Podcasts about indianapolis symphony

This episode of The Other Side of the Bell, featuring trumpeter, Scott Belck, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Scott: Dr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet. He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra.   His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet. He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera. He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions. He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur. He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters. Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.

Neil is a renowned percussionist, accomplished music educator, imaginative product innovator, and successful entrepreneur. He is the founder and president of Grover Pro Percussion Inc., a market leader in the design, manufacture, and distribution of world-class percussion instruments.  At the young age of 23, Neil was appointed Principal Percussionist of the Opera Company of Boston, a position he held for seven seasons.  As his career progressed, he found himself in demand for all musical genres, including symphony, chamber music, ballet, opera, and commercial recordings.  Highlights of his collaborations include the Royal Ballet, Bolshoi Ballet, American Ballet Theatre, Dance Theatre of Harlem, Music from Marlboro, Indianapolis Symphony, Boston Musica Viva, and the Empire Brass. He was chosen to record the percussion tracks for Phillip Glass' film soundtrack for Mishima. In addition, Neil appears as a Boston Pops percussionist in the hit movie Blown Away, starring Jeff Bridges and Tommy Lee Jones.  He has toured with Music From Marlboro, Boston Symphony, Henry Mancini, Boston Symphony Chamber Players, and the Broadway production of The Pirates of Penzance.  Since 1977, he has performed, recorded, and toured with the world-famous Boston Pops, where he has made music under the batons of Maestros Arthur Fiedler, John Williams, and Keith Lockhart.  Having performed regularly in the percussion section of the Boston Symphony for over 35 years, he has worked with Maestros Seiji Ozawa, James Levine, Leonard Bernstein, Aaron Copland, Colin Davis, Charles Dutoit, Colin Davis, Neemi Jaarvi, Rafael Fruhbeck de Burgos, Mstislav Rostropovich, and Bernard Haitink. It is noteworthy that Neil has performed in over 1,500 concerts as a percussionist with the BSO & Boston Pops. Neil's percussive talents have been heard by thousands at renowned venues, such as Boston's Symphony Hall, Carnegie Hall, Chicago's Orchestra Hall, and festivals at Tanglewood, Hollywood Bowl, Wolf Trap, Blossom, and Ravinia.  In addition, he has performed for millions of listeners through television and radio broadcasts on the NBC, CBS, NHK, PBS, A&E and NPR networks.  At the request of composer John Williams, Neil joined the multi-media musical extravaganza, “Star Wars in Concert”, serving as Principal Percussionist on two legs of their North American Tour.   Neil Grover has written/co-authored five publications: Four Mallet Primer, Four Mallet Fundamentals, Art of Triangle & Tambourine Playing, Percussionist's Cookbook, and The Art of Percussion Playing, all published by Meredith Music.  Neil's innovative designs and cutting edge manufacturing techniques have set a new standard for the ergonometric functionality of modern day percussion instruments. Neil and his company have been featured in many publications, including: Percussive Notes, Modern Drummer, School Band & Orchestra, Musical Merchandise Review and on two episodes of the Discovery Channel's series How It's Made. Formerly the Chair of the Percussion Programs at both The Boston Conservatory and the University of Massachusetts-Lowell, today, Neil's students occupy leading positions in many top performing, educational and music business organizations. Things That Came Up:  -1:45 Owning ALL the percussion instruments -3:50 The magic of Zelda -6:00 Studied with the same teacher as Dom Famularo -7:00 Studying with Vic Firth  -11:10 “Classical musicians play with their eyes and jazz musicians play with their ears” -12:10 “Talent got you this far, perseverance will carry you through.” -12:45 Took AFM pension at age 65  -13:50 Contracting, composing and arranging as a new life chapter -15:10 Bradley Cooper's “Maestro” -16:35 Being a frustrated stand-up -17:40 Fred Buda: “Playing drum set in an orchestra is like swinging an elephant” -19:40 How union pensions work -26:05 At Tanglewood at the same time as Kenny Aronoff, with Leonard Bernstein conducting! -27:40 Playing bongos for Bernstein's “West Side Story” -30:50 Star Wars Tour: Drum Tech, 7 percussionists, 3 conductors and music from all 6 Star Wars films -38:00 Follow your dreams, no matter what!  -40:00 “The Accidental Entrepreneur” -41:00 The FIRST Grover Triangle  -48:20 Allowing Redmond to help develop the “Studio Pro Series” pop tambourines -54:00 Selling Grover Percussion to RBI Music  -60:40 On screen percussionist in the “Blown Away” film, starring Tommy Lee Jones  -61:30 Authoring Books  -63:30 Aerosmith! Glocks!  -69:30 Neil's favorite axe is the piatti (cymbals)  -74:00 “The Fave 5”  Follow:  www.groverpro.com Email: ngrover@groverpro.com The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits.  Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:     https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com

SynopsisAs far as housewarming gifts go, a nice bottle of champagne is common, or maybe a bouquet of flowers. But if you're a composer, and the occasion is the ceremonial opening performance at a new concert hall, you write a celebratory piece of music.On today's date in 1984, for the inaugural concert of the Indianapolis Symphony's new home, the Circle Theater, American composer Ellen Taaffe Zwilich wrote an orchestral work titled, appropriately enough, Celebration.“In writing this work,” Zwilich said, “I was motivated by three complementary goals. First, I wanted to celebrate a joyous and historic occasion with all its inspiring symbolism of beginning and renewal. My second goal was to write a kind of ‘toccata' or test piece for the new Circle Theater. Finally, I wanted to celebrate the orchestra itself, which is, after all, the centerpiece of the occasion. Thus, ‘Celebration' is like a mini-concerto for orchestra.”Zwilich's housewarming gift was dedicated to the Indianapolis Symphony's music director in 1984, conductor John Nelson. Despite its origins as an occasional piece for a particular event, Celebration has gone on to become one of Zwilich's most popular and frequently performed orchestral works.Music Played in Today's ProgramEllen Taafe Zwilich (b. 1939) Celebration - Indianapolis Symphony; John Nelson , cond. New World 336

SynopsisConsider, if you will, the poor timpanist. At most symphony concerts, they sit quietly—waiting for the moment when a dramatic exclamation point is required from the kettledrums. While the violinists rarely get a break, the timpanist must sit patiently for most of the evening, biding their time, waiting for the precise moments to strike.On rare occasions, however, the timpanist is the CENTER of attention as soloist in a timpani concerto. One such concerto was written by an American composer, William Kraft, who was born on this day in 1923. Kraft was a timpanist himself. In fact, Kraft served as a percussionist and timpanist with the Los Angeles Philharmonic for 26 years, from 1955-1981. He was that orchestra's first composer-in-residence, and founded the LA Philharmonic's first New Music Group.William Kraft's Timpani Concerto was written in 1983 for timpanist Thomas Akins of the Indianapolis Symphony, who premiered the work with that orchestra in 1984.Kraft's own description of his Timpani Concerto is as follows, "The first movement is very jazzy … the second movement is very beautiful, with two string orchestras and a lot of glissandi, and the third is hell-bent for leather."Music Played in Today's ProgramWilliam Kraft (b. 1923) Timpani Concerto Thomas Akins, timpani; Alabama Symphony; Paul Polivnick, cond. Albany 302

This February, I have the great honor of joining the Indianapolis Symphony for the North American premiere of Pavel Haas' remarkable unfinished symphony. Pavel Haas, a Czech Jewish composer, wrote the existing music for his symphony between 1940 and 1941 before his deportation to the Terezin ghetto/concentration camp. He was a full participant in the well known cultural activities of the camp, but was unable to complete the symphony before he was murdered in Auschwitz in 1944. What Haas did manage to complete is not just a piece that is worth hearing as a historical curiosity, but is one of the towering testaments of both the time in which it was written, and of the unique and innovative Czech symphonic tradition. We are left with 1 fully completed movement, one fully sketched movement, and a "torso" of a third movement. The symphony was completed by the Czech composer Zdenek Zouhar after World War II. The story of Haas' death, which we will learn about on the show today is, of course, devastating. Hearing his music reminds all of us of the individual voices that we have lost. The voices of the 6 million Jews, and 6 million others whom the Nazis murdered. But this music also reminds us of the proof that Pavel Haas lived. Haas was one of the truly unique composers of the 20th century, and while his tragic story cannot be detached from his music, the music itself transcends its time and acquires the universality of all great music. It Is truly an honor to be bringing this music to the North American stage for the first time, and at a time of rising Anti-Semitism around the world, I hope that his story, his music, and his voice, will reach far and wide. Join me to learn about this remarkable work. 

At the end, stay tuned for an outstanding piano duo with our guest, Tim Stephenson, a doctoral candidate in piano at Indiana University, development officer with The Indianapolis Symphony orchestra, teacher, and performing pianist.  Here we learn about composition, imagination, sweaty hands, and his March recitals in Bloomington.

Shara Nova has released five albums under the moniker My Brightest Diamond and has composed works for The Crossing, Conspirare, Cantus Domus, Brooklyn Youth Chorus, Roomful of Teeth, many community choirs, as well as yMusic, Brooklyn Rider, violist Nadia Sirota, Aarhus Symfoni, North Carolina Symphony, Indianapolis Symphony, American Composers Orchestra and the BBC Concert Orchestra, among others.In 2019, she composed for over 600 community musicians and the Cincinnati Symphony in celebration of their 125th season, a piece entitled "Look Around," with director Mark DeChiazza. Her baroque chamber p'opera “You Us We All” premiered in the US in October 2015 at BAM Next Wave Festival. With co-composer and performer Helga Davis, Nova created a four-screen film entitled “Ocean Body,” along with director Mark DeChiazza, which premiered at The Momentary in August 2021, shortly followed by the premiere of “Infinite Movement,” her baroque masque for 100 musicians, set to text by artist Matthew Ritchie, which premiered at The University of North Texas in November 2021.Ms. Nova is the featured singer on “The Blue Hour” with the string orchestra A Far Cry and co-composers Rachel Grimes, Angélica Negrón, Sarah Kirkland Snider and Caroline Shaw on Nonesuch Records (Sept ‘22). A collection of songs by Nico Muhly with Detroit's acclaimed wind ensemble Akropolis Quintet also features Ms. Nova's voice entitled Hymns for Private Use (Oct ‘22). A number of music composers, including Sarah Kirkland Snider, Bryce and Aaron Dessner, Steve Mackey and David Lang have created works specifically for her voice. She has collaborated with Matthew Barney, The Decemberists, The Blind Boys of Alabama, Sufjan Stevens, David Byrne, Laurie Anderson, and many others.Shara has a couple different branches to her life:Singer and Composer Branch: https://shara-nova.com/Pop Music Branch: https://www.mybrightestdiamond.com/Instagram: @mybrightestdiamondTwitter: @MyBrightestDmndWriting on Substack: https://substack.com/profile/91251132-shara-nova

Joey Bargsten creates electronic and acoustic music, transmedia opera, interactive media, digital films, software, and virtual reality experiences. His music has been played by the Indianapolis Symphony and the St. Paul Chamber Orchestra. It has been featured at New York's Symphony Space, the Philadelphia Museum of Art, the Atlanta Arts Festival, and National Public Radio's International Concert Hall. Bargsten won a Knight Arts Challenge Award for his transmedia opera MelanchoLalaland ™, which premiered in Miami Beach in 2015 (www.melancholalaland.com). He won the audience award at the 2004 Stuttgart Filmwinter Expanded Media Festival for his interactive website BAD MIND TIME™ (www.badmindtime.com), which has been featured in exhibitions of digital art internationally—in Istanbul, London, Penang, and Los Angeles. Bargsten taught at the University of Iowa, Georgia Tech, Atlanta College of Art, and the University of Oregon before his current position in interactive multimedia at the School of Communication and Multimedia Studies, at Florida Atlantic University. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

Synopsis Today's date marks the original Columbus Day, honoring the Italian explorer who for decades was described as the man who “discovered America.” In recent years Native American leaders have pointed out that indigenous peoples had been living on the continent for thousands of years, and Columbus didn't “discover” anything — in fact, he didn't even know where he was, which is why he called the people he found here “Indians.” Some historians now think that Viking explorers from Scandinavia arrived in America long before Columbus – and others suggest the Chinese arrived before those Europeans. Even so, it's Columbus who has a national holiday (now always observed on the closest Monday in October), and concert music written to celebrate it. For example, there's a “Columbus Suite” by Victor Herbert, originally commissioned for the 1893 Chicago World Fair to celebrate the 400th anniversary of the Columbus voyage, but not actually premiered until 1903. A much more recent “Columbus-inspired” work, and much more elegiac in tone, is by the Native American composer James DeMars. It's titled: “Premonitions of Christopher Columbus” and is scored for Native American flute, African drum, and chamber orchestra. In this work, DeMars blends sounds of the various ethnic traditions that would come to make up modern America. Music Played in Today's Program Victor Herbert (1859-1924) Columbus Suite Slovak Radio Symphony; Keith Brion, cond. Naxos 8.559027 James DeMars (b. 1952) Premonitions of Christopher Columbus Tos Ensemble with R. Carlos Nakai, Native American flute Canyon 7014 On This Day Births 1686 - German composer and lutenist Silvius Leopold Weiss, in Breslau; 1713 - Baptismal date of German composer Johann Ludwig Krebs, in Butterstedt, Weimar; 1872 - English composer Ralph Vaughan Williams, in Down Ampney, Gloucestershire; 1880 - English-born Canadian composer and organist Healey Willan, in London; Deaths 1692 - Italian composer Giovanni Battista Vitali, in Bologna, age 60; Premieres 1910 - Vaughan Williams: "A Sea Symphony" (after Walt Whitman) at the Leeds Festival; 1924 - Mahler: Symphony No.10 (1st and 3rd movements only), arranged by Ernest Krenek (with additional retouching by Alexander von Zemlinksy and Franz Schalk), by Vienna Philharmonic, Franz Schalk conducting; The American premiere of these two movements was give on Dec. 6, 1949, by the Erie (Pa.) Philharmonic conducted by the composer's nephew, the Austro-American conductor Fritz Mahler (1901-1973); The English musicologist Deryck Cooke prepared the first performing edition of Mahler's entire Tenth Symphony which received its first performance on August 13, 1964, by the London Symphony conducted by Berthold Goldschmidt; Since then, Cooke has revised his arrangement, and several other musicologists have prepared their own rival performing editions of Mahler's surviving notation for this symphony; 1931 - Rachmaninoff: “Variations on a Theme of Corelli (La Folia)” for solo piano, in Montréal (Canada), by the composer; 1951 - Bizet: opera "Ivan le Terrible" (posthumously), in Bordeaux; 1951 - Dessau: opera "Die Verurteilung des Lukullus" (The Trial of Lucullus) (2nd version), in East Berlin at the Deutsche Staatsoper; 1961 - Douglas Moore: opera "The Wings of the Dove" (after the novel by Henry James), in New York; 1971 - Andrew Lloyd Webber: rock musical "Jesus Christ Superstar," in New York City; A choral version of this musical was performed in Kansas City, Kan. On May 15, 1971, and a touring company was launched to present the musical on July 12, 1971; Prior to any staged presentations, the work was first released as a double LP record album in October of 1970; 1984 - Olly Wilson: "Siinfonia," by the Boston Symphony, Seiji Ozawa conducting; 1984 - Ellen Taaffe Zwilich: "Celebration" for orchestra, by the Indianapolis Symphony, John Nelson conducting; 1997 - Sallinen: "Overture Solennel," in Monaco by the Monte Carlo Philharmonic, James DePreist conducting; 1998 - Philip Glass: opera "The Voyage," at the Metropolitan Opera in New York, Bruce Ferden conducting; 2000 - Rautavaara: Harp Concerto, in Minneapolis with harpist Kathy Kienzle and the Minnesota Orchestra, Omso Vänskä conducting; Others 1739 - Handel completes in London his Concerto Grosso in Bb, Op. 6, no. 7 (Gregorian date: Oct. 23). Links and Resources On Columbus Day On Victor Herbert On James DeMars

On this episode we discuss our musical last meals! For our interview we welcome the Indianapolis Symphony's Mark Ortwein! This podcast is brought to you by Chemical City Double Reeds (www.chemicalcityreeds.com), Reedesign(www.reedesign.io), Barton Cane (www.bartoncane.com/), and RDG Woodwinds Inc. (rdgwoodwinds.com)! Thank you to our wonderful sponsors!

Tuesday, June 14Take Notice: Amplifying Black StoriesSeason 2, Episode 18: N'KengeIn this episode we talk with Grammy and Emmy-nominated artist, singer, producer, and creator, N'Kenge. Hear about N'Kenge's climb to success from growing up in New York to working in her mother's business while performing on the road to blossoming as a performer while attending graduate school at Julliard. We also discuss a bit about opera, music business, and stereotypes she encountered in casting while auditioning for parts. N'Kenge has performed as a soloist at world-renowned illustrious performance venues such as Carnegie Hall, Lincoln Center's Alice Tully Hall, Madison Square Garden and has headlined Pop and Opera concerts with Seattle Symphony, Jacksonville Symphony, Cincinnati Symphony, Indianapolis Symphony, and Cleveland Orchestra, to name a few.A proud alumni of both The Juilliard School and Manhattan School of Music, N'Kenge made her Broadway debut in Sondheim on Sondheim and most recently was on Broadway in the revival of Caroline, or Change. This energetic, well-rounded singer has performed with jazz greats like Ornette Coleman and Wynton Marsalis and was nominated for Outstanding Lead Actress in a Musical for her portrayal of the leading roles in both the Elton John/Tim Rice Musical  Aida and in Marion Caffey's 3 Mo' Divas by the Helen Hayes Awards and the Arizoni Theater Awards.In addition to her performances, N'Kenge is also a producer and is currently developing a Broadway-bound musical celebrating Dorothy Dandridge's life and music. She is also developing a new TV musical dramedy, Black Butterfly, with TV producer Gina Goff.Mentioned:N'Kenge Website TwitterInstagram FacebookTake Notice WebsiteTake Notice InstagramTake Notice Facebook

For our Memorial Day special we welcome Jacob Joyce, Associate Conductor of the Indianapolis Symphony and guest conductor for the TSO's Patriotic Pops concert. Jacob gives some backstory to his career as a violinist and conductor, plus we take a dive into the patriotic-themed repertoire on the concert (including our unofficial analysis of "The Star-Spangled Banner" vs. "O Canada"). As an added bonus, test your patriotic chops in our "Patriotic Pops" quiz about America's Founding Fathers (patriotic "pops"... get it?).

Synopsis By the 1960s, the prevailing trends dictated that modern music should be austere, brainy, complex, and preferably written in the 12-tone “serial” technique developed by Arnold Schoenberg and his pupils. Igor Stravinsky had started writing serial pieces in the 1950s, and even Aaron Copland had a go at writing a 12-tone piece in his “Connotations” for Orchestra, composed for the opening of the New York Philharmonic's new hall at Lincoln Center in 1962. Well, the American composer Henry Cowell was not one to be so easily pigeon-holed. In 1962 he composed an airy little quartet for flute, oboe, cello and harpsichord—a piece very much in the neo-classical style. Cowell then re-scored the harpsichord part for harp at the request of Mary Spalding Sevitzky, the harp-playing wife of the Russian émigré conductor Fabien Sevitzky, to whom the quartet was dedicated. Sevitzky's real last name was Koussevitzky, and, yes, he was the nephew of the famous Russian conductor and music patron Serge Kousseviztky. At his uncle's request, to avoid confusion, Fabien shorted his last name to Sevitzky when he became a conductor in his own right. He led the People's Symphony of Boston in the 1930s before becoming the director of the Indianapolis Symphony from 1937 to 1955. Like his more famous uncle, Fabien Sevitzky was a great champion of American composers. In his later years, he moved to Florida, where he taught and led the University of Miami Symphony. It was in Miami that a distinguished quartet—including Mrs. Sevitzky—premiered Henry Cowell's quartet on today's date in 1963. Music Played in Today's Program Henry Cowell (1897 - 1965) — Quartet for Flute, Oboe, Cello and Harp (Musicians Accord) Mode 72

Synopsis Today we celebrate St. Patrick's Day in Boston (where else?), noting two musical premieres that occurred in that Celtic city. The first premiere was in March of 1922, when Pierre Monteux conducted the Boston Symphony in the premiere of three of the “Five Irish Fantasies” by the German-born American composer Charles Martin Loeffler. These were settings for solo voice and orchestra of poetry by William Butler Yeats, and, for their Boston premiere, the vocalist was none other than THE great Irish tenor, John McCormack.  The second premiere dates from 1947, when the Eire Society of Boston commissioned another American composer, Leroy Anderson, to write an “Irish Suite” for its annual Irish night at the Boston Pops. Anderson used six popular Irish tunes, ranging from the sentimental to the exuberant, for his suite… skillfully arranging them into an immediate hit and lasting success.   Arthur Fiedler conducted the premiere and the work soon became a staple item for St. Patrick's Day concerts in Boston and concert halls all across the United States. Music Played in Today's Program Charles Martin Loeffler (1861 - 1935) — Five Irish Fantasies (Neil Rosenshein, tenor; Indianapolis Symphony; John Nelson, cond.) New World 332 Leroy Anderson (1908 - 1975) — Irish Suite (Decca studio orchestra; Leroy Anderson, cond.) MCA 9815

Our sponsor: Houghton Hornswww.houghtonhorns.comVirtual equipment consultation videowww.youtube.com/watch?v=NfDOyZXRiXwJared Rodin has been Principal Trombone of the ICO since 1985, and last appeared as soloist in 1993, presenting the premier of “Morph” by Ken Kugler. Active in commissioning and presenting new works, Jared has premiered two other works by Frank Glover, (“Remembrance” and “Welcome to the Skeleton Circus”), “Beneath the Surface” by Steve Allee and “Concerto” with wind ensemble by Stan Adams.After first appearing as Guest Artist at the International Trombone Camp in Germany, he returned as guest in Italy and was subsequently named to the faculty where he appeared for the next ten years coaching, teaching and concertizing with some of the world's most prominent trombonists, including Joe Alessi, Ron Barron, Joe Burnam, Abbie Conant, Stuart Dempster, Jay Friedman, Michael Mulcahy, Charles Vernon and Jiggs Wigham.Presently, Jared is serving as Acting Bass Trombone of the Indianapolis Symphony, and has recently performed with the Chicago Symphony, Minnesota Orchestra, Alabama Symphony, Chicago's Music of the Baroque and the Grand Teton Music Festival. A long time ago, he was bass trombonist of the Italian National Radio Orchestra in Turin, where he met his beautiful wife Debbie (ICO first violinist).Growing up in Chicago, Jared began his studies with a distant relative, Gerald Myrow and continued with Gerhart Schmeltekopf before going off to Southern Illinois University at Carbondale where he continued with Gene Stiman and Mel Jernigan, then of the St. Louis Symphony. Graduate studies at IU Bloomington brought him to the tutelage of Lewis Van Haney and Keith Brown, also at the Music Academy of the West, where he was honored with the “Outstanding Brass Player” award. He also counts among his mentors, Frank Crisafulli, Arnold Jacobs and Michael Mulcahy of the Chicago Symphony.Adjunct Instructor of Trombone at Butler University, Jared has been Lecturer at Northwestern University, Visiting Lecturer at IU Bloomington and Instructor at Ball State and Purdue Universities. He has also presented masterclasses at Cincinnati College-Conservatory, University of New Mexico and Hochschule fur Musik in Trossingen, Germany.No stranger to other musical idioms, Jared has toured and performed with a vast array of entertainers and jazz musicians including Natalie Cole, Frank Sinatra, The Who, Johnny Mathis, Henry Mancini, Andy Williams and trombonists Slide Hampton, Bill Watrous and Kai Winding. He has also played in many Broadway show pits. As a recording artist, Jared can be heard on the Music Heritage Society, Liscio, Archaeus, Delos, Fonit Cetra, Friggemall, Sea Breeze Jazz and Monarch Jazz labels.Support the show (https://thatsnotspit.com/support/)

Jacob Joyce, Pittsburgh Symphony Assistant Conductor, makes his Heinz Hall subscription concert debut this Saturday and Sunday January 22 and 23 conducting concertos by Corelli and Geminiani, plus Stravinsky sharing the program with his colleague Moon Doh who conducts Bartok. Jacob explains why he loves baroque music and tells us about his work with the Indianapolis Symphony plus his story so far. He also talks about his work with the Pittsburgh Youth Symphony as their new conductor.    

Episode 38: On today's episode, Sam is joined by world renowned conductor Miguel Harth-Bedoya. Maestro Harth-Bedoya just finished up a two week residency with the Indianapolis Symphony as a guest conductor, and it was a great joy to sit down with him to talk about his career and his approach to conducting!

Thomas Hooten, Principal Trumpet of the Los Angeles Philharmonic, is one of the world's most prominent classical trumpeters today. He can be heard on numerous recordings with the Los Angeles Philharmonic, the Atlanta Symphony Orchestra, and the National Brass Ensemble. Tom began his career in 2000 with a trumpet/cornet position in “The President's Own” United States Marine Band in Washington, D.C., where he was often a featured soloist. He went on to join the Indianapolis Symphony as Assistant Principal Trumpet in 2004, the Atlanta Symphony Orchestra as Principal Trumpet in 2006, and the LA Philharmonic in 2012. He released “Trumpet Call,” his first solo album, in 2011. Thomas is an active soloist and has appeared with many groups, including the Los Angeles Philharmonic, Atlanta Symphony Orchestra, Saint Paul Chamber Orchestra, “The President's Own” US Marine Band, United States Air Force Band, Fort Wayne Philharmonic, Richmond Symphony Orchestra, Nagoya Philharmonic Orchestra. As an orchestral and chamber musician, he has performed with ensembles such as the Chicago Symphony Orchestra, National Symphony Orchestra, St. Louis Symphony, Grand Teton Music Festival, Harrisburg Symphony, and the Baltimore Symphony. Here's what you'll hear in this episode with Tom Hooten: -What has Tom fired up about trumpet, life, and how the two intersect...01:30 -Why success can be terrifying...12:40 -Discoveries made producing the album https://amzn.to/3oSZU08 (Trumpet Call)...15:40 -How one grows as a teacher as he grows as a person...21:44 -Knowing when to teach, and when to let the student learn to teach themselves...30:51 -Geeking out on the new concerto to be performed w/ the L.A. Phil...42:22 -How a younger Tom Hooten would have responded to the challenges the present-day Tom Hooten embraces with fire in the eyes...45:15 https://amzn.to/3FC4NR7 (The Big Leap) https://amzn.to/3FAso4T (Zero to One by Peter Thiel) https://www.gabrielecassone.it/ (Gabriel Cassone) https://amzn.to/3aruMfZ (Time to Think) and https://amzn.to/2X1rDAg (More Time to Think) by Mary Klein Credits: Trumpet Dynamics: The Story of the Trumpet, In the Words of Those Who Play It Host: James Newcomb Guest: http://tomhooten.com/ (Tom Hooten) Opening music: "Folklore" by https://bigbigtrain.com/ (Big Big Train) Closing music: "Creepin' With Clark" written and performed by Mike Vax Audio editing by: James Newcomb Show notes prepared by: http://podcastartistry.com/ (Podcast Artistry™)

NaTasha Yvette Williams is an American actress, singer, and entertainer. Since she began singing at age three in the tiny tot choir at her church, she has performed from the subway to Broadway. She portrayed Aretha Franklin in “A Night with Janis Joplin,” and has been seen in The Gershwin's' “Porgy and Bess” and Oprah Winfrey's “The Color Purple.” Ms. Williams has previously performed with the Indianapolis Symphony, Naples Philharmonic, and Baltimore Symphony orchestras. Her current recording project is “How Deep is the Ocean,” a collection of standards, and she has released a Gospel project, “Songs That Carry Me Through ... Some Old, Some New.” Philanthropic/Activist Causes: Black Theatre United

Welcome to Season 4 of the Mind Over Finger Podcast! Thank you to everyone who has made this journey possible and found these conversations not only useful, but inspiring. I look forward to many more episodes with phenomenal musicians! This season is all about helping you to create a fulfilling music experience, covering everything from navigating the road to a musical degree, to the life of a soloist, to being a musician entrepreneur and beyond. My very special guest for the opening of Season 4 is Mimi Zweig, a true legend in violin pedagogy.  As a violinist myself, I was incredibly excited to sit down with Mimi to discuss her relationship with the instrument, how she came to begin teaching, and of course to hear her advice for students and professional musicians alike.  In our conversation, we covered... The very beginning of Mimi's journey with the violin (06:23) How Mimi got her start teaching (11:32)  Mimi's approach and philosophy of teaching, including the importance of a non-judgemental teaching environment (14:55) The essential purpose of patience in lessons (17:40) What students need to pursue a musical degree or professional life as a musician, broken down into several age brackets (21:08) How to develop effective and healthy practicing habits using intentional repetition as a guide (25:48) And finally, Mimi's own habits, thoughts, favorites, and advice! (29:56)   MORE ON MIMI ZWEIG: Mimi Zweig is professor of music in violin at the Indiana University Jacobs School of Music and director of the Indiana University String Academy. Zweig studied with Louis Krasner, Samuel Kissel, Raphael Bronstein, and Tadeusz Wroński. She has been a member of the Syracuse Symphony, American Symphony under Leopold Stokowski, and Indianapolis Symphony.  She has developed pre-college string programs across the United States since 1972. In 2019, Zweig was the recipient of the American String Teachers Association Artist Teacher Award. Her students have won numerous competitions and teach and perform worldwide. Be sure to visit Mimi's website, StringPedagogy.com!   PRACTICING FOR PEAK PERFORMANCE: I'm excited to tell you that Practicing for Peak Performance is now available for download! Go to MindOverFinger.com for access to all the tools that will help you transform your practice, gain confidence in your process, and start performing at your best.  With the purchase of PPP, you gain: Lifetime access to all recorded content Guidance in effective high-performance systems Detailed handouts For a limited time only, a free 30-minute consultation with me.   PPP alumnus Karmen Palusoo has this to say about it: “For a long time I have had this belief that learning an instrument is difficult and hard work or that it has to be, and there is no other way. Only a few weeks after PPP, I am starting to feel that change! My everyday practice sessions are now filled with freedom and ease!”   MUSIC MASTERY CIRCLE: This fall, I'm opening the doors to a brand-new exclusive group coaching program, The Music Mastery Circle! Together we will create the most fulfilling musical experience you can dream of.  More details will be coming soon. For now, know that I'll only be taking a small group of motivating musicians with me on this adventure!  If this sounds like something you'd like to be part of, send me an email at MindOverFinger@gmail.com for more information.   THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for 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. Thank you to pianist-singer-song-writer Louise Kelly for the introduction!  You can find out more about Louise and her creative work by visiting louisekelly.com.    MIND OVER FINGER: As we head into this new season, I encourage you to visit MindOverFinger.com for a plethora of resources on mindful practice and information on how to work with me. Sign up for my newsletter and receive your free guide to a highly productive mindful practice using a metronome! www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/  

Our sponsor: Houghton Hornswww.houghtonhorns.comThe GOLD Method App - Use code "GOLD21" when subscribing for your first month free!www.ryanbeachtrumpet.com/gold-method-appScott Belck's websitewww.scottbelck.comDr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet.He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding the Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra.His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet.He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera.He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions.He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur.He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters.Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.Support the show (https://thatsnotspit.com/support/)

For our Memorial Day special we welcome Jacob Joyce, Associate Conductor of the Indianapolis Symphony and guest conductor for the TSO's Patriotic Pops concert. Jacob gives some backstory to his career as a violinist and conductor, plus we take a dive into the patriotic-themed repertoire on the concert (including our unofficial analysis of "The Star-Spangled Banner" vs. "O Canada"). As an added bonus, test your patriotic chops in our "Patriotic Pops" quiz about America's Founding Fathers (patriotic "pops"... get it?).

For our Memorial Day special we welcome Jacob Joyce, Associate Conductor of the Indianapolis Symphony and guest conductor for the TSO's Patriotic Pops concert. Jacob gives some backstory to his career as a violinist and conductor, plus we take a dive into the patriotic-themed repertoire on the concert (including our unofficial analysis of "The Star-Spangled Banner" vs. "O Canada"). As an added bonus, test your patriotic chops in our "Patriotic Pops" quiz about America's Founding Fathers (patriotic "pops"... get it?).

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. GRAMMY-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra, Music Director Laureate of the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and Artistic Adviser of the Hawaii Symphony Orchestra and the Cleveland Institute of Music Orchestra. Hailed for having ‘Toscanini's tight control over ensemble, Walter's affectionate balancing of inner voices, Stokowski's gutsy showmanship, and a controlled frenzy worthy of Bernstein', she is a leading force for the music of our time. JoAnn with composer Ken Fuchs at the GRAMMY Awards in 2019Her recent and upcoming North American guest conducting includes the National Symphony, Detroit Symphony, Nashville Symphony, Indianapolis Symphony, and Milwaukee Symphony; and further north, the Toronto Symphony and Orchestre metropolitain. Internationally, she has conducted many of the most prominent orchestras in Europe, Asia, and South America. Pending further national and international guidance on the current COVID-19 pandemic, she is looking forward to guest conducting appearances in Canada, Poland, Sweden, and Spain in 2021. The pieces included: Penderecki Adagio: Symphony No 3 - Buffalo Philharmonic Orchestra; Penderecki - Concerto Doppio - Buffalo Philharmonic Orchestra; Penderecki Horn Concerto - Buffalo Philharmonic Orchestra.

Jan Swafford is known as both a composer and biographer. His compositions have been performed by orchestras such as the St. Louis Symphony, the Indianapolis Symphony, and the Dutch Radio Orchestra. His biographies of Ives, Brahms, Beethoven, and Mozart have received rave reviews, and so it was a total joy to have this conversation with Jan about all things musical (and a few things non-musical).In Part 1 of our conversation, Jan talks about his beginnings in music, his ideas about writing, and how he has conveyed those ideas to students over the years. Then we begin our conversation about his four main biographies: Ives, Brahms, Beethoven, and Mozart.

Over the years, we've met so many people with so many experiences. As the ups and downs of life shape and reshape us, we often find ourselves clinging to certain verses as a source of hope and strength. One verse that hit home for me was Psalm 34:18. When I was 24 years old, I was in my third year of medical school. My wife was teaching third grade, and she was 32 weeks pregnant. We were given tickets to the Indianapolis Symphony. I had just finished the easiest and most fun week of medical school, a solid week of doing nothing but examining healthy newborn babies. The point of the week is to solidify the complete newborn exam in the budding doctors' minds so it becomes automatic and is never forgotten.Amy and I enjoyed a nice dinner then went to see and hear the Dukes of Dixieland, Hoagy Carmichael's nephew, and the Indianapolis Symphony Orchestra. During the concert, Amy experienced a few painless contractions. We thought little of it, enjoyed the rest of our evening, and settled in for a good night's rest.We awakened early as Amy began to experience painful and increasing contractions. Too early. Not ready. Never ready for what came next.When we arrived in labor and delivery, the nurse greeted us with a smile that faded as soon as she checked for our baby's heart beat. Our glass slipper shattered, and it wasn't even midnight yet.The heartache of that moment, the moments that followed, and the days that felt like years was more than we thought we could bear. I couldn't even express how I felt.Until I read that verse."The Lord is close to the broken-hearted and saves those who are crushed in spirit.""Broken-hearted" wasn't enough to describe how I felt. "Crushed in spirit" resonated. It seemed my spirit had been pulverized and trampled, but God was there. He knew our pain. He felt it. He endured it. He shared it. And He was close to us and carried us through.That's what a life verse is. You find your deepest, darkest heartache, and even there, you discover God is with you.

We have a big hitter this week! Thomas Hooten is the principal trumpet for the Los Angeles Philharmonic. His extensive resume includes, "The President's Own" Marine band, The Indianapolis Symphony, performing for Gustavo Dudamel, and being featured for John William's (STAR WARS!) concerto for trumpet and orchestra. Thomas' approach to music and life is holistic. It is focused on balance, being present, and learning from failure. He shared the lessons he learned from the legends. He's an active educator, Tom talked about his approach to developing both as a musician and as a person. This episode is packed with golden nuggets, enjoy! Find Tom here: https://www.instagram.com/tomhooten/ Find Dalton here: https://www.instagram.com/dmclaughlin93/ http://www.daltonmclaughlin.com/ Find Issac Here: https://www.youtube.com/channel/UCSVIivmh4isdo7w7zOm7O-g https://www.instagram.com/theissachernandez/ http://issachernandez.com/

NaTasha Yvette Williams, Broadway Credits: Waitress ( Becky), Chicago (Mama Morton). Broadway: A Night With Janis Joplin (Aretha, Joplinaire) The Gershwin's Porgy and Bess (Mariah) The Color Purple (Sofia). You may have seen her on PBS in Lincoln Center’s Showboat (Queenie) with The NY Philharmonic. Featured Vocalist/Concerts: Carnegie Hall (Irving Berlin), Avery Fisher Hall (Ragtime), Indianapolis Symphony, Baltimore Symphony, Naples Philharmonic, Ottawa Symphony, just to name a few. TV credits: Topaz ``Orange is the New Black”, “Madam Secretary” “ NOS4A2” and Pearl in “The GodFather of Harlem” starring Forest Whitaker. Look for her in the upcoming Historical Thriller ALICE starring Keke Palmer and Common. NaTasha is an entertainment force and a founding member of Black Theatre United, committed to protecting, black people, black talent, and black lives through empowering each community through activism for the pursuit of justice and equality for the betterment of all humanity. https://www.playbill.com/person/natasha-yvette-williams-vault-0000049984 https://youtu.be/n3WofaDXRcM https://youtu.be/puF-5J94vgk https://www.instagram.com/natashayvettewilliams https://www.facebook.com/natasha.williams

Ashley Brown (IG:@ashleybrown9) TW:@ashleybrown9)(FB: @AshleyBrownonline)(ashleybrownonline.com) originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical”. Ms. Brown’s other Broadway credits include Belle in "The Beauty and The Beast", and she has starred in the national tour of Disney's "On The Record". Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma”.   She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago.   Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban.   Ashley made her solo concert debut at The Kennedy Center as part of Barbara Cook’s Spotlight Series, and has appeared in New York City at prestigious venues including Feinstein’s at the Regency and Birdland.  Other projects include a star turn at the La Jolla Playhouse in a production of “Limelight”,  “Sound of Music” at the St. Louis MUNY which garnered her a Kevin Kline award, and her own PBS special called “Ashley Brown: Call Me Irresponsible” which received a PBS Telly Award. Ms. Brown’s long awaited album of Broadway and American Songbook standards is available on Ghostlight/Sony. Ashley is a graduate of the Cincinnati Conservatory of Music.

Ashley Brown (IG:@ashleybrown9) TW:@ashleybrown9)(FB: @AshleyBrownonline)(ashleybrownonline.com) originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical”. Ms. Brown’s other Broadway credits include Belle in "The Beauty and The Beast", and she has starred in the national tour of Disney's "On The Record". Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma”.   She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago.   Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban.   Ashley made her solo concert debut at The Kennedy Center as part of Barbara Cook’s Spotlight Series, and has appeared in New York City at prestigious venues including Feinstein’s at the Regency and Birdland.  Other projects include a star turn at the La Jolla Playhouse in a production of “Limelight”,  “Sound of Music” at the St. Louis MUNY which garnered her a Kevin Kline award, and her own PBS special called “Ashley Brown: Call Me Irresponsible” which received a PBS Telly Award. Ms. Brown’s long awaited album of Broadway and American Songbook standards is available on Ghostlight/Sony. Ashley is a graduate of the Cincinnati Conservatory of Music.

Episode 25 with Tim Adams Tim Adams should need little to no introduction...he’s a veteran orchestral percussionist and educator, being chair of the percussion department. Prior to this position, Tim was timpanist and/or percussionists with the Pittsburgh Symphony, Indianapolis Symphony, Florida Philharmonic, Canton Symphony and Cleveland Orchestra. Tim is also highly regarded as a mentor to countless musicians and percussionists he’s come in contact with over the years. This conversation centers on his influence on the percussion world and his latest project Music 8:46, taking shape in response to the killing of George Floyd this past Summer. - - - - Black Swamp Virtual Exhibit: https://bit.ly/Virtual-Exhibit - - - - Connect with Tim https://www.music.uga.edu/directory/people/timothy-k-adams-jr - - - - Get Social with Black Swamp: Newsletter: http://bit.ly/BSPFam BSP Fam: https://www.facebook.com/groups/BSPFam/ Facebook: https://www.facebook.com/blackswampperc/ Instagram: https://www.instagram.com/blackswamppercussion/ Twitter: https://twitter.com/blackswamp

Episode 16:   Katie McGuinness, Director of Artistic Planning with the Indianapolis Symphony shares the behind the curtains secrets of what it is like to program an entire season for an orchestra. As a former pianist, Katie brings her wealth of musical knowledge and talents to the Indianapolis Symphony and uses it to navigate the challenging and daunting tasks of programming concerts, hiring conductors, and maintaing the artistic integrity of a major symphony orchestra. I know our listeners will really enjoy her fascinating insights!

As far as housewarming gifts go, a nice bottle of champagne is common, or maybe a bouquet of flowers. But if you’re a composer, and the occasion is the ceremonial opening performance at a new concert hall, you write a celebratory piece of music. On today’s date in 1984, for the inaugural concert of the Indianapolis Symphony’s new home, the Circle Theater, American composer Ellen Taaffe Zwilich wrote an orchestral work entitled, appropriately enough, “Celebration.” “In writing this work,” said Zwilich, “I was motivated by three complementary goals. First, I wanted to celebrate a joyous and historic occasion with all its inspiring symbolism of beginning and renewal. My second goal was to write a kind of “toccata” or test piece for the new Circle Theater. Finally, I wanted to celebrate the orchestra itself, which is, after all, the centerpiece of the occasion. Thus ‘Celebration’ is like a mini-concerto for orchestra.” Zwilich’s housewarming gift was dedicated to the Indianapolis Symphony’s music director in 1984, conductor John Nelson. Despite its origins as an occasional piece for a particular event, “Celebration” has gone to become one of Zwilich’s most popular and frequently performed orchestral works.

As far as housewarming gifts go, a nice bottle of champagne is common, or maybe a bouquet of flowers. But if you’re a composer, and the occasion is the ceremonial opening performance at a new concert hall, you write a celebratory piece of music. On today’s date in 1984, for the inaugural concert of the Indianapolis Symphony’s new home, the Circle Theater, American composer Ellen Taaffe Zwilich wrote an orchestral work entitled, appropriately enough, “Celebration.” “In writing this work,” said Zwilich, “I was motivated by three complementary goals. First, I wanted to celebrate a joyous and historic occasion with all its inspiring symbolism of beginning and renewal. My second goal was to write a kind of “toccata” or test piece for the new Circle Theater. Finally, I wanted to celebrate the orchestra itself, which is, after all, the centerpiece of the occasion. Thus ‘Celebration’ is like a mini-concerto for orchestra.” Zwilich’s housewarming gift was dedicated to the Indianapolis Symphony’s music director in 1984, conductor John Nelson. Despite its origins as an occasional piece for a particular event, “Celebration” has gone to become one of Zwilich’s most popular and frequently performed orchestral works.

In a new series, we discuss how to listen to some of the most important musical instruments that might appear in a classical concert. Today we start with the violin, the highest string instrument, which boasts some of the most popular concertos and sonatas in the repertoire. We're joined by Kevin Lin, Concertmaster of the Indianapolis Symphony, to chat about this amazing instrument! www.attentiontodetailpod.com If you enjoy the show, remember to rate, review, and subscribe!

Consider, if you will, the poor timpanist. At most symphony concerts, they sit quietly—waiting for the moment when a dramatic exclamation point is required from the kettledrums. While the violinists rarely get a break, the timpanist must sit patiently for most of the evening, biding their time, waiting for the precise moments to strike. On rare occasions, however, the timpanist is the CENTER of attention as soloist in a timpani concerto. One such concerto was written by an American composer, William Kraft, who was born on this day in 1923. Kraft was a timpanist himself. In fact, Kraft served as a percussionist and timpanist with the Los Angeles Philharmonic for 26 years, from 1955-1981. He was that orchestra’s first composer-in-residence, and founded the LA Philharmonic’s first New Music Group. William Kraft’s “Timpani Concerto” was written in 1983 for timpanist Thomas Akins of the Indianapolis Symphony, who premiered the work with that orchestra in 1984. Kraft’s own description of his Timpani Concerto is as follows, "The first movement is very jazzy … the second movement is very beautiful, with two string orchestras and a lot of glissandi, and the third is hell-bent for leather."

Consider, if you will, the poor timpanist. At most symphony concerts, they sit quietly—waiting for the moment when a dramatic exclamation point is required from the kettledrums. While the violinists rarely get a break, the timpanist must sit patiently for most of the evening, biding their time, waiting for the precise moments to strike. On rare occasions, however, the timpanist is the CENTER of attention as soloist in a timpani concerto. One such concerto was written by an American composer, William Kraft, who was born on this day in 1923. Kraft was a timpanist himself. In fact, Kraft served as a percussionist and timpanist with the Los Angeles Philharmonic for 26 years, from 1955-1981. He was that orchestra’s first composer-in-residence, and founded the LA Philharmonic’s first New Music Group. William Kraft’s “Timpani Concerto” was written in 1983 for timpanist Thomas Akins of the Indianapolis Symphony, who premiered the work with that orchestra in 1984. Kraft’s own description of his Timpani Concerto is as follows, "The first movement is very jazzy … the second movement is very beautiful, with two string orchestras and a lot of glissandi, and the third is hell-bent for leather."

Violinist Alexi Kenney has been called, "a talent to watch" by The New York Times and is the definition of a multi-faceted and whole musician. He has appeared as a soloist with orchestras all over the world, including the Indianapolis Symphony, Detroit Symphony, St. Paul Chamber Orchestra, and the Lausanne Chamber Orchestra in Switzerland. He has served as guest concertmaster of Pittsburgh Symphony and Mahler Chamber Orchestra and has participated as a chamber musician in festivals such as Marlboro, Yellow Barn, and Ravinia. Alexi and I discuss the question: What does classical music have to offer the modern world? We dive into what life skills we gleaned from our early music training, the conservatism of arts organization, if music schools prepare students for a career in music, and the meaning of tradition. You can find out more about Alexi at his website, alexikenney.com, or on Instagram @alexikenney.

Thomas Hooten is Principal Trumpet of the Los Angeles Philharmonic Orchestra. Hooten began his career in 2000 with a trumpet/cornet position in “The President’s Own” United States Marine Band in Washington, D.C., where he was often a featured soloist. He went on to join the Indianapolis Symphony as Assistant Principal Trumpet in 2004, the Atlanta Symphony Orchestra as Principal Trumpet in 2006, and the LA Philharmonic in 2012. He released Trumpet Call, his first solo album, in 2011. In 2019, he recorded John Williams’ Concerto for Trumpet and Orchestra, which was conducted by the composer. Hooten is on the faculty at the University of Southern California where he and his wife, Jennifer Marotta, teach the trumpet studio. A native of Tampa, Florida, he earned his Bachelor of Music degree from the University of South Florida and his Master of Music degree from Rice University. His primary trumpet teachers have included Armando Ghitalla, John Hagstrom, and Don Owen. Learn more about Tom Hooten at www.tomhooten.com. The show notes for this episode can be found at bobreeves.com/73. 

Maestro Roger Nierenberg made his New York conducting debut at Avery Fisher with the Pro Arte Chorale and Orchestra. He was soon invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center. Thereafter followed long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, the Saint Louis Symphony, the Baltimore Symphony, the Indianapolis Symphony, the San Diego Symphony, and many other great American orchestras. Abroad he has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He has collaborated with many of the most renowned solo artists and composers of our time.  During his tenure with the Jacksonville Symphony, the seeds were planted that would lead Maestro Nierenberg to a startling departure from the conventional, through the unparalleled creation of The Music Paradigm. Through his experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. He quickly realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, which has taken Mr. Nierenberg to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening which was honored in 2009 as the Best Leadership Book from 800-CEO-READ.  Roger Nierenberg makes his home in New York City and has two children, a son who is a professional pilot and a daughter who is studying French horn. Connect with Roger Nierenberg Website: https://www.musicparadigm.com/ Twitter: https://twitter.com/rogernierenberg Facebook: https://www.facebook.com/themusicparadigm LinkedIn: https://www.linkedin.com/in/rogernierenberg/   Connect with Jon Dwoskin: Website: http://jondwoskin.com/ Twitter: @jdwoskin Facebook: https://www.facebook.com/jonathan.dwoskin Instagram: https://www.instagram.com/Thejondwoskinexperience/ LinkedIn: https://www.linkedin.com/in/jondwoskin/ Email: jon@jondwoskin.com  

In this episode, international soloist Stefan Jackiw talks to us about his journey overcoming a serious injury.  He tells us how he got injured, the steps he took to heal, the mental impact it had on him, and how he stays injury free. He also elaborates on: What his musicology studies brought to his playing What collaborating with other musicians mean to him Establishing strong fundamentals on the instrument How he maximizes his practice time His injury story: How it happened Facing the stigma attached to being an injured musician The mental impact it had on him and the new mindsets he developed as a result The reflection he did, the changes he implemented and how he overcame it How he modified his setup and technique as a result How he remains injury free The very important concept of surrendering in practicing How our level of stress and the amount of pressure we tolerate affects our playing How to plan practice     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we're currently discussing The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT STEFAN JACKIW: Website: https://stefanjackiw.com/ YouTube: https://www.youtube.com/results?search_query=stefan+jackiw Instagram: https://www.instagram.com/stefanjackiwviolin/ Facebook: https://www.facebook.com/StefanJackiw/   Stefan Jackiw is one of America's foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold's Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin.  Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more. Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev's Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra play-directing Mendelssohn. He also gave the world premiere of American composer David Fulmer's Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston's Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields. Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York's Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam's Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. At the opening night of Carnegie Hall's Zankel Hall in New York, Jackiw was the only young artist invited to perform, playing alongside such artists as Emanuel Ax, Renée Fleming, Evgeny Kissin, and James Levine. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.     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. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     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 fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Heather Hoefle is a composer and longtime band director in the Chicagoland area. After years of arranging and rewriting music for her students, she recently began writing her own music, and has had terrific success with pieces published by RWS Music and Kjos Music. Topics: Heather’s teaching job in the suburbs of Chicago, her musical background growing up in the Indianapolis area, and the story of two influential teachers. What her first year teaching at seven different school each week taught Heather about the importance of school culture and the story of some of her other early teaching gigs. The importance of being authentic as a teacher. The story of how Heather got a late start as a composer, her recent success, and the people she turns to for critical advice during the creative process. Biography Heather Archer Hoefle is a native of Indianapolis, Indiana. She is a graduate of Indiana University in Bloomington, Indiana with degrees in Flute Performance and Audio Technology. She earned her educational certification from DePaul University in Chicago, Illinois and earned a Master of Music from VanderCook College of Music in Chicago, Illinois. Growing up in Indianapolis, she studied flute with Philip Sample and Rebecca Price of the Indianapolis Symphony. At Indiana University in Bloomington, she was a student of renown flute soloist Carol Wincenc. In addition to the orchestras at IU, she also performed with the Indianapolis Symphony. In 2000 she founded and became principal flutist in the Tudor Winds Wind Quintet, which performs professionally in the Chicago area. As a public school teacher, Mrs. Hoefle has successfully taught band at grades 5-12. Finding her love of teaching beginners, she started composing and arranging for her bands. As a current teacher, Ms. Hoefle has a firm grasp of the development of the beginning band student, and her compositions reflect the needs and wants of these students. She currently teaches at Flossmoor School District 161 in Illinois. Links: Heather Hoefle Hoefle: Red Sky at Morning Hoefle: Alpha Dog Shostakovich: Symphony No. 5 in D Minor, IV Giroux: One Life Beautiful ---- I am thrilled to announce a new partnership between the Everything Band podcast and Kaleidoscope Adventures, a full service tour company specializing in student group travel. With a former educator as its CEO, Kaleidoscope Adventures is dedicated to changing student lives through travel to over 40 destinations. They offer high quality service and an attention to detail that comes from more than 25 years of student travel experience. Trust Kaleidoscope’s outstanding staff to focus on your group’s one-of-a-kind adventure, so that you can focus on everything else!  

Mark Maliniak joined the Atlanta Symphony Orchestra as Fourth/Utility Trumpet in September 2018. Mr. Maliniak has toured both nationally and internationally with The Cleveland Orchestra, The Philadelphia Orchestra, San Francisco Symphony, Indianapolis Symphony, and Buffalo Philharmonic. He has appeared regularly as guest principal trumpet with the Detroit Symphony, Jacksonville Symphony, Malaysian Philharmonic, and Tucson Symphony, where he was also a featured soloist. Mr. Maliniak has also performed with the Kansas City Symphony, New World Symphony, Pittsburgh Symphony, Rochester Philharmonic, and Utah Symphony and has recorded with the Buffalo Philharmonic, Detroit Symphony and Utah Symphony.A native of Cleveland, Ohio, Mr. Maliniak received a Bachelor of Music degree from the Baldwin-Wallace University Conservatory of Music as a student of Jack Sutte and a Master of Music degree from the Cleveland Institute of Music as a student of Michael Sachs. He has had additional studies with Jack Brndiar, Michael Miller, and Lyle Steelman. Mr. Maliniak has attended the Music Academy of the West, Pacific Music Festival, Verbier Festival and Tanglewood Music Center, where he was the recipient of the Roger Voisin Trumpet Award. Mark Maliniak is a Conn-Selmer Performing Artist.Jaclyn Rainey was appointed Associate Principal horn of the Los Angeles Philharmonic in 2018. Prior to her appointment Ms. Rainey served as Third horn with the Atlanta Symphony for four seasons, Acting Principal horn with the Naples Philharmonic as well as Associate Principal horn with the Louisiana Philharmonic. Rainey, a Louisville, KY native, has performed with the Boston Symphony Orchestra, Buffalo Philharmonic, Cincinnati Symphony, Kansas City Symphony, Louisville Orchestra, Milwaukee Symphony, San Antonio Symphony, Sarasota Orchestra and spent two summers as a fellow at the Tanglewood Music Center. Rainey was a winner of the MTNA Senior Brass Solo Competition. During the summer of 2015 Ms. Rainey joined the Boston Symphony Orchestra in Carnegie Hall and on their European Tour. Ms. Rainey has also served on the faculties of Georgia State University and Emory University.She received her undergraduate degree in horn performance from the Eastman School of Music, followed by a masters degree at the New England Conservatory of Music. She has studied with W. Peter Kurau, Richard Sebring and James Sommerville.Support the show (https://thatsnotspit.com/support/)

Teddy Abrams is a widely acclaimed conductor, as well as an established pianist, clarinetist, & composer.  As Music Director of the Louisville Orchestra & Music Director & Conductor of the Britt Classical Festival, Teddy also served as Resident Conductor of the MAV Symphony Orchestra in Budapest, which he first conducted in 2011. A tireless advocate for the power of music, he continues to foster interdisciplinary collaboration with organizations including the Louisville Ballet, the Center for Interfaith Relations, Oregon Shakespeare Festival, the Speed Art Museum, & the Folger Shakespeare Library. His extensive community outreach continues to reach new audiences & bring classical music into increasingly diverse communities. Teddy’s previous seasons have included debuts at the Kennedy Center & with Colorado, North Carolina, & New Jersey Symphonies, as well as a return to the New World Symphony. Recent guest conducting highlights include engagements with the San Francisco, Houston, Vancouver, Phoenix, & Jacksonville Symphonies; Florida Orchestra; & Louisiana and New Mexico Philharmonics. He has enjoyed a longstanding relationship with the Indianapolis Symphony, & recently conducted them with Time for 3 for a special recording for PBS. Prior to these stints, he served as Assistant Conductor of the Detroit Symphony from 2012-2014. From 2008 to 2011 Teddy was the Conducting Fellow & Assistant Conductor of the New World Symphony (NWS) & conducted many performances, including subscription concerts & numerous other full & chamber orchestra events. He has conducted the NWS in Miami Beach, Washington, D.C. & at Carnegie Hall, with a recent return to conduct the NWS on subscription with Joshua Bell as soloist. An accomplished pianist & clarinetist, Teddy has appeared as a soloist with a # of orchestras—including play-conducting the Ravel Piano Concerto with the Jacksonville Symphony in Fall 2013—& has performed chamber music with the St. Petersburg String Quartet, Menahem Pressler, Gilbert Kalish, Time for Three, & John Adams, in addition to annual appearances at the Olympic Music Festival. Dedicated to exploring new & engaging ways to communicate with a diverse range of audiences, Teddy co-founded the 6h Floor Trio in 2008. Together, they founded & direct GardenMusic, the music festival of the world-renowned Fairchild Tropical Garden in Miami; they continue to tour regularly throughout the U.S. Teddy studied conducting with Michael Tilson Thomas, Otto-Werner Mueller and Ford Lallerstedt at the Curtis Inst. of Music, & with David Zinman at the Aspen Music Festival; he was the youngest conducting student ever accepted at BOTH institutions! He is also an award-winning composer & a passionate educator – he has taught at numerous schools throughout the USA. His 2009 Education Concerts with the New World Symphony (featuring the world premiere of one of Teddy’s own orchestral works) were webcast to 100’s of schools throughout South Florida. Teddy performed as a keyboardist with the Philadelphia Orchestra, won the 2007 Aspen Composition Contest, and was the Assistant Conductor of the YouTube Symphony at Carnegie Hall in 2009.  He has held residencies at the La Mortella music festival in Ischia, Italy & at the American Academy in Berlin.  He was a proud member of the San Francisco Symphony Youth Orchestra for 7 seasons, & graduated from the San Francisco Conservatory of Music with a Bachelor of Music, having studied piano with Paul Hersh.

Maestro Roger Nierenberg enjoyed long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, the Saint Louis Symphony, the Baltimore Symphony, the Indianapolis Symphony, the San Diego Symphony, and many other great American orchestras. Abroad he has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He has collaborated with many of the most renowned solo artists and composers of our time. During his tenure with the Jacksonville Symphony, the seeds were planted that would lead Maestro Nierenberg to a startling departure from the conventional, through the unparalleled creation of The Music Paradigm. Through his experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. He quickly realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, which has taken Mr. Nierenberg to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening which was honored in 2009 as the Best Leadership Book from 800-CEO-READ.

Maestro Roger Nierenberg enjoyed long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, the Saint Louis Symphony, the Baltimore Symphony, the Indianapolis Symphony, the San Diego Symphony, and many other great American orchestras. Abroad he has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He has collaborated with many of the most renowned solo artists and composers of our time. During his tenure with the Jacksonville Symphony, the seeds were planted that would lead Maestro Nierenberg to a startling departure from the conventional, through the unparalleled creation of The Music Paradigm. Through his experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. He quickly realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, which has taken Mr. Nierenberg to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening which was honored in 2009 as the Best Leadership Book from 800-CEO-READ.

Blake Schlabach – recorded at the University of Indianapolis May 20, 2019 Blake may be the definition of Over-Achiever. He is the contract 2nd trombone of the Indianapolis Symphony, but he has been acting Principal during the search for the new 1st bone. And, he is the personnel manager for the ISO. He also teaches at UIndy and fills in for IU prof when they go on sabbatical. Great guy. Great player. Great interview.

In this episode I discuss the various lessons I learned from my experience not getting tenure in Indianapolis. Without going into detail, the lessons are:1) When I receive feedback, I should make sure I understand2) Goals are just goals3) You're more than meets the eye4) Life is what happens when you're busy making other plans5) When you're going through hell, keep on goingHopefully these lessons I learned can help encourage people at all stages of their career.Support the show (https://thatsnotspit.com/support/)

Maestro Roger Nierenberg is an orchestral conductor, leadership consultant, and founder of The Music Paradigm. He made his New York conducting debut at Avery Fisher with the Pro Arte Chorale and Orchestra. He was soon invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York’s Lincoln Center, followed by long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, the Saint Louis Symphony, the Baltimore Symphony, the Indianapolis Symphony, the San Diego Symphony, and many other great American orchestras. Abroad Roger has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He has collaborated with many of the most renowned solo artists and composers of our time. During his tenure with the Jacksonville Symphony, the seeds were planted that would lead Maestro Nierenberg to a startling departure from the conventional, through the unparalleled creation of The Music Paradigm. Through his experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. He quickly realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, which has taken Mr. Nierenberg to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening which was honored in 2009 as the Best Leadership Book from 800-CEO-READ. In today’s conversation, Maestro Roger Nierenberg, guides us on a tour of the Music Paradigm; how he is able to reveal valuable insights to business leaders through music. It’s a different kind of learning that is not only highly effective, but also almost instantaneous, such that participants are able to recognize distinctions in leadership and self-awareness within minutes. He is passionate about helping leaders see the impact they have on people without judgment or being singled out. The music paradigm is truly a revolutionary way to empower leaders and their teams to greatness. Key Takeaways Music converts behavior into results almost instantaneously. So you can try on one behavior and immediately you hear the result. As a leader, if you feel like your job is to fix things when they go wrong or solve problems when they come up, you will never draw out the best in your people. Only a leader that sees what the potential could be and drives the organization towards that success will bring that about. Really deep insights about organizational leadership in a way transcend the ability to ‘talk’ about it. Even ‘real life’ unfolds too slowly, whereas music allows one to experience it almost instantaneously. The more the musicians in the orchestra gain insights about themselves, the better they play. The business leaders get to see it first hand and then relate it to their own organization. It’s not that people in organizations don’t want to change; they can’t visualize it or imagine what that is like. Similarly, often the state that we’re trying to move to, we just can’t imagine it yet. Skepticism is often unconscious – that you could actually create something that you’ve never experienced or visualized before. Business organizations don’t routinely practice the way athletes or musicians do. Leadership is hard to practice and therefore hard to learn as a skill. So leaders are often completely unaware of the effect they’re having on their people. Resources Book: Maestro: A Surprising Story About Leading by Listening Blogs, Videos & Event Calendar: http://www.musicparadigm.com Connect With Roger Nierenberg Website: http://www.musicparadigm.com Linkedin: https://www.linkedin.com/in/rogernierenberg

My guest today is Brent Frederick. Brent is a music director, pianist, arranger, and conductor. Brent appreciates and invests in all of his freelance music projects, valuing the need to be versatile, live by the golden rule, while continually evolving. From Busch Gardens, to cruise ships, Broadway national tours, to Broadway shows, cabarets, churches, to concert halls, Brent has brought integrity and humility to his work. He did a beautiful job with the arrangements for his wife, Jacqueline Petroccia’s recent album “Champagne and Moonshine” - Jackie was a recent podcast guest of mine, you can hear her story on episode #61. In between playing piano and/or conducting Broadway shows, Brent enjoys conducting a NYC chorus called Art Mob, that performs in various art galleries. Their next performances are May 17, 18, and 19, 2019. As a father of a newborn, Brent admits the challenge and responsibility of raising a white son in an environment where we need to destroy patriarchy, misogyny and white supremacy. Brent wants to bring his son into the world with consciousness, sensitivity and compassion for other human beings. He is excited that NYC’s diversity will provide a representative world community for his son, Theo. Check out the links below for Brent’s website and find out when and where you can hear him perform and/or conduct a concert, along with all the music services he provides. You’ll see links to his wife Jackie’s website, the Art Mob chorus, as well as the Doo Wop Project that he fills in as musical director. In fact, Brent has orchestrated the song “Friends in Low Places” for a 60 piece orchestra that the Doo Wop Project will debut with the Indianapolis Symphony the weekend of May 17, 2019.  Enjoy the podcast! Links: brentfrederickmusic.com jacquelinepetroccia.com thedoowopproject.com artmob.org

Maestro Roger Nierenberg made his New York conducting debut at Avery Fisher with the Pro Arte Chorale and Orchestra. He was soon invited to conduct operas in two successive seasons at the Mostly Mozart Festival at New York's Lincoln Center. Thereafter followed long, successful tenures as Music Director of both the Stamford Symphony in Connecticut and the Jacksonville Symphony in Florida. Guest conducting invitations came from the National Symphony, the Opera Theatre of Saint Louis, the Detroit Symphony, the Saint Louis Symphony, the Baltimore Symphony, the Indianapolis Symphony, the San Diego Symphony, and many other great American orchestras. Abroad he has recorded with the London Philharmonic and conducted at both the Prague Spring Festival and the Beijing Festival. He has collaborated with many of the most renowned solo artists and composers of our time. During his tenure with the Jacksonville Symphony, the seeds were planted that would lead Maestro Nierenberg to a startling departure from the conventional, through the unparalleled creation of The Music Paradigm. Through his experiences engaging with community businesses and civic leaders, he became curious about the challenges and opportunities faced by organizations in times of rapid change. He quickly realized how crucial issues of organizational development could be powerfully brought to life within an orchestra. Thus was born The Music Paradigm, which has taken Mr. Nierenberg to the podium of over ninety different orchestras, before hundreds of different organizations in twenty-three different countries. Many of the lessons learned on this journey are presented in his book Maestro: A Surprising Story About Leading by Listening which was honored in 2009 as the Best Leadership Book from 800-CEO-READ. Roger Nierenberg makes his home in New York City and has two children, a son who is a professional pilot and a daughter who is studying French horn. Learn more about your ad choices. Visit https://megaphone.fm/adchoices (megaphone.fm/adchoices)

Joining the conversation on Cue To Cue today is Singer/Actor Patricia Phillips and current member of the Broadway cast of The Phantom Of The Opera! Patricia is sharing her wealth of knowledge from years of experience as a performer. She leaves nothing on the table in this episode as she opens up some of the most important and lessons and vulnerable moments that have transformed her on her artists journey. Let us know what resonated with you by posting your comments in the comments section below! We love to hear from you!   In this episode:   What advice she would give if you when you are recording a cast album How to keep your creativity fresh and you cup full as an artist when you have been playing in s show for a long time The importance of learning how to accept compliments as an artist The signs to look for that it might be time to move on to a new agent How practicing gratitude has become a pillar of strength and happiness for her as an artist A little about Patricia:   Patricia is thrilled and honored to be the first African American woman to play the Tony Award-winning role of Carlotta in the longest running show on Broadway, THE PHANTOM OF THE OPERA.  I appeared in the Tony Award-winning Broadway production of KINKY BOOTS with Billy Porter and Wayne Brady and with Emma Thompson, Bryn Terfel, and Audra McDonald in the Emmy Award-winning Live at Lincoln Center production of SWEENEY TODD.  Other Broadway credits include the Tony Award-winning productions of LA BOHÈME, THE SECRET GARDEN and THE SOUND OF MUSIC and I can be heard on all three original cast recordings on DreamWorks, Columbia, and RCA Victor.  Other New York Credits include JERRY SPRINGER THE OPERA with Harvey Keitel at Carnegie Hall, LOST IN THE STARS at City Center’s Encores!.  Regionally I have played Medda in NEWSIES and Abuela in IN THE HEIGHTS. Television credits include THE TONY AWARDS, THE SOPRANOS, ONE LIFE TO LIVE and Film:  EVERYBODY’S FINE with Robert DeNiro. My concert work includes performances with The Pittsburgh Symphony, The Baltimore Symphony Orchestra, The Minnesota Orchestra, The Indianapolis Symphony, The Bay Area Symphony, The Sioux City Symphony, The River City Brass Band, and The Virginia Symphony.  I consider my son, David, my finest production to date.   Follow Patricia! www.PatriciaPhillips.com Instagram: @thepatriciaphillipsofficial   Stay Connected with the Show! Instagram: @thisischelseajohnson Facebook: @thisischelseajohnson Twitter: @thisischelseaj

Some people were just born to do what they do, and Hugh Fink was born to be funny. Or was he born to play the violin? Because even though comedy has set the course of Hugh's life, he has performed violin solos to a packed Carnegie Hall, something I can't boast about! Hugh is one of a very few comics who has been able to fuse his musical life with his stage persona, much like the late great Jack Benny, whose violin I'm fortunate to play. Ever since he was a child, Hugh loved getting up in front of people and performing, no matter what form it took. Eventually, he discovered that not only could he create material for himself, but he had a talent for writing material that would suit any number of other talented performers! And that was the key that unlocked doors throughout show business, most notably at Saturday Night Live, where Hugh enjoyed a seven-year tenure and wrote more opening monologues than any other SNL writer. Hugh and I talk about growing up alongside Joshua Bell (and later using him in a wicked stage act with Tracy Morgan), how stand-up relates to musical performance, and how TV shows get made. Of course I also sit back and listen to behind-the-scenes tales from SNL! Transcript Nathan Cole: Hi and welcome back to Stand Partners for Life. This is Nathan Cole and today with me, really excited to have as my guest, Hugh Fink, comic, writer, violinist. He's been gracious enough to join me here at Disney Hall for a change.  Welcome to Stand Partners For Life, Hugh. Hugh Fink: Thank you. It's great to be here, Nathan, instead of taping a podcast at a smoke filled comedy club, to be in a classy concert hall. I like it. Nathan Cole: We try to keep it classy here at Disney most of the time. Well, we can just jump right into that. I mean, you've spent so much of your life in those clubs performing, writing, but what's not usual for a comic is that you have a serious history as a violinist. We were talking about that just a bit ago, you and I, but give us the quick version of your violin life, because that was either came before or maybe concurrently with your life in comedy. Hugh Fink: Sure. My parents were classical music lovers. My dad was the Attorney for the Indianapolis Symphony, the Musicians Union. As a very young kid I would be taken to these concerts at the orchestra and I loved it. I guess I told my parents at age four or five that I wanted to study violin. They were not so sure about that because they knew it was a tough instrument. They already owned a piano, but they were friends with the concertmaster of the Indianapolis Symphony at the time, Eric Rosenblith. He had known a little about this new Suzuki method, although he was not a proponent of it at all because he was like a pupil of Carl Flesch or some of these old- Nathan Cole: Old school. Hugh Fink: He was super old school, but he wasn't sure how to tell my parents to start off a five year old with lessons. He wasn't going to do it. There was a Suzuki teacher, one in Indianapolis, and that's who I studied with. Nathan Cole: This would have been not so long I bet, after the method really took hold in the U.S. because I started Suzuki and that was early 80's. Hugh Fink: You are right. I started in the late '60s. I ended up studying Suzuki for eight years, and going to the Suzuki Summer Institute at the University of Wisconsin Stevens Point. Nathan Cole: Stevens Point. Okay. Hugh Fink: Right. Shinichi came. Nathan Cole: Wow. Hugh Fink: Yes. I actually was part of the generation where I got to see him live. Nathan Cole: Well, that's extraordinary. Hugh Fink: It was extraordinary. I didn't have much interaction with him, but I remember, I think he was chain smoking and he looked like a ripe old age and very Buddha-esque just this is why He didn't speak much English either, but that was a great experience. I think what it taught me, Nathan, was beyond the violin part, to meet other young violinists who are just normal kids. It was a camp,

Some people were just born to do what they do, and Hugh Fink was born to be funny. Or was he born to play the violin? Because even though comedy has set the course of Hugh’s life, he has performed violin solos to a packed Carnegie Hall, something I can’t boast about! Hugh is one of a very few comics who has been able to fuse his musical life with his stage persona, much like the late great Jack Benny, whose violin I’m fortunate to play. Ever since he was a child, Hugh loved getting up in front of people and performing, no matter what form it took. Eventually, he discovered that not only could he create material for himself, but he had a talent for writing material that would suit any number of other talented performers! And that was the key that unlocked doors throughout show business, most notably at Saturday Night Live, where Hugh enjoyed a seven-year tenure and wrote more opening monologues than any other SNL writer. Hugh and I talk about growing up alongside Joshua Bell (and later using him in a wicked stage act with Tracy Morgan), how stand-up relates to musical performance, and how TV shows get made. Of course I also sit back and listen to behind-the-scenes tales from SNL! Transcript Nathan Cole: Hi and welcome back to Stand Partners for Life. This is Nathan Cole and today with me, really excited to have as my guest, Hugh Fink, comic, writer, violinist. He’s been gracious enough to join me here at Disney Hall for a change.  Welcome to Stand Partners For Life, Hugh. Hugh Fink: Thank you. It’s great to be here, Nathan, instead of taping a podcast at a smoke filled comedy club, to be in a classy concert hall. I like it. Nathan Cole: We try to keep it classy here at Disney most of the time. Well, we can just jump right into that. I mean, you’ve spent so much of your life in those clubs performing, writing, but what’s not usual for a comic is that you have a serious history as a violinist. We were talking about that just a bit ago, you and I, but give us the quick version of your violin life, because that was either came before or maybe concurrently with your life in comedy. Hugh Fink: Sure. My parents were classical music lovers. My dad was the Attorney for the Indianapolis Symphony, the Musicians Union. As a very young kid I would be taken to these concerts at the orchestra and I loved it. I guess I told my parents at age four or five that I wanted to study violin. They were not so sure about that because they knew it was a tough instrument. They already owned a piano, but they were friends with the concertmaster of the Indianapolis Symphony at the time, Eric Rosenblith. He had known a little about this new Suzuki method, although he was not a proponent of it at all because he was like a pupil of Carl Flesch or some of these old- Nathan Cole: Old school. Hugh Fink: He was super old school, but he wasn’t sure how to tell my parents to start off a five year old with lessons. He wasn’t going to do it. There was a Suzuki teacher, one in Indianapolis, and that’s who I studied with. Nathan Cole: This would have been not so long I bet, after the method really took hold in the U.S. because I started Suzuki and that was early 80’s. Hugh Fink: You are right. I started in the late ’60s. I ended up studying Suzuki for eight years, and going to the Suzuki Summer Institute at the University of Wisconsin Stevens Point. Nathan Cole: Stevens Point. Okay. Hugh Fink: Right. Shinichi came. Nathan Cole: Wow. Hugh Fink: Yes. I actually was part of the generation where I got to see him live. Nathan Cole: Well, that’s extraordinary. Hugh Fink: It was extraordinary. I didn’t have much interaction with him, but I remember, I think he was chain smoking and he looked like a ripe old age and very Buddha-esque just this is why He didn’t speak much English either, but that was a great experience. I think what it taught me, Nathan, was beyond the violin part, to meet other young violinists who are just normal kids. It was a camp,

Episode 52: "Keep the phrase going" - a conversation with Charles Daval Trumpet player Charles Daval has held positions in some of North America’s most prestigious orchestras including the Boston Symphony, the Cincinnati Symphony and the Seattle Symphony. His principal appointments have included the Boston Pops and the Solo Trumpet position of the Montreal Symphony Orchestra. In 1993, Mr. Daval was appointed Professor of Trumpet at the University of Michigan. Mr. Daval moved to Pittsburgh in 1998 to enable his wife to accept the Principal Second Violin position in the Pittsburgh Symphony Orchestra. Since the move he has been appointed Principal Trumpet of the Pittsburgh Opera and Pittsburgh Ballet Theater Orchestras and continues to maintain an active teaching and performing schedule. In the spring of 2008, Mr. Daval fulfilled a lifelong dream when he received the degree of Juris Doctor (Cum Laude) from the Duquesne University Law School, where he enrolled in the fall semester 2004. As a law student, Mr. Daval worked to secure benefits for Veterans and their families through his participation in the Duquesne University Veteran’s Benefits Clinic in 2006-07, and he participated in the Civil Rights Litigation Clinic at Duquesne University’s Center for the Bill of Rights. After passing the bar examination in the summer of 2008, Mr. Daval was admitted by the State Supreme Court to the bar of the Commonwealth of Pennsylvania. In the winter of 2009 he passed bar exams in Colorado and Wyoming, and is admitted to the bars of both states. Highlights from his performing career include appearances on PBS broadcasts of “Evening at Pops” with conductor – composer John Williams and the Boston Pops from 1984 to 1988. In 1986, he was featured on Maryland Public Television’s “Live from Wolftrap” as cornet soloist with Keith Brion’s “New Sousa Band.” Additional appearances as soloist include concerts with the Boston Pops, the Cincinnati Pops, the Toronto Symphony, the Rochester Philharmonic, the Detroit Symphony, the Indianapolis Symphony, the Naples Philharmonic, the Seattle Symphony, and the Carmel Bach Festival. After receiving a Bachelor of Arts degree from San Jose State University, Mr. Daval went on to study with Vincent Cichowicz at Northwestern University where he earned his Masters Degree and was elected to the Pi Kappa Lambda music honor society. While in Chicago, he also performed with the Chicago Civic Orchestra and studied with Principal Trumpet of the Chicago Symphony, Adolph Herseth. The trumpet playing of Charles Daval has been met with much critical acclaim. The San Francisco Chronicle called him “downright sensational”, and the Seattle Post-Intelligencer praised his “musical finesse and technical polish”. His performances on the piccolo trumpet at the Carmel Bach Festival hailed this response from the Monterey Peninsula Herald; “Daval’s sound is all that can be asked of the Baroque trumpeter: He is polished, accurate, and articulate.” And the San Francisco Examiner says; “He made every note a personal treasure.” Email: cdaval@illinois.edu    

Steven Hackman is one of the most exciting hybrid classical and pop artists on the scene today. Steve has worked extensively with the hit classical crossover group, Time for Three, writing several of their unique arrangements, and is currently the Creative Director of FUSE at the Pittsburgh Symphony Orchestra, Music Director of the 'Mash-Up' series at the Colorado Music Festival, and founder and creative director of his own music brand :STEREO HIDEOUT: I first met Steve as a young conducting student at the esteemed Curtis Institute of Music, studying under the legendary maestro Otto Werner-Mueller. But while he was pursuing serious classical music studies, he had a secret passion. One day, I happened to be walking by some of the basement practice rooms, and heard the most amazing pop piano and vocals coming out from one of them. You guessed it - it was Steve, who has an amazing voice, and is an incredible pop songwriter in his own right. As a conductor, Steve went on to work with the Reading Symphony and the Indianapolis Symphony. As a pop songwriter and arranger, he continues to collaborate with Time for Three, has a second album of his own original hip hop music in the works, and even had a run on season 7 of American Idol, placing in the top 64 out of 150,000 contestants.  But what really got my attention was the amazing symphonic mashups he's been creating, blending pop and classical mediums in a way that's exciting new audiences everywhere.

Kison began voice lessons at the age of eight. She was selected as part of a Minnesota Grants project to become classically trained under the direction of soprano, Maria Williams-Kennedy at the Bel Canto Studio of Voice. Ms. Williams-Kennedy has performed in numerous roles with the Indiana University Opera Theater, Arizona Opera, Indianapolis Symphony and Metropolitan Theater of Opera in New York City. One day Ms. Williams-Kennedy put on an Etta James song and told Kison to sing along. “It came easy to me,” Kison said, “It's what I was supposed to be singing. It's what was in my soul. God put this music in me for a reason and day by day I am seeing the purpose."

Kison began voice lessons at the age of eight. She was selected as part of a Minnesota Grants project to become classically trained under the direction of soprano, Maria Williams-Kennedy at the Bel Canto Studio of Voice. Ms. Williams-Kennedy has performed in numerous roles with the Indiana University Opera Theater, Arizona Opera, Indianapolis Symphony and Metropolitan Theater of Opera in New York City. One day Ms. Williams-Kennedy put on an Etta James song and told Kison to sing along. “It came easy to me,” Kison said, “It's what I was supposed to be singing. It's what was in my soul. God put this music in me for a reason and day by day I am seeing the purpose."

Time for Three is made up of Violinists Nick Kendall and Nikki Chooi and Double Bassist Ranaan Meyer, and can probably be best described as a “classically trained garage band”. With an exciting mix of originals, covers and classical music with a capital 'T' “Twist”, these guys have electrified audiences around the world and were recently featured on a PBS special performing with the Indianapolis Symphony Orchestra. We're starting a special series of episodes that focus on entrepreneurial musicians who think way outside the box. I'm so excited to have Time for Three on the show to help me kick this off. I recently met up with Nick, Nikki, and Ranaan after one of their jam session rehearsals at The Curtis Institute of Music. Nikki Chooi, by the way, is the newest addition to Time for Three, having replaced co-founder Zach DePue, who is currently the concertmaster of the Indianapolis Symphony. Links Time For Three's Website: http://www.tf3.com/ Time For Three on PBS: http://www.tf3.com/#!national-pbs-broadcast/q0o1q  

Music in this podcast: Intro: Excerpt from Katyusha, Homage to D.Shostakivich - From the album Distant Voices by Frederich Chiu Interlude: Excerpt from Reflets dans l'eau (Reflections in the Water) - from the CD Distant Voices by Frederich Chiu Featured Piece: Sayyid Chant & Dance - Andante E Molto Cantabile Ed Espressivo - from the CD Hymns & Dervishes by Frederich Chiu Frederic Chiu's intriguing piano-playing and teaching springs from a diverse set of experiences and interests: his Asian/American/European background, his musical training, and an early and ongoing exploration of artificial intelligence and human psychology, especially the body-mind-heart connection. With over 20 CDs on the market, his repertoire includes the complete work of Prokofiev as well as popular classics of Chopin, Liszt and others, and lesser known masterpieces of Mendelssohn and Rossini, with a special place for the piano transcription. Many have been singled out, such as "Record of the Year" by Stereo Review, "Top 10 recordings" by the New Yorker, with raves from the Wall Street Journal and the New York Times. His most recent recordings demonstrate his wide range: Beethoven/Liszt Symphony V, Carnival of the Animals with David Gonzalez, and Hymns and Dervishes, music by Gurdjieff/de Hartmann. (hymnsanddervishescd.com) A new recording on the Yamaha Entertainment Group label, released in 2015, is a long-awaited recording of the music of Debussy, along with world premieres of work by Chinese composer Gao Ping. This recording breaks new ground, introducing the first Classical recording to the YEG catalogue. The performance will be released in Audio CD, DVD and DisklavierTV formats. Frederic Chiu has toured in Europe and the US with the Orchestre de Bretagne and Stefan Sanderling. He has played with the Hartford Symphony, Dayton Philharmonic, Kansas City Symphony, Indianapolis Symphony, BBC Scottish Symphony, BBC Concert Orchestra, Estonia National Symphony, China National Symphony, the FOSJE Orquesta in Ecuador, among others. In recital he performs in the world's most prestigious halls including the Berlin Philharmonic, Kioi and Suntory Halls in Tokyo, Lincoln Center in New York and Kennedy Center in Washington DC. Mr. Chiu's musical partners include Joshua Bell, Pierre Amoyal, Elmar Oliveira, Gary Hoffman, David Krakauer, Matt Haimovitz and the St. Lawrence, Shanghai and Daedalus string quartets. Frederic Chiu recently premiered Edgar Meyer's Concert Piece with Joshua Bell. He has worked with many composers, including George Crumb, Frederick Rzewsky, Bright Sheng, Gao Ping and David Benoit. He was the recipient of the Avery Fisher Career Grant, the Petscheck Award of the Juilliard School, and was a fellow of the American Pianist Association. He was also the "non-winner" of the 1993 Van Cliburn Competition, where his elimination from the finals caused an uproar in the press. Frederic Chiu is also committed to expanding the place of classical music. He has created unusual collaborations with personalities outside the world of Classical music, such as the Shakespearean actor Brian Bedford and psychologist/writer/clown Howard Buten. He worked with the hip-hop artist Socalled in the Messiaen Remix project. He does extensive work with children through concert/lectures for schools, and has brought classical music to places where it is rarely heard. Currently, he is performing with David Gonzalez in the classics Peter and the Wolf and Carnival of the Animals, transcribed for solo piano and narrator. He is also running a multi-year project called Classical Smackdown, in which audiences vote for their favorite composers (ClassicalSmackdown.com) Deeper Piano Studies, Frederic Chiu's innovative workshop program, brings together pianists from around the world to study aspects of piano playing usually left uncovered. Articles in Piano Today and the New York Times have featured his original approach to learning and performing that draws on ancient traditions of philosophy and meditation combined with the most recent discoveries in psychology and acoustic sciences, using non-traditional techniques such as cooking and learning without using the instrument. Frederic Chiu has been invited to many prestigious music schools and conservatories to present his DPS program, including the Juilliard School, New England Conservatory, Mannes College, The Banff Centre, Cornell University, Indiana University's Jacob Music School, and major conservatories in China: Beijing, Shanghai, Sichuan, Shenyand and Wuhan. He has been guest artist at many state and national Teachers' Conferences. After 12 years spent in France, Frederic Chiu returned to the United States, where any free time he can find is divided between writing, painting and cooking. He also co-directs artistic activities at Beechwood Arts, an arts immersion non-profit in Connecticut.

Today’s episode features Indianapolis Symphony principal bassist Ju-Fang Liu. We had a great conversation about growing up in Taiwan, her years studying at the Interlochen Arts Academy and at Indiana University with Lawrence Hurst and Bruce Bransby, her time in New World, teaching, playing jazz, studying bass overseas, and several other topics. We also feature excerpts from her wonderful solo album, which I highly recommend checking out—it really is bass playing at its finest. Enjoy! About Ju-Fang: Ju-Fang Liu was appointed Principal Bass of the Indianapolis Symphony Orchestra by Maestro Mario Venzago in 2003, shortly after receiving her bachelor and master's degrees in double bass performance from Indiana University. There she studied with notable bass pedagogues Bruce Bransby and Larry Hurst. In addition, she has worked with other internationally-known teachers such as Edwin Barker, Edger Meyer, Harold Robinson, Stuart Stankey, Lawrence Wolf and Tim Cobb. Ms. Liu’s musical interests encompass all aspects of musical performance. She was a repeat performer in the world-renowned Marlboro Music Festival working with the top chamber music professionals of our time as well as performing in the Aspen and Tanglewood Music Festivals. A sensitive and thoughtful performer, she is constantly in demand in Indianapolis’ various chamber music venues. Ju-Fang has been a finalist for the Boston Symphony as well as for the Atlanta Symphony Principal position in 2014, and has appeared with the Chicago Symphony. In addition, she has performed as co-principal with the New World Symphony. Her solo concerto performances have included the Bottesini, Koussevitzky and Tubin concerti, the latter performed under the baton of Maestro Venzago. She is also the first performer to win both the Solo and Orchestral Categories (Adult/Professional) of the International Society of Bassists competitions. Ju-Fang has always had a serious interest in teaching and pedagogy and has previously taught at DePauw University and Indiana University. She joined the faculty of the Butler University School of Music in Indianapolis in 2014. Ms. Liu has given master classes in Columbia, working with the Filarmónica Joven de Colombia and has been a guest artist at the Taipei National School of the Arts and the Beijing Central Conservatory and other conservatories in China and Taiwan, performing recitals and giving classes. Always seeking to improve her musical scope, Ju-Fang was awarded a Creative Renewal Grant from the Arts Council of Indianapolis and has added the electric bass and jazz study to her resume. Her solo cd is available at http://www.cdbaby.com/cd/JuFangLiu.

In this episode of the Nonprofit Leaders Network Podcast series we welcome Ellen Rosenthal of Conner Prairie, close to Indianapolis, Indiana. Conner Prairie has transformed from a very traditional outdoor history museum into a vibrant, busy family and educative destination, providing immersive learning about nature, technology, arts and crafts and the natural environment, all in a historical context. They are also the summer home of the Indianapolis Symphony. With visitations last year of just over 360,000 they are now one of the most visited outdoor history museums in the country. Here are some of the highlights from our talk: RETHINKING PURPOSE OPENS DOORS TO GREATER IMPACT We believed at Conner Prairie that we were educating visitors by spewing information at them, but we were turning them off; they really didn’t want to take in reams of information when they were trying to have a fun day out. So we had to rethink what we were really trying to do, what was our mission and function in the community. We used taped recordings of honest visitor experiences to show how they were confused and bored with our current offering, and how, when we changed that to encourage people to explore, be hands-on, and follow their interests, it resulted in much deeper engagement and satisfaction. It enabled us to move from what we thought we were doing into understanding what we really could accomplish, and that became the start point for our transformation. STOP ASSUMING – AND HAVE A GREATER IMPACT As hard as we try as organizations to make assumptions about what our clients, customers or visitors think, until we really observe their behavior, stopping talking to ourselves, and honestly look at what is happening we will not get a true picture. We have to go beyond focus groups and traditional feedback forms, and find ways to look at how people are actually behaving, responding to our offerings. It is hard to do, but essential to bring about true transformational change. BE PATIENT. BIG CHANGES DON’T HAPPEN OVERNIGHT At Conner Prairie we started this change in 2003. It probably took six or seven years for everyone to be really on board, including managing a significant governance dispute; when you start something like this you are in for the long-haul. Alongside the mission and offering change, there was a lot of other realignment and skills diversification happening at the same time. When you are working at capturing the hearts and minds of the employees and volunteers at a non-profit through periods of major change it can be a long and hard process. Their motive for being with you in the first place relates directly to their own identify and their belief in what you are doing. Being sensitive to that and making significant change to your organization takes time and sustained effort. Visit www.SocialGoodInstigators.com for the transcript and additional show notes. ocialGoodInstigators.com for the transcript and additional show notes.

Within the last month, the string trio Time for Three has had the unusual distinction of being covered by the Today Show, the Los Angeles Times, CNN, The Strad and yes, WQXR. The reason? Violinists Zachary De Pue and Nicolas Kendall were told they couldn’t take their violins inside the cabin on a US Airways flight from North Carolina to Arkansas. It was at that point that De Pue began playing J.S. Bach's Partita No. 3 on the tarmac while Kendall, recording the incident on his phone, shows the pair being ignored by various US Airways personnel. The musicians’ video of the incident was posted on YouTube, which quickly set off a social media storm. (US Airways later described it as a misunderstanding of carry-on rules between its employees and the musicians.) Even as Time For Three came on a wider public's radar (and its Facebook feeds) with the incident, the trio has been active for over a decade, appearing everywhere from symphony halls to jazz clubs to football games and even the Indianapolis 500 auto race. The musicians first met and began jamming together in 1999 while classmates at the Curtis Institute of Music. They got their first formal gig in 2001 and soon the sideline became a more serious pursuit. “Our common ground is classical music and each one of us brought a different genre to the table,” Double bassist Ranaan Meyer said in an interview with WQXR host Naomi Lewin. Kendall’s interests included gypsy jazz, hip-hop and R&B; De Pue specialized in Texas fiddling and folk music; Meyer played jazz. “What was really unique was we were able to teach each other some of the influences from those other genres, respectively. In the WQXR Café, the group played two selections for their new, self-titled album on Universal Classics, starting with "Roundabouts," an intimate piece by Kendall that features a round structure. Since 2009, Time for Three has been in residency with the Indianapolis Symphony, where De Pue is the concertmaster. The trio's next song, “Banjo Love,” by Meyer, gives a hint of the American fiddling tradition that has become a part of its musical DNA. It also pays homage to the noted banjo player Béla Fleck, who is a musical hero of the group. The trio’s final song in the café is a cover version of Coldplay’s "UFO." While it attests to the strong pop influences on Time for Three, the musicians are quick to call attention to their classical credits. Along with appearing at Carnegie Hall and other major venues, they have commissioned high-profile composers including Jennifer Higdon, William Bolcom and Chris Brubeck to write works for the group and are currently developing a new piece with the Portland, OR-based composer Kenji Bunch. “When people ask us what we are we have no idea,” noted Meyer, laughing. “We're a marketing nightmare for most record companies. The fact that we're actually signed with Universal is a major pat on the back for us. When we're getting together, frankly it's not a purist thing." Video: Amy Pearl; Audio: Edward Haber; Text & Production: Brian Wise; Interview: Naomi Lewin

Kristine has performed in theatre houses, symphony halls, and cabaret venues all across North America. She is best known for playing Nessarose in the hit Broadway musical, Wicked. Kristine joined the First National Tour of the musical in 2008 and assumed the role of Nessarose in November of that year in her childhood hometown of Minneapolis, MN. She then went on to originate the role on the Second National Tour, which opened in March 2009 and performed it over 1,000 times. Kristine also toured with Mamma Mia!, understudying the role of Sophie, and made her Broadway debut in the recent revival of Les Miserables at the Broadhurst Theatre. Other favorite regional credits include: The Mystery of Edwin Drood (Rosa Bud), Brigadoon (Fiona), Grease! at the St. Louis MUNY (Frenchie) and Footloose (Ariel). A BFA graduate in Musical Theatre from the Cincinnati College-Conservatory of Music, Kristine has performed in concert with over a dozen Symphonic and Pops Orchestras, including the Cincinnati Pops, the Indianapolis, Baltimore, Detroit, Toronto, Modesto, Vancouver, Naples and Cleveland Symphony Orchestras, and the National Symphony Orchestra in Ottawa, ON. She continues to work and create new concerts with Maestro Jack Everly of the Indianapolis Symphony and Maestro Steve Reineke of the New York Pops. Away from the stage, Kristine also works as a sports writer and radio host. Her work, which ranges from football analysis to pop culture commentary, has been published in various online magazines, blogs and websites, including NJ.com. Kristine and her husband, fellow actor and CCM alum Billy Harrigan Tighe, were engaged onstage with the Vancouver Symphony in November 2009. They were married in October 2010 and currently reside in New York City with their Boston Terrier, Buster.

A look at what's in the headlines this week in local arts news.