Podcasts about honolulu symphony

Amy Andersson is an Internationally recognized, Grammy-winning conductor and producer. Named by British music critic Norman Lebrecht as “America's most watched Symphony Orchestra Conductor,” Andersson has been praised for her dynamic musicality, expressive technique and cross genre repertoire. She has toured to over twenty-two countries conducting concerts and recording sessions in symphonic, operatic, film, musical theatre and video game genres. She has appeared on the Late Show with Stephen Colbert, CBS Morning News, CBS Evening News and has garnered press coverage in the Wall Street Journal, Variety, Forbes, and Huffington Post. Andersson is founder and conductor of Orchestra Moderne NYC, which debuted at Carnegie Hall and Lincoln Center, and has won critical acclaim for her charismatic and visionary accomplishments as creator and conductor of Women Warriors: The Voices of Change, a live-to-picture symphony production and documentary film. Women Warriors has won over twenty-four international film and music awards including four Telly Awards, a Hollywood Music in Media Award, a GRAMMY in “Best Classical Compendium, a 2022 BMI “Impact Award,” a 2023 SCL “Jury Award” and has screened at film festivals in more than twelve countries, including the Fimucité International Film Music Festival in Tenerife. Known for her commitment to the music of living composers, she has conducted the works of composers Neal Acree, Elitsa Alexandrova, Peter Boyer, Nathalie Bonin, Jessica Curry, Miriam Cutler, Anne-Kathrin Dern, Greg Edmonson, Isolde Fair, Sharon Farber, Steve Jablonsky, Grant Kirkhope, Penka Kouneva, Bear McCreary, Martin O'Donnell, Kol Otani, Starr Parodi, Lolita Ritmanis, Garry Schyman, Yoko Shimomura, Jeremy Soule, George Strezov, Chance Thomas, Nobou Uematsu, Jack Wall, and Austin Wintory, among others, either on the concert stage or in recording sessions. Andersson has made guest appearances the St. Louis Symphony, Houston Symphony, Seattle Symphony, Oregon Symphony, Rochester Philharmonic, Colorado Symphony, Honolulu Symphony, San Diego Symphony, Florida Orchestra, Spanish Philharmonic, Berliner Symphoniker, Royal Philharmonic Concert Orchestra, Stockholm Concert Orchestra, Spanish National Youth Orchestra, Düsseldorfer Symphoniker, Classic FM Radio Orchestra of Bulgaria, Lithuanian National Symphony Orchestra, Junge Deutsche Philharmonie, Neiderrheinsche Symphoniker, LOH Orchestra Sonderhausen, Giessen Philharmonic, Aalborg Symphony Orchestra, Macedonian Philharmonic, Monte Carlo Philharmonic, Jeunesses Musicales Deutschland, Colorado Music Festival Orchestra, National Orchestral of Mexico, and at free-lance orchestras in Switzerland, Belgium, Netherlands, Italy and Ireland. Andersson regularly conducted opera productions in Germany at the Deutsche Oper am Rhein, National Theater of Mannheim, Stadttheater Aachen, Weikersheim Opera Festival, Rheinsberg Chamber Opera, and Schlosstheater Schwetzinger. In 2017 Andersson completed a two year, world tour of the live-to-picture concert Legend of Zelda: Symphony of the Goddesses. Andersson is a devoted teacher and educator and known also for her work with youth orchestras. She was adjunct conducting faculty at the Universität der Künste Berlin, music director of the famed CPE Bach High School of Performing Arts in Berlin, and adjunct faculty in Media and Film Scoring at Brooklyn College/Feirstein Graduate School of Cinema. In Germany she conducted the Rheinberg Chamber Opera Festival and Weikersheim Opera Festival for four summer seasons of productions that featured rising opera singers and youth orchestras. She is currently conducting faculty at the USC Thornton in the Screen Scoring department, and the Hollywood Music Workshop in Baden, Austria. Current projects include Andersson as co-Executive Producer on the soon to be released film (2023)Tahlequah The Whale: A Dance of Grief, by filmmaker Daniel Kreizberg, featuring the music of Lolita Ritmanis. She is also conductor and co-producer of the soon to be released soundtrack.

Synopsis Today marks the anniversary of the birth of the American composer and pianist Dave Brubeck. Born in Concord, California on December 6th, 1920, Dave Brubeck would become one of the most famous jazz performers of our time—and one of the most successful at fusing elements of jazz and classical music. Brubeck studied with Schoenberg and Milhaud, and in the late 1940's and '50's formed a jazz quartet incorporating Baroque-style counterpoint and unusual time signatures into a style that came to be known as "West Coast" or "cool" jazz, culminating in the 1960 release of a landmark jazz album for Columbia Records titled Time Out. This album produced two Hit Parade singles: Blue Rondo à la Turk and Take Five. Ironically, Brubeck had to fight to convince Columbia to release an album composed totally of original material with no familiar "standards" to help sales! In addition to works for chamber-sized jazz combos, Brubeck has written a number of large-scale sacred works, among them a 1975 Christmas Choral Pageant titled La Fiesta de la Posada, or, The Festival of the Inn. Originally written to celebrate the restoration of a Spanish mission in California, it wound up being premiered in Hawaii by the Honolulu Symphony. Since its premiere, La Fiesta de la Posada has been performed by both professional and amateur ensembles, ranging from symphony orchestras to mariachi bands. Its premiere recording was made by the Saint Paul Chamber Orchestra and the Dale Warland Singers, with Dennis Russell Davies conducting. Music Played in Today's Program Dave Brubeck (1920 - 2012) Blue Rondo a la Turk The Dave Brubeck Quartet Columbia 40585 Dave Brubeck La Fiesta del Posada Saint Paul Chamber Orchestra; Dennis Russell Davies, conductor. Columbia Legacy 64669

Born into a scientific family, music technologist Don Slepian showed both musical and technical talent early in life. He was a tester on the early internet as a member of the Defense Advanced Research Projects Agency (DARPA), Synthesizer Soloist with the Honolulu Symphony and Musical Director of the Honolulu Theater For Youth. He has been presented by WNYC's “New Sounds” in New York's Lincoln Center and performed at the Pompidou Center in Paris. He currently lives in the Pocono Mountains of Pennsylvania, where he writes and builds instruments.“… one of the genre's major talents…”— Rolling Stone MagazineLearn more about Don Slepian. Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

Born into a scientific family, music technologist Don Slepian showed both musical and technical talent early in life. He was a tester on the early internet as a member of the Defense Advanced Research Projects Agency (DARPA), Synthesizer Soloist with the Honolulu Symphony and Musical Director of the Honolulu Theater For Youth. He has been presented by WNYC's “New Sounds” in New York's Lincoln Center and performed at the Pompidou Center in Paris. He currently lives in the Pocono Mountains of Pennsylvania, where he writes and builds instruments.“… one of the genre's major talents…”— Rolling Stone MagazineLearn more about Don Slepian. Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

Synopsis During his later years, the German composer Johannes Brahms was a frequent visitor to the town of Meiningen, where the Grand Duke had a fine orchestra that gave stellar performances of Brahms' music. Early in 1891, Brahms heard one member of that orchestra, the clarinetist Richard Mülhfeld, perform chamber works by Mozart and Weber. Brahms was so impressed that they became fast friends. Listening to Mülhfeld play, Brahms became so enthusiastic about the clarinet's possibilities that he began writing chamber works for his new friend. Brahms was always particularly fond of the female alto voice whose timbre is similar to that of the clarinet, so Brahms promptly nicknamed Mülhfeld “Fraeulein Clarinet” and the “new prima donna.” For Mülhfeld, Brahms wrote a clarinet trio, which was followed by a clarinet quintet, and finally, a pair of clarinet sonatas, both composed in the summer of 1894. These two sonatas were first played by Mülhfeld with Brahms at a private performance in the home of the sister of the Duke of Meiningen on today's date that year. In November, the pair also gave private performances in Frankfurt for Clara Schumann and at Castle Altenstein for the Duke of Meiningen.  The first public performances occurred in Vienna in January of 1895. Music Played in Today's Program Johannes Brahms (1833 – 1897) — Clarinet Sonata, Op. 120, no. 2 (Michael Collins, clarinet; Mikhail Pletnev, piano) Virgin 91076 On This Day Births 1829 - Music publisher Gustav Schirmer, in Königsee, Thuringia; He came to America in 1840 with his parents, and in 1861 founded in New York City the music publishing house that bears his name, G. Schirmer, Inc.; 1911 - Swedish composer Allan Pettersson, in Västra Ryd; Deaths 1949 - Greek composer Nikos Skalkottas, age 45, in Athens; 1972 - French composer and pianist Robert Casadesus, age 73, in Paris; Premieres 1894 - Brahms: two Clarinet Sonatas, Op. 120, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, by clarinetist Richard Mühlfeld (of the Grand Ducal Orchestra of Meiningen) with the composer at the piano; Brahms and Mühlfeld also gave private performances of both sonatas on November 10-13, 1894, in Frankfurt (for Clara Schumann and others); on November 14, 1894, at Castle Altenstein (for the Duke of Meiningen); and on Jan. 7, 1895, in Vienna (for members of the Tonkünstler Society); The first public performances of the two sonatas took place in Vienna on January 8 (Sonata No. 2) and 11 (Sonata No. 2), 1895, with the same performers, as part of the Rosé Quartet's chamber music series; 1908 - Mahler: Symphony No. 7 ("Song of the Night"), in Prague, with the composer conducting; 1927 - Schoenberg: String Quartet No. 3, in Vienna, by the Kolisch Quartet; 1937 - Hanson: Symphony No. 3 (partial performance), on a CBS Radio Symphony concert conducted by the composer; The first complete performance occurred with the rival network's NBC Symphony, again with the composer conducting, on March 26, 1938; 1970 - Morton Feldman: "The Viola in My Life" No. 1 for viola and orchestra, in London; 1998 - André Previn: opera "A Streetcar Named Desire," with cast including Rene Fleming, by the San Francisco Opera, the composer conducting; 1998 - Michael Torke: "Jasper" for orchestra, by the Madison (Wisc.) Symphony, John DeMain conducting; 1999 - Elmer Bernstein: Guitar Concerto, with Honolulu Symphony conducted by Samuel Wong and soloist Christopher Parkening; 2002 - John Adams: "On the Transmigration of Souls" for vocal soloists, chorus and orchestra, by the New York Philharmonic, Lorin Maazel conducting; 2002 - John Adams: “On the Transmigration of Souls” for vocal soloists, chorus and orchestra, by the New York Philharmonic, Lorin Maazel conducting; Others 1725 - J.S. Bach gives organ recitals in the Sophienkirche, Dresden, on Sept. 19 and 20; 1738 - Oratorio librettist Charles Jennens writes to a young relative describing a visit to Handel the previous day, dismayed by Handel's ideas for their collaboration on the oratorio "Saul": "Mr. Handel's head is more full of maggots than ever . . ." (Gregorian date: Sept. 30). Links and Resources On Johannes Brahms More on Mülhfeld's clarinet

Violin virtuoso Steve Kindler has performed and recorded with Mahavishnu Orchestra, Jeff Beck and Jan Hammer. He has played in The Honolulu Symphony, but he cut his jazz chops with guitar great John McLaughlin. Kindler's smooth yet impassioned violin improvisations are the perfect vehicle for his own highly melodic compositions, combining classical, jazz, rock, and ethnic influences. GUITAR TRAX hosted by Brian Tarquin featuring in- depth interviews with today’s hottest guitar legends and airs every Monday night from 10pm-12pm on WFIT 89.5FM on the Florida space coast and can be streamed on WFIT.org. In 2019 Tarquin received a Global Music Gold Award for his release Orlando In Heaven for “Best Album.” Three years in a row (2016-2019) Tarquin received “Best Album Of The Year” nominations from the Independent Music Awards for his releases Guitars For Wounded Warriors, Orlando in Heaven and Guitars for Veterans. On which, Tarquin shows his guitar prowess along side such world-class shredders as: Steve Morse, Larry Coryell, Mike Stern, Billy Sheehan, Gary Hoey, Bumblefoot (Guns N’ Roses), Reb Beach (Whitesnake), Hal Lindes (Dire Straits), Chris Poland (Megadeth) and Chuck Loeb (FourPlay). In 2006 SESAC honored him with the Network Television Performance Award. Tarquin has graced the Top Billboard Charts with such commercial releases as: This is Acid Jazz, Vol. 2, Sweet Emotions, and Bossa Brava: Caliente on Instinct Records, followed by several solo jazz albums, which charted Top 10 at Smooth Jazz Radio R&R and Gavin charts. Brian has appeared on 38 releases, selling over 140,000 records in his career.

A native of Fresno, California, Walter Haman started playing the bass in his public school. At age 13 he began playing the cello and has since performed throughout North America and Europe. Mr. Haman has played with the Chicago Symphony, the San Francisco Symphony, is a former member of the Honolulu Symphony, and has been a guest cellist for Pink Martini. In 2003 he joined the Utah Symphony and in 2008 was appointed Principal Cellist of the Grant Park Orchestra in Chicago, where he spends ten weeks each summer. Mr. Haman is also a member of the Montage Music Society in Santa Fe. Mr. Haman participated in the Spoleto Festival (Italy) from 1998-2001 where he was principal cellist of the Festival Orchestra, member of the Spoleto Festival String Quartet, and appeared as soloist with the orchestra. He has also performed at the Crested Butte Music Festival, Bienalle of Venice, and received fellowships to the Aspen Music Festival and Tanglewood. During an Artist Residency at the Banff Centre for the Arts he formed a collaboration with dancer/choreographer José Navas. As The Haman/Navas Project they spent the next two years performing throughout Europe, Canada, and the United States. In 2003 a documentary about the duo titled Perpetual Motion appeared on Bravo. In 2011 he again joined with Jose Navas for a collaboration on the music of J.S. Bach in Brugges, Belgium. Mr. Haman is a graduate of the New England Conservatory and the San Francisco Conservatory where his main teachers were Laurence Lesser and Irene Sharp. utahsymphony.org grantparkmusicfestival.com montagemusicsociety.com

TBJ140: John Lofton, Bass Trombone with the Los Angeles Philharmonic on YOLO, diversity in the arts, and a crazy trip to Venezuela. John Lofton is a great guy and thoughtful musician and shared some great insights and ideas with Andrew & Lance. In this fun and lively discussion, we cover: Oh yeah, and Lance Carol dissed Lance John starting with the LA Phil officially in 2008 but played as a long term sub starting in 2004 How the long term sub thing works for or against you It can be a challenge for black players if they don't know you as a person McGurk Effect Audition committees wield a lot of power Committees can sometimes tend to look for alter egos Diversity in the arts The recent tragedies and the response This creates an opportunity for orchestras in how they present themselves LA Phil tour to Venezuela Impact of El Sistema YOLA Resident Fellows Program at the LA Phil Cultural relevance with orchestras and the cities they serve Andrew at a James Brown concert John seeing an orchestral concert in Jr High in Philadelphia, getting the bug but seeing the lack of diversity and how/when that changed in the Philadelphia Orchestra The challenge of getting to a critical mass The comparisons with women joining professional orchestras Herd immunity from idiots Lift Every Voice project with Wycliffe and Jim Nova Safety concerns when on tour in Venezuela Music teaching in Venezuela coming from a place of love Alternating Mahler Symphonies with the Bolivar Orchestra LA Phil plans for the fall Fire-hosing content to the internet Michael Parker is remarkable, let him know! John's upcoming session in The Brass Junkies Academy Summer Workshop LINKS John's LA Phil bio page Bob Cole Conservatory bio page Mendez Brass Institute bio page McGurk Effect YouTube vid Lift Every Voice And Sing YouTube vid Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm. From his bio: A native of Philadelphia and a graduate of the Oberlin College Conservatory of Music, JOHN LOFTON began his professional career as Bass Trombonist with the State Orchestra of Mexico. After his years in Toluca, Mexico, Lofton moved to Hawaii to perform with the Honolulu Symphony and later became the Bass Trombonist of the Phoenix Symphony. In 2008 he was appointed to the Los Angeles Philharmonic as Bass Trombonist. In addition to his responsibilities with the LA Phil, he has toured and recorded with the Cleveland Orchestra and performed with the San Francisco Symphony as well as the Santa Fe Opera. Lofton’s musical interests also include chamber music; he has performed with several brass quintets and is a faculty member at the Rafael Mendez Brass Institute featuring the Summit Brass. He teaches at California State University Long Beach, and has students from several L.A. colleges. In addition to appearing on several sound stage recordings, Lofton has produced both solo and chamber recordings.

Part two of our Focusing Oriented Conversation with Emily Agnew Highly Sensitive Introvert Emily Agnew in her own words I'm a certified Focusing teacher and guide, writer, and consultant working with highly sensitive introverts (read more about high sensitivity here).  I use Focusing to create the listening space they need to flourish. Why highly sensitive introverts? I happen to be one myself, and I've spent thirty years experimenting with ways to overcome the anxiety that often accompanies the trait. So I've been a natural fit for clients struggling with similar issues. And why Focusing? My own story is a poignant answer to that question. I didn't have anything like Focusing as a child. I loved learning at school, but with the long hours, the crush of people, the noise, and even the smells, I'd come home dazed and exhausted.  I craved my classmates' company and mutual understanding, but I was wounded to the core by criticism or disapproval so I kept myself apart for fear of being judged and focused on being a good student. I had no idea how to manage all these strong feelings and reactions. As a result, I suffered daily from anxiety. I hid it fairly well through high school, but part way into my five-year stint as an oboist with the Honolulu Symphony, it got bad enough that I started looking for help. I became a student of Zen meditation and established a yoga practice. I studied Nonviolent Communication, Inner Bonding, and The Work of Byron Katie. As I began to share my insights with others, all these modalities were helpful. But Focusing has turned out to be the most powerful tool for me and for my sensitive, introverted clients. To us, Focusing is like a Swiss Army knife sprinkled with catnip. It is not just pragmatic and elegant: it is irresistible. It is irresistible because we sensitive introverts need meaning, depth, and authenticity the way plants need water and sunlight—and Focusing takes you directly there. As you encounter meaning, depth, and authenticity within yourself, you find clarity where there was murk, and next steps where there was confusion. Even better, you find that meaningful connection I so craved since my school days. It arises naturally when you focus with a partner or with a trained guide. To a highly sensitive introvert, Focusing is simply a life-saver. We flourish when we get all the listening space we need. We wilt and lose courage without it. That's why I want to get Focusing skills to as many sensitive introverts as I can.  I write a Focusing-oriented weekly e-zine and blog, The Listening Post, for sensitive introverts. I work with clients by phone and Skype, and I create programs and communities to serve sensitive introverts with relationship issues, decision-making, self-care, creativity, happiness and more. You can read more at my website, www.luminoslistening.com. I live with my partner in Rochester, New York, where a butterfly occasionally lands on my shoulder in the form of a text from my daughter at college. LISTEN ON STITCHER SUBSCRIBE IN ITUNES LEARN FOCUSING TAKE A LEVEL ONE FOCUSING CLASS LISTEN TO RADICAL GENTLENESS  

  Highly Sensitive Introvert Emily Agnew in her own words I'm a certified Focusing teacher and guide, writer, and consultant working with highly sensitive introverts (read more about high sensitivity here).  I use Focusing to create the listening space they need to flourish. Why highly sensitive introverts? I happen to be one myself, and I've spent thirty years experimenting with ways to overcome the anxiety that often accompanies the trait. So I've been a natural fit for clients struggling with similar issues. And why Focusing? My own story is a poignant answer to that question. I didn't have anything like Focusing as a child. I loved learning at school, but with the long hours, the crush of people, the noise, and even the smells, I'd come home dazed and exhausted.  I craved my classmates' company and mutual understanding, but I was wounded to the core by criticism or disapproval so I kept myself apart for fear of being judged and focused on being a good student. I had no idea how to manage all these strong feelings and reactions. As a result, I suffered daily from anxiety. I hid it fairly well through high school, but part way into my five-year stint as an oboist with the Honolulu Symphony, it got bad enough that I started looking for help. I became a student of Zen meditation and established a yoga practice. I studied Nonviolent Communication, Inner Bonding, and The Work of Byron Katie. As I began to share my insights with others, all these modalities were helpful. But Focusing has turned out to be the most powerful tool for me and for my sensitive, introverted clients. To us, Focusing is like a Swiss Army knife sprinkled with catnip. It is not just pragmatic and elegant: it is irresistible. It is irresistible because we sensitive introverts need meaning, depth, and authenticity the way plants need water and sunlight—and Focusing takes you directly there. As you encounter meaning, depth, and authenticity within yourself, you find clarity where there was murk, and next steps where there was confusion. Even better, you find that meaningful connection I so craved since my school days. It arises naturally when you focus with a partner or with a trained guide. To a highly sensitive introvert, Focusing is simply a life-saver. We flourish when we get all the listening space we need. We wilt and lose courage without it. That's why I want to get Focusing skills to as many sensitive introverts as I can.  I write a Focusing-oriented weekly e-zine and blog, The Listening Post, for sensitive introverts. I work with clients by phone and Skype, and I create programs and communities to serve sensitive introverts with relationship issues, decision-making, self-care, creativity, happiness and more. You can read more at my website, www.luminoslistening.com. I live with my partner in Rochester, New York, where a butterfly occasionally lands on my shoulder in the form of a text from my daughter at college. LISTEN ON STITCHER SUBSCRIBE IN ITUNES LEARN FOCUSING TAKE A LEVEL ONE FOCUSING CLASS LISTEN TO RADICAL GENTLENESS  

Called a “Modern Master” by The Strad, Dr. Peter Askim is a composer, conductor, bassist, and educator. He is the Artistic Director of the Next Festival of Emerging Artists, the conductor of the Raleigh Civic Symphony and Chamber Orchestra, as well as the Director of Orchestral Activities at North Carolina State University. Previously Music Director and Composer-in-Residence of the Idyllwild Arts Academy Orchestra, he has had commissions and performances from the Tokyo Symphony Orchestra, the Honolulu Symphony, and the International Society of Bassists, just to name a few.

Called a “Modern Master” by The Strad, Dr. Peter Askim is a composer, conductor, bassist, and educator. He is the Artistic Director of the Next Festival of Emerging Artists, the conductor of the Raleigh Civic Symphony and Chamber Orchestra, as well as the Director of Orchestral Activities at North Carolina State University. Previously Music Director and Composer-in-Residence of the Idyllwild Arts Academy Orchestra, he has had commissions and performances from the Tokyo Symphony Orchestra, the Honolulu Symphony, and the International Society of Bassists, just to name a few.

Called a “Modern Master” by The Strad, Dr. Peter Askim is a composer, conductor, bassist, and educator. He is the Artistic Director of the Next Festival of Emerging Artists, the conductor of the Raleigh Civic Symphony and Chamber Orchestra, as well as the Director of Orchestral Activities at North Carolina State University. Previously Music Director and Composer-in-Residence of the Idyllwild Arts Academy Orchestra, he has had commissions and performances from the Tokyo Symphony Orchestra, the Honolulu Symphony, and the International Society of Bassists, just to name a few.

Called a “Modern Master” by The Strad, Dr. Peter Askim is a composer, conductor, bassist, and educator. He is the Artistic Director of the Next Festival of Emerging Artists, the conductor of the Raleigh Civic Symphony and Chamber Orchestra, as well as the Director of Orchestral Activities at North Carolina State University. Previously Music Director and Composer-in-Residence of the Idyllwild Arts Academy Orchestra, he has had commissions and performances from the Tokyo Symphony Orchestra, the Honolulu Symphony, and the International Society of Bassists, just to name a few.

This week, we bring you an interview with Indiana University double bass professor Kurt Muroki. Kurt is an outstanding performer, teacher, and artist, and we had a great conversation about teaching, learning, and performing. Enjoy! About Kurt Muroki: Former Artist Member with the Chamber Music Society of Lincoln Center, Professor Kurt Muroki began his musical studies on the violin at the age of six and subsequently performed concerti with the Honolulu Symphony and the Maui Symphony. Mr. Muroki went on to study the Double bass at the age of 13 and entered the Juilliard School of Music at 17 studying with his teacher / mentor Homer R. Mensch.   At the age of 21 Kurt began performing with the internationally renowned Sejong Soloists under ICM Management. Kurt has performed with the The Jupiter Chamber Players, Speculum Musicae, “Great Performers” series at Lincoln Center, Ensemble Sospeso, Sequitur, The Metropolitan Opera Orchestra, Brooklyn Philharmonic, American Composers Orchestra, Tokyo Opera Nomori, New York City Ballet, 92nd St. Y, and Bargemusic. Festivals include Marlboro Music Festival, Festival L’Autonne at IRCAM, and Aspen Music Festival to name a few. Kurt is also active playing movies, commercials, popular, and classical recordings with titles including the Oscar winning film “The Departed”, “Extremely Loud and Incredibly Close”, “Hitch”, “Julie and Julia”, “The Manchurian Candidate”, “Roger Daltrey Sings Pete Townshend” – The Who, Sting, Peter Gabriel, and Itzhak Perlman.   Mr. Muroki has won numerous competitions including 1st prize in the Aspen Music Festival double bass competition, the first bassist to win the New World Symphony concerto competition, and the Honolulu Symphony Young Artists competition. He has collaborated with members of the Guarneri, Juilliard, Tokyo, Orion quartets, Ensemble Wein-Berlin, Jaime Laredo, Lynn Harrell, Maurice Bourgue, Toru Takemitsu, Peter Schickele, John Zorn, and Brian Ferneyhough among others, and has performed concerto tours throughout Asia and the United States. Professor Muroki is currently tenured faculty at the Jacobs School of Music at Indiana University, Artist/Lecturer at Stony Brook University, Distinguished Artist at the McDuffie Center for Strings at Mercer University, faculty/Director of the Kaplan Fellowship program at the Bowdoin International Music Festival, teaches at New York String Orchestra Seminar, and has been a judge at the Yale Gordon Competition at Peabody Conservatory, ASTA, and others. Mr Muroki is a past Board Member of the International Society of Bassists and is a D’Addario Strings Artist.

Composer Chaya Czernowin and Orchestra 2001 percussionist David Nelson discuss an evening concert of works by George Crumb and a Library of Congress Dina Koston and Roger Shapiro Fund for New Music commission by Czernowin, "Slow Summer Stay II: Lakes" (2012). Speaker Biography: Israeli composer Chaya Czernowin has been a professor of composition at Harvard University since 2009. Previous teaching posts include the University of Music and Performing Arts in Vienna, University of California San Diego, Yoshiro Irino Institute in Tokyo and the International Summer Courses for New Music in Darmstadt. Her opera "Prima...ins Innere," which was composed for the Munich Biennial in 2000, received the Bavarian Theatre Prize. Her other operas have been performed at the Salzburg Festival and Festspielhaus Hellerau in Dresden. Her chamber and vocal works have been commissioned by IRCAM, Ensemble Modern and Sospeso. Czernowin has received numerous awards for her compositions, including the Kranichstein Music Prize (1992), Asahi Shimbun Fellowship Prize (1993), the Schloss Solitue Fellowship (1996), the IRCAM reading panel (1998), the Encouragement Prize by the Ernst von Siemens Music Foundation (2003), the Rockefeller Foundation Prize (2004), the Fromm Foundation Award (2008), a nomination of the Berlin Wissenschaftskolleg (2008) and a Guggenheim Fellowship Award (2011). Czernowin has been composer-in-residence at the Lucerne and Salzburg Festivals. Speaker Biography: David Nelson is a Philadelphia-based percussionist with Orchestra 2001. A graduate of Temple University, he has performed with the Philadelphia Orchestra, Philadelphia Pops Orchestra, Opera Company of Philadelphia, Delaware Symphony, Charleston Symphony, Savannah Symphony, New World Symphony and the Honolulu Symphony. For captions, transcripts, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5950

In this episode we sit down with 神田広美 / Hiromi Kanda in Honolulu, Hawaii and talk story in an exclusive Japanese 日本語 interview discussing her latest English debut CD release “Hiromi in Love” featuring the musicians of the Honolulu Symphony orchestra and background vocals from local Hawaii singer/entertainer Anita Hall. With “Hiromi in Love” having [...]

In this episode we sit down with 神田広美 / Hiromi Kanda in Honolulu, Hawaii and talk story in an exclusive Japanese 日本語 interview discussing her latest English debut CD release “Hiromi in Love” featuring the musicians of the Honolulu Symphony orchestra and background vocals from local Hawaii singer/entertainer Anita Hall. With “Hiromi in Love” having [...]

We’re featuring double bassist, composer, and conductor Peter Askim on today’s episode of Contrabass Conversations. A former member of the Honolulu Symphony and an internationally acclaimed composer, Peter currently serves as music director and composer-in-residence for the Idyllwild Arts Academy. His Eight Solitudes for Double Bass won the 2002 International Society of Bassists Composition Competition. Learn more about Peter at his website peteraskim.com. There are some excellent opportunities for high school bassists at the Idyllwild Arts Academy. Bassists study with Chris Hanulik (Los Angeles Philharmonic Principal Bass) and Jeremy Kurtz (San Doego Symphony Principal Bass) and recieve a great deal of attention from Peter as well. Learn more about this program atidyllwildarts.org. Enjoy!   About Peter: Active as a composer, conductor and bassist, Peter Askim is the Music Director and Composer-in-Residence of the Idyllwild Arts Academy. He has been a member of the Honolulu Symphony Orchestra and served on the faculty of the University of Hawaii-Manoa, where he directed the Contemporary Music Ensemble and taught theory and composition. As a composer, he has had commissions and performances from such groups as the Tokyo Symphony Orchestra, the Honolulu Symphony, the International Society of Bassists, the Yale Symphony Orchestra, the Idyllwild Arts Orchestra, the Portland Chamber Music Festival, and Serenata Santa Fe, as well as by performers such as flutist/ conductor Ransom Wilson, Metropolitan Opera soprano Lauren Flanigan, Grammy-nominated soprano Judith Kellock and violinist Timothy Fain. His compositions are published by Liben Music Publishers and the International Society of Bassists, and his music is recorded on the Gasparo and Albany labels. His compositions have been performed at the Aspen, Bowdoin, Music At the Anthology, June in Buffalo and Bang On A Can festivals, among others, and have frequently been broadcast on WNYC and Hawaii Public Radio. Mr. Askim won the 2002 International Society of Bassists Composition Competition for Eight Solitudes and is a frequent recitalist for the International Society of Bassists, the Hawaii Contrabass Festival and the World Bass Festival in Wroclaw, Poland. He performed and recorded his bass concerto Islands at the International Society of Bassists convention under the direction of flutist/ conductor Ransom Wilson. As a conductor, Mr. Askim has served as Music Director of the Branford Chamber Orchestra and makes frequent guest conducting appearances, including the Sewanee Philharmonia, the Oregon Festival of American Music, the Wroclaw (Poland) Chamber Orchestra Sotto Voce and the Honolulu Symphony Orchestra. He has premiered numerous works, including by composers Richard Danielpour and Christopher Theofanidis and has collaborated with such artists as the Miró String Quartet, ‘cellist Matt Haimovitz, violinists Ian Swensen and Todor Pelev and ‘cellist John Walz. He has also received critical praise as a jazz artist in such publications as Jazztimes, the New York Post and New York Newsday. He studied at the Hochschule für Musik und darstellende Kunst in Vienna and holds bachelors, masters and doctoral degrees from Yale University, where he graduated with Distinction in Music. He holds a Doctor of Musical Arts degree in Composition from the University of Texas at Austin. He studied composition with Dan Welcher, Donald Grantham, Anthony Davis, Jan Radzynski, Syd Hodkinson and David Finko, and double bass with George Rubino, Diana Gannett, Donald Palma, Wolfgang Harrer and Ludwig Streicher. Music Performed: Islands (double bass concerto) from “Moving, Still” About Moving, Still: Moving, Still – CD New CD features compositions of Peter Askim and such artists as Chamber Music Society of Lincoln Center flutist/conductor Ransom Wilson, conductor Naoto Otomo and the Tokyo Symphony, members of Orchestra Asia-Japan, pianist Douglas Aschcraft and Peter Askim as conductor and bassist. Links: http://www.idyllwildarts.org/ http://peteraskim.com

We’re continuing our chat (check out part one on episode 73) with Michigan State University and Interlochen Arts Academy double bass instructor Jack Budrow this week on Contrabass Conversations. In addition to helping place students in major orchestras across the globe, Jack has had a very distinguished performance career as a former member of the Houston Symphony, Santa Fe Opera Orchestra, and as Principal Bass of the North Carolina Symphony.  Jack discussed several topics of great interest to double bass students and performers with co-host John Grillo and me, including: musical leadership and qualities of good principal bassists qualities found in good conductors how music students are seeing fewer and fewer concerts emotion in music – country music’s got it limitations of rock music in conveying emotion body maintenance and how to stay healthy as a bassist We also feature music from double bass performer and composer Peter Askim. Learn more about Peter at his websitewww.peteraskim.com. Enjoy! About Jack Budrow:Jack Budrow is professor of music and co-chair of the string area at the Michigan State University College of Music.He has enjoyed a long and varied career in double bass performance and teaching. Budrow has been a member of the Houston Symphony, and principal bass of the North Carolina Symphony, Santa Fe Opera, and the American National Opera orchestras. A well-known teacher, Budrow’s students play in many of America’s symphony orchestras, including Cincinnati, San Francisco, Atlanta, Houston, Charleston, San Antonio, the Michigan Opera, and the Army Band. Internationally, he has placed students in the Oslo Philharmonic, Israel Philharmonic, Munich Radio Orchestra, and the Caracas Symphony.Each summer, Budrow teaches at Interlochen Center for the Arts and Indiana University. He serves on the board of directors of the International Society of Double Bassists, and was a judge for their most recent International Solo Bass Competition. Budrow has presented master classes throughout the United States, including the Cleveland Institute, Florida State University, University of Houston, Indiana University, University of Michigan, Peabody Conservatory, and University of Texas. In addition, he served as the bass section coach at the National Orchestral Institute and New World Symphony. Budrow received his B.M. from Bowling Green State University. About Peter Askim: Active as a composer, conductor and double bassist, Peter Askim is the Music Director and Composer-in-Residence of the Idyllwild Arts Academy. He has been a member of the Honolulu Symphony Orchestra and served on the faculty of the University of Hawaii-Manoa, where he directed the Contemporary Music Ensemble and taught bass, theory and composition. He has had commissions and performances from such groups as the Tokyo Symphony Orchestra, the Honolulu Symphony, Orchestra Asia-Japan, the International Society of Bassists, the Yale Symphony Orchestra, the Idyllwild Arts Orchestra, the Portland Chamber Music Festival, and Serenata Santa Fe, as well as by performers such as flutist/ conductor Ransom Wilson, Metropolitan Opera soprano Lauren Flanigan and Grammy-nominated soprano Judith Kellock. His compositions are published by Liben Music Publishers, Discordia Music and the International Society of Bassists, and his music is recorded on the Gasparo and Albany labels. Musical Selection: Edge for Solo Double Bass – written and performed by Peter Askim