow made by award winning master bow maker, Douglas Raguse.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice.   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also, a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/   (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

What do you wear to a symphony concert? When do you clap? And why is the timpani player smelling his drums? If you've never been to a classical music concert, it can be a bit intimidating the very first time you go to one. There seems to be a whole world of etiquette and protocol that can make the experience seem - well, aloof and elitist, at least in some people's eyes. Orchestras and arts administrators are keenly aware of how important it is to make classical music more accessible to grow future audiences, and in some cases are trying to think of ways to do away with some of the traditional conventions. But for Violinist Holly Mulcahy, the "Queen of Classical Music Culture", these rituals and rules of etiquette are part of what makes the classical music concert so special, and a deeper understanding of them can serve to enhance one's experience in a concert hall, making it much more memorable and enjoyable. Holly maintains a busy schedule as concertmaster of the Chattanooga Symphony and Opera and as a soloist and chamber musician. She is also the author of Neo Classical, a blog that discusses the future of classical music, and helps to demystify the culture of classical music in a warm, witty, and welcoming way. Links Holly Mulcahy's website: http://www.hollymulcahy.com/  Holly's blog Neo Classical: http://www.insidethearts.com/neoclassical/ Bowing for Mahlers; decisions on bowing directions: http://www.insidethearts.com/neoclassical/2015/09/bowing-for-mahlers/ The Higdon Cocktail: http://www.insidethearts.com/neoclassical/2015/02/concerto-in-cocktail-form/ Holly's article on happiness as a musician: http://www.insidethearts.com/neoclassical/2014/02/happiness-quantified-humanist-qualified/ Blog article on Holly's upcoming performance at the Walker State Faith and Character Based Prison in Georgia: http://www.insidethearts.com/neoclassical/2016/02/medium-security-maximum-benefit/

Virtual reality technology has revolutionized the way pilots train for flight, soldiers prepare for battle and surgeons learn delicate procedures. So it might be inevitable that musicians entering the cutthroat classical music world would turn to high-tech virtual reality equipment. A team at the Royal College of Music in London and the Conservatorio della Svizzera Italiana in Lugano, Switzerland has developed a performance simulator that's intended to mimic concert hall and audition conditions. On this week's episode, we consider the potential of the Performance Simulator with two guests: Dr. Aaron Williamon, a professor of performance science at the Royal College of Music, who helped to develop the technology; and Holly Mulcahy, concertmaster of the Chattanooga Symphony and author of the blog Neo-Classical, where she's written about auditioning.  Segment Highlights According to Williamon, the simulator is designed to help performers learn to cope with the heightened pressures of a stage environment: a musician appears before a life-sized video projection of an audience, which can be appreciative (clapping, smiling) or downright hostile (coughing, sneezing and even booing). The room is fitted out like a concert hall, with spotlights, curtains, a back-stage area and stage furniture. The virtual audience's response can be manipulated by a stage manager behind the scenes. "Access to actual concert halls tends to be rare," noted Williamon. With the simulator, he says, "we've come up with one scenario that seems to be quite realistic." But Mulcahy questions whether a performer can suspend disbelief and buy into the simulated environment. She says that the interaction between musicians – or auditioners  – and audience is highly subtle and "the split-second timing of somebody's facial expression or how they perceive your playing can make or break you." Mulcahy adds that, for audition preparation, gathering friends to watch your performance is most effective. Williamon believes the Performance Simulator can be one tool among many. "I'm not proposing that this is everybody's solution," he said. "We're doing a lot of basic research into the physiology and psychology of performance. We will continue to chip away at that. What we have at the moment is a training facility which we can experiment with." Watch a video of the performance simulator below, listen to the full segment above, and tell us what you think in the comments.  

Anyone who has had to give a speech at a wedding or deliver a Powerpoint presentation at the office knows the symptoms: sweaty palms, racing heartbeat, even nausea. That age-old curse, stage fright, is nothing new. But for classical musicians it's come with a considerable stigma. Despite the fact that famous artists like Vladimir Horowitz, Renee Fleming and Glenn Gould have all experienced crippling performance anxiety, a hush-hush attitude has long prevailed. "The reason people don't talk about it is because it would affect your opportunities,” Diane Nichols, a psychotherapist who calms a stage-fright class in Juilliard's evening division, told host Naomi Lewin (listen to the full discussion above). “How seriously is someone going to look at you if they're auditioning you, if they know you have a history of choking or of panicking?” But in an age when people broadcast details of their daily lives through social media, there are also signs that the taboo may be lifting. Holly Mulcahy, a violinist who won the job of concertmaster of the Chattanooga Symphony and Opera in May, says there’s a greater openness than even a decade ago, and new methods of coping. "Some of my teachers in conservatory days would gladly carry around a flask of Scotch and take it before they went on stage," she said. “But I don’t see that in any of the orchestras that I've played in recently.” Instead, Mulcahy and other orchestra musicians increasingly turn to beta blockers. According to Mulcahy and other musicians who spoke with WQXR, in some backstage areas, they're passed around like chewing gum or mints. Mulcahy recalls panicked colleagues calling "Oh my God, does anybody have any Inderal?" Beta blockers have been common in classical music since the 1970s. Originally prescribed to treat high blood pressure, they became performance enablers when it became clear that Inderal (the brand name) controlled stage fright. As long ago as 1987, a study of the 51 largest orchestras in the U.S. found one in four musicians using them to improve their live performances, with 70 percent of those getting their pills illicitly. But there are new stresses since a generation ago. Fewer jobs and heightened competition mean less room for error. For opera singers, looks are becoming as important as voice. A 2012 study from the University of Paderborn in Germany found that 30 percent of orchestra musicians suffer from stage fright; 13 percent said it was severe. Mulcahy finds that not taking beta blockers puts an aspiring orchestra player at a competitive disadvantage. “When I’d get to the finals of orchestra auditions and I wouldn’t be winning, the people that would be winning were the ones that had the beta blockers,” she noted. Even so, she cautions that Inderal does not "enhance" a performance, nor is it a cure-all: "It doesn’t help your concentration. It doesn’t help your confidence. All it does is it keeps the shakes down and keeps the panic to a minimal level." Some musicians still find other means of managing nerves. Lev "Ljova" Zhurbin, a violist and composer, was once steered towards everything from psychotherapy to eating bananas. He eventually overcame stage fright by taking a non-traditional career path that didn’t involve constant auditions. "I’ve become heavily invested in the music that I play,” said Zhurbin, whose ensemble, Ljova and the Kontraband, combines gypsy, folk and chamber music. Nichols believes that stage fright will never go away entirely, and maybe it shouldn't. “I do think that it can be managed and careers are not devastated because of stage fright right now, because of Inderal.” .chart_div { width: 600px; height: 300px; } loadSurvey( "coping-stage-fright", "survey_coping-stage-fright"); Photos: 1) Bo Huang 2) Anna Rozenblat