Podcast appearances and mentions of Isaac Stern

durée : 00:15:06 - Disques de légende du jeudi 20 novembre 2025 - Enregistrée en live lors de la 3e édition du Festival de Prades en juillet 1952, cette version mythique du Quintette à cordes en do majeur de Schubert réunit une distribution de rêve : Isaac Stern, Alexander Schneider, Milton Katims, Pablo Casals & Paul Tortelier. Un témoignage sonore exceptionnel. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:15:06 - Disques de légende du jeudi 20 novembre 2025 - Enregistrée en live lors de la 3e édition du Festival de Prades en juillet 1952, cette version mythique du Quintette à cordes en do majeur de Schubert réunit une distribution de rêve : Isaac Stern, Alexander Schneider, Milton Katims, Pablo Casals & Paul Tortelier. Un témoignage sonore exceptionnel. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Out with the new and in with the old! Yes, we're moving from songs about growing up to songs about the act of having grown up, i.e., songs about aging and growing old.  We're starting with a song from a show we have been slightly remiss in having only discussed once way back in the early days of our podcast, despite its tremendous popularity and cultural impact. Join us as we talk about "Sunrise, Sunset" from Bock & Harnick's classic Fiddler on the Roof.  All clips are from 1971's Fiddler on the Roof: Original Motion Picture Soundtrack Recording featuring Topol, Norma Crane, and violinist Isaac Stern and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and commentary. All rights reserved to the copyright owners. Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

In Breaking Walls episode 88, we spotlight the 1945-46 season of The Jack Benny Program. This season introduced characters like telephone operators Gertrude and Mabel, press agent Steve Bradley, hot dog vendor Mr. Kitzel, and Ronald and Benita Colman. This season featured guest appearances from Ingrid Bergman, Isaac Stern, Van Johnson, Ray Milland, Peter Lorre, Louella Parsons, Fred Allen, Ed Sullivan and others. It also was the season in which Dennis Day returned from the Navy and one of the most ingenious marketing campaigns in entertainment history took place: The “I Can't Stand Jack Benny” Contest. Highlights: • Jack's slipping ratings • Problems with General Foods • Jack changes sponsors • The War ends and a new season begins • Mabel Flapsaddle & Gertrude Gearshift • Steve Bradley and his big ideas • $10,000 and $646,000 • Jack gets robbed • The Contest • Mail pours in • The Colmans can't stand Jack Benny • Jack's ratings soar • Christmas of 1945 & The Rose Bowl • Fred Allen and the end of the Contest • Isaac Stern • Palm Springs • Van Jackson • Ed Sullivan and the end of the season • King for a Day The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • Sunday Nights at Seven - by Jack and Joan Benny • On The Air: The Encyclopedia of Old-Time Radio - by John Dunning • Network Radio Ratings, 1932-1953 - by Jim Ramsburg • As well as articles from Radio Life on January 27th and February 3rd, 1946 On the interview front: •Jack Benny, Ezra Stone, Kate Smith, Don Wilson, Eliott Lewis, Phil Harris, Frank Nelson and Dennis Day were with Chuck Schaden. Chuck's interviews from an over 39-year career can be listened to for free at SpeakingofRadio.com • Vincent Price and Mel Blanc were with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. The full interviews can be heard at GoldenAge-WTIC.org • Dennis Day was also with John Dunning for his 1980s 71KNUS Radio program from Denver. Some of his interviews can be found at OTRRLibrary.org • And Finally Jack Benny, Dennis Day, Phil Harris, Frank Nelson, Don Wilson and Mel Blanc were also with Jack Carney for his early 1980s Comedy Program. Much of this audio was originally taken from a 1972 PBS Documentary on Great Radio Comedians. Thank you Goodmond Danielson for supplying me with the audio. Selected music featured in today's episode was: • Love in Bloom by Bing Crosby • It's Been a Long, Long, Time by the Harry James Orchestra • Chickery Chick by Sammy Kaye with Billy Williams & Nancy Norman • Manhattan Serenade by the Tommy Dorsey Orchestra with Jo Stafford • It Might as Well Be Spring by Larry Stephens • Danny Boy by Dennis Day • Along the Navajo Trail by Bing Crosby and the Andrews Sisters WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers URL - thewallbreakers.com Online Store - jamesthewallbreaker.com/shop/

DescriptionCarnegie Hall: A Stage for Legends in 60 Seconds. Take a minute to get the scoop!Fun FactIn 1962, The Beatles were rejected by Decca Records, who claimed "guitar groups are on the way out." Two years later, they rocked Carnegie Hall in a sold-out show, proving just how wrong Decca was! Their performance was so wild that police had to hold back screaming fans.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Pentru că suntem ascultători (de podcasturi), am urmat îndemnul scriitoarei Gabriela Adameșteanu din episodul dedicat Târgului de Carte Gaudeamus și ne-am pus pe răsfoit Jurnalul lui Paul Cornea (Polirom, 2024). Cel mai nimerit pentru a-i pune microfonul dinainte am găsit că este editorul jurnalului, cercetătorul Petruș Costea. Așa am aflat despre ce înseamnă să te îngrijești de un text, cum descifrezi un manuscris, despre muzici, filme și alte delicii literare. Și nu în ultimul rând, despre Paul Cornea, un om generos, care ținea dialogul mereu viu, un om al ideilor și al simțirilor romantice. Recomandări din podcast:Mihail Sebastian, Jurnal, 1935-1944, Editura Humanitas, 2016Filmul „Intermezzo”, în regia lui Gregory Ratoff (1939) C. Saint-Saëns, „Introducere și Rondo capriccioso” în trei interpretări ale violoniștilor:Isaac Stern - https://www.youtube.com/watch?v=T6riNY6az2MJanine Jansen - https://www.youtube.com/watch?v=rBoz4vfeDpM David Oistrah - https://www.youtube.com/watch?v=Ig1wIAzSJj0  --Efectele sonore provin de pe https://freesound.org/:FX_Page_Turn.wav by ForTheHorde68 -- https://freesound.org/s/407355/ -- License: Attribution NonCommercial 3.0writing - pencil 01.wav by Anthousai -- https://freesound.org/s/337089/ -- License: Creative Commons 0--Echipa de proiect:Simina Popa & Claudiu Sfirschi-Lăudat - realizatori și gazdeAndrei Nechifor - editor de sunetEpisod realizat cu susținerea revistei „Observator cultural”.fata-verso.roobservatorcultural.rofata-verso.roGazdele și realizatorii podcastului Față/Verso sunt Simina Popa și Claudiu Sfirschi-Lăudat.

December 5, 1948 - Professor LeBlanc give Jack a violin lesson, and Don is mad at Jack. References include the desert hot springs earthquake, Princess Elizabeth's new baby, actors Charles Boyer, Lionel Barrymore, Don Ameche, "Litte Lord Fauntleroy", and violinists Isaac Stern, Fritz Kreisler, and Jascha Heifetz.

What do a classical pianist, a filmmaker, and a CEO have in common? In this week's episode of Hiring Matters, Ken Schmitt dives into the fascinating mind of Jieho Lee—CEO, Chief People Officer, and movie director. From ivory keys to boardrooms, Jieho takes us on a wild ride, showing us how the skills he developed on the movie set translate directly to leading a diverse and dynamic workforce. Cue the drama! Ken and Jieho hash out the great debate: Should company culture be more "work hard, play hard" à la Netflix, or should we strive for something a little more, dare we say, fun? Jieho argues that a workplace should spark joy, not dread, while Ken questions if the tough-love, performance-driven environment is a necessary evil. Expect a few verbal eye rolls and some serious food for thought. Together, they dig into managing a multi-generational workforce. Spoiler alert: Boomers, Gen Z, and everyone in between don't all want the same things from their jobs (shocking, we know). So, how do you balance these diverse expectations without losing your sanity? Jieho and Ken tackle it head-on, offering insights, laughs, and even a few leadership facepalms along the way. Whether you're managing egos on a movie set or in a boardroom, creating a safe, collaborative space is essential. And Jieho's secret sauce? Humility, reflection, and realizing that even CEOs (and directors) are only as good as the teams they lead. Tune in for a conversation packed with humor, hard truths, and a fresh perspective on how to lead, hire, and retain top talent—whether you're running a company or filming the next blockbuster. Key Takeaways: Artsy types make great CEOs (who knew?). Classical music taught Jieho the importance of harmony—literally and figuratively. Is fun the new productivity? Multi-generational management: It's like herding cats but with more Slack messages. Cultural fit or diversity of thought? Hint: You need both. A good leader knows how to adapt and evolve. The best leader? Knows how to laugh through it. Have questions or personal experiences? Drop us a message or Join the conversation on LinkedIn.—share your own hiring and retention horror stories, tips, and even your craziest leadership moments. We'd love to hear what's happening on your workplace “movie set”! About Our Guest: Jieho Lee is a visionary filmmaker and entrepreneur best known for writing and directing The Air I Breathe (2007), featuring a star-studded cast that includes Forest Whitaker, Andy Garcia, Brendan Fraser, Kevin Bacon, and Sarah Michelle Gellar. Lee's cinematic portfolio also includes A Nursery Tale (1999) and the highly anticipated Kane & Lynch. Before making his mark in the film industry, Lee directed high-profile commercials for brands such as Ralph Lauren, Victoria's Secret, and Tommy Hilfiger. Beyond filmmaking, Jieho co-founded Knighted Ventures, a specialized company serving the casino industries in California and Florida. His entrepreneurial spirit also led him to Blue Horizon Capital, where he co-led an investment strategy team focusing on business acquisitions. Prior to that, Lee oversaw business development and marketing in Asia for POM Wonderful. His career began in the entertainment field as a classical music producer, collaborating with legends like Yo-Yo Ma and Isaac Stern, and producing a best-selling album for soprano Sumi Jo, earning him the South Korean Presidential Award for Excellence. A graduate of Wesleyan University with degrees in Letters and Cinema Studies, Lee also holds an MBA from Harvard Business School. About Your Host: Ken Schmitt is the CEO and founder of TurningPoint Executive Search. He is also the author of "The Practical Optimist: An Entrepreneur's Journey through Life's Turning Points". Ken was raised in an entrepreneurial family and brings a uniquely authentic voice to his podcast, blending life, family, and business together. Ken is a seasoned expert with almost three decades of experience in executive recruiting. In his podcast, he focuses on revealing the secrets of recruiting, retention, and real HR strategies. The podcast is not preachy, academic, or theoretical. It provides authentic perspectives on the challenges, triumphs, and quirks that make the hiring game both exhilarating and unpredictable. Twice a month, Ken offers tactical advice and industry insights to empower listeners to navigate the intricate world of executive recruiting confidently. "Hiring Matters" is your go-to resource for elevating your hiring game and equipping you with the tools to build, grow, and lead truly exceptional teams. Brace yourself for Ken's "Recruiter Rant" episodes, where he shares unfiltered insights and behind-the-scenes revelations about the industry's hidden secrets. Get ready to gain more than expected from this informative and engaging podcast. Follow Ken on LinkedIn Powered by TurningPoint Executive Search: Helping business hire right.

(01:01) Join us as we uncover the extraordinary journey of Steven Bright, whose passion for cooking overcame family resistance and led him to an inspiring career filled with unforgettable moments. From his early culinary education at the International Culinary Academy to leading the kitchen at Shadyside Presbyterian Church, Steven's story is a testament to the power of following your dreams and the invaluable support of loved ones.(14:03) Steven recounts heartwarming encounters with icons like Mr. Rogers and shares the joy of cooking for luminaries such as Mikhail Baryshnikov and Isaac Stern, revealing the moments that solidified his trajectory in the culinary world. Tune in for insights into his diverse career, and hear about his future ambitions like penning a memoir filled with captivating catering stories. Whether you're a food enthusiast or someone seeking inspiration to pursue your passion, this episode promises a rich blend of culinary tales and life lessons. Whether you're a food enthusiast or someone seeking inspiration to pursue your passion, this chat promises a rich blend of culinary tales and life lessons.(32:54) Plus we make our way out to Greensburg, PA for some Mediterranean food and  give a call to mom for a recipe that puts any surplus of banana peppers to good use. Send us a textSupport the showLiked the episode? We'd love a coffee!

Errollyn Wallen is one of the world's most performed living composers. Her work, which includes 22 operas, orchestral, chamber and vocal works, was played at the opening ceremony of the Paralympic Games in 2012 and at Queen Elizabeth II's Golden and Diamond Jubilees. She was the first black woman to have a piece featured in the BBC Proms and the first woman to receive an Ivor Novello award for Classical Music for her body of work.Errollyn was born in Belize in Central America and was brought up in North London. The passion for music came early to her - as a baby she sang in her cot - and later she enjoyed free music lessons at her local primary school. She fell in love with the piano at five and went on to have formal lessons four years later.She studied music and dance at Goldsmith's, University of London and took a Master's in composition at King's College London. After working as a session musician, Errollyn formed her own band Ensemble X whose motto is “we don't break down barriers in music…we don't see any”. In 1990 she composed a tribute to Nelson Mandela to mark his release from prison. In 2020 she was awarded a CBE for services to music in The Queen's New Year's Honours. Errollyn lives and works in a lighthouse at Strathy Point in the north of Scotland.DISC ONE: Beethoven, Symphony No. 7 in A Major, Op. 92, 4th Movement: Allegro Con Brio. Composed by Ludwig van Beethoven and performed by André Previn (piano) with the London Symphony Orchestra DISC TWO: Bewitched, Bothered and Bewildered - Ella Fitzgerald DISC THREE: L'Oiseau de Feu (The Firebird) (1910 Ballet Score) ('Fairy-tale Ballet In Two Tableaux For Orchestra') Introduction. Composed by Igor Stravinsky and performed by Bergen Philharmonic, conducted by Andrew Litton DISC FOUR: I Am Sitting In a Room - Alvin Lucier DISC FIVE: Bach, Concerto for 2 Violins in D Minor BWV 1043 (II movement) Composed by Johann Sebastian Bach and performed by Isaac Stern and Itzhak Perlman (violin) with the New York Philharmonic, conducted by Zubin Mehta DISC SIX: Signed, Sealed, Delivered (I'm Yours) - Stevie Wonder DISC SEVEN: What's Up Doc? - Errollyn Wallen DISC EIGHT: Peter Grimes, Op. 33, Act III, Scene 7: Mister Swallow! Mister Swallow! (Mrs Sedley) Composed by Benjamin Britten and performed by Bergen Philharmonic Orchestra, Catherine Wyn-Rogers and Susan Bickley (Mezzo-soprano), Neal Davies (bass-baritone), Barnaby Rea (bass) and conducted by Edward Gardner BOOK CHOICE: A collection of Bach sheet music LUXURY ITEM: Wigmore Hall CASTAWAY'S FAVOURITE: Bach, Concerto for 2 Violins in D Minor BWV 1043 (II movement) Composed by Johann Sebastian Bach and performed by Isaac Stern and Itzhak Perlman (violin) with the New York Philharmonic, conducted by Zubin Mehta Presenter Lauren Laverne Producer Paula McGinley

Welcome to the Instant Trivia podcast episode 1248, where we ask the best trivia on the Internet. Round 1. Category: Manimals 1: In 1883 he opened his Wild West Show in Omaha, Nebraska. Buffalo Bill Cody. 2: In 1997 he broke Jack Nicklaus' 32-year-old Masters record of 17 under par. Tiger Woods. 3: In the victory column, this Alabamian has 4 more than Pop Warner. Bear Bryant. 4: On "Another Saturday Night" you'll find him "Sitting" on a "Peace Train" until "Morning Has Broken". Cat Stevens. 5: This "Good Morning, Vietnam" star once studied drama with John Houseman. Robin Williams. Round 2. Category: C In Music. With C in quotes 1: It's defined as a traditional song of joy; the "Christmas" type is the most popular. a carol. 2: Isaac Stern led the fight to save this NYC concert hall while Lincoln Center was being built. Carnegie Hall. 3: To play the hi-hat type of this percussion instrument, you clash the metal plates together with a pedal. cymbal. 4: This symbol found at the start of a line of music can be treble or bass. a clef. 5: Mozart introduced this single reed wind instrument to the symphony orchestra. a clarinet. Round 3. Category: Tough Tv 1: Arte Johnson was the only performer to win an Emmy for his work on this comedy-variety series. Rowan and Martin's Laugh-In. 2: First name of the character played by Faith Ford on "Murphy Brown". Corky. 3: Jon Provost, who played this dog's second owner 1957-1964, returned for a "new" 1989-1991 series. Lassie. 4: Nickname of the character played by Chris Burke on "Life Goes On". Corky. 5: Nantucket Memorial Airport doubled for the fictional Tom Nevers Field on this sitcom. Wings. Round 4. Category: I Stand Before The Country 1: Before "Timor". East. 2: Before "Verde". Cape. 3: Before "Sudan". South. 4: Before "Islands"--1 of the 2 U.N. members. Marshall (or Solomon). 5: Before "Darussalam". Brunei. Round 5. Category: Best Actor Oscar Winners 1: 1971:As "Popeye" Doyle. Gene Hackman. 2: 1986:As a slower "Fast Eddie" Felson. Paul Newman. 3: 1994:Tom Hanks for this modern parable. Forrest Gump. 4: 1964 for "My Fair Lady". Rex Harrison. 5: 1987:As Gordon Gekko. Michael Douglas. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

The Dumbo neighborhood in Brooklyn is a vibrant, albeit crowded and touristy, spot to take in views of Manhattan, explore the waterfront, and enjoy some delicious food. Where is Dumbo? It encompasses two sections: one situated between the Manhattan and Brooklyn Bridges, which connect Brooklyn to Manhattan across the East River, and another extending eastward from the Manhattan Bridge to the Vinegar Hill area. Why Is It Called Dumbo? Dumbo stands for "Down under Manhattan Bridge overpass" and was said to be coined in the '90s by locals to make the neighborhood sound less desirable to developers. 1- Walk the Brooklyn Bridge It's crowded but worth it; try to go at off-times. You can walk in from the Manhattan side across the Brooklyn Bridge into Dumbo! 2- Timeout Market Spread across 24,000 square feet, the curated dining destination packs multiple eateries, three bars, a fifth-floor rooftop, and art installations into one space that encompasses the best food, drinks, and culture that New York has to offer. 3- Evil Twin Brewing Their flagship brewery is in Ridgewood in Brooklyn, but their Dumbo location boasts almost 20 local beers on tap. This Episode's You'll Have to Check It Out Segment - Bargemusic Since 1977, Bargemusic has presented chamber music in an unlikely and startlingly beautiful venue—a floating barge at the foot of the Brooklyn Bridge. Both established and emerging musicians perform at Bargemusic on a small stage with the dramatic backdrop of the East River and lower Manhattan skyline. Mark Peskanov, Bargemusic Artistic Director, has performed for decades with the likes of Yo-Yo Ma, Isaac Stern, and many other world-famous artists. 4- Grimaldi's Pizzeria Multi-level Brooklyn staple serving pies for over 100 years. 5- Brooklyn Bridge Park - Views, Free Events, Near the Water If you go to brooklynbridgepark.org, they have a full calendar of free activities, including workout classes, live music, movie showings, and other fun activities. Sign up for our weekly NYC newsletter here: https://rebrand.ly/newsletter-bth Please leave us a review on Apple Podcasts!

Werner Hink, who for many years was a concertmaster of the Vienna Philharmonic, has died. Jay interviewed him some years ago and found him memorable. This episode ends with some playing by Hink (Bach). There is also some Schubert by Isaac Stern, whom Hink prized. There's a little Broadway, a little rap. A nice buffet of music. Mozart, Overture to “The Marriage of Figaro” Beethoven, Piano Sonata No. 27 in E minor, Op. 90, second movement Schubert, “Serenade” Rodgers-Sondheim, “Hate Song” from “The Mad Show” Prokofiev, March from “The Love for Three Oranges” Ginastera, Violin Concerto, final section C+C Music Factory, “Things That Make You Go Hmmm” Trad., “Shine You No More (Last Leaf)” Bach, Adagio from the Violin Sonata in G minor

durée : 00:25:18 - David Stern, chef d'orchestre (1/5) - par : Judith Chaine - La passion pour la musique coule dans les veines de David Stern depuis toujours. Fils du violoniste virtuose Isaac Stern, David Stern a fondé en 2003 la compagnie Opera Fuoco qui s'est spécialisée dans le répertoire lyrique du milieu du XVIIIe siècle à nos jours. Portrait de ce chef hors normes. - réalisé par : Françoise Cordey

durée : 00:25:21 - Les Grands entretiens - par : Judith Chaine - La passion pour la musique coule dans les veines de David Stern depuis toujours. Fils du violoniste virtuose Isaac Stern, David Stern a fondé en 2003 la compagnie Opera Fuoco qui s'est spécialisée dans le répertoire lyrique du milieu du XVIIIe siècle à nos jours. Portrait de ce chef hors normes.

durée : 00:25:11 - Les Grands entretiens - par : Judith Chaine - La passion pour la musique coule dans les veines de David Stern depuis toujours. Fils du violoniste virtuose Isaac Stern, David Stern a fondé en 2003 la compagnie Opera Fuoco qui s'est spécialisée dans le répertoire lyrique du milieu du XVIIIe siècle à nos jours. Portrait de ce chef hors normes.

durée : 00:25:11 - Les Grands entretiens - par : Judith Chaine - La passion pour la musique coule dans les veines de David Stern depuis toujours. Fils du violoniste virtuose Isaac Stern, David Stern a fondé en 2003 la compagnie Opera Fuoco qui s'est spécialisée dans le répertoire lyrique du milieu du XVIIIe siècle à nos jours. Portrait de ce chef hors normes.

durée : 00:25:10 - Les Grands entretiens - par : Judith Chaine - La passion pour la musique coule dans les veines de David Stern depuis toujours. Fils du violoniste virtuose Isaac Stern, David Stern a fondé en 2003 la compagnie Opera Fuoco qui s'est spécialisée dans le répertoire lyrique du milieu du XVIIIe siècle à nos jours. Portrait de ce chef hors normes.

You can watch this episode on Spotify or YouTube! Support us on Patreonhttps://r.search.yahoo.com/_ylt=Awr92rDP5bllDAQAM_ZXNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891407/RO=10/RU=https%3a%2f%2fwww.patreon.com%2fuser%3fu%3d4279967/RK=2/RS=9LbiSxziFkcdPQCvqIxPtxIgZ7A-Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://r.search.yahoo.com/_ylt=Awr92rDP5bllDAQAM_ZXNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891407/RO=10/RU=https%3a%2f%2fwww.patreon.com%2fuser%3fu%3d4279967/RK=2/RS=9LbiSxziFkcdPQCvqIxPtxIgZ7A-

Keep Retro Radio going… buy us a coffee here! https://www.buymeacoffee.com/retroradio If you like what you hear, consider giving this show a like! Liking these shows helps us to know what you like to hear more of. Take Retro Radio wherever you go! Subscribe today, and share it with your friends! ——————— As these shows have been in the public domain for quite some time, the audio quality of these episodes can vary. So don't adjust your dial… it's most likely the audio file itself :) Disclaimer: The content featured here originated from the “Golden Age of Radio” (1920-1962), and may contain racial, ethnic, and gender stereotypes that are incompatible with our values today. They were wrong then, as they are today. These representations do not reflect the views of Retro Radio and are presented here solely for historical, educational, and/or entertainment purposes. We denounce any form of discrimination and aim to foster a respectful and inclusive atmosphere, while still respecting the talent, entertainment value, and historical value these recordings may bring. Please approach this material with sensitivity, recognizing that they may reflect attitudes of its time. Your engagement with this content is appreciated, and we encourage thoughtful consideration and discussion. —————— Vintage radio classic radioshow OTR old time radio Hollywood movie stars shows suspense detective comedy sci-fi science fiction variety music guest star

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durée : 00:23:54 - Disques de légende du vendredi 05 avril 2024 - Leonard Bernstein et Isaac Stern ont réalisé ensemble plus d'une douzaine d'enregistrements. Celui de 1964, du Concerto pour violon de Samuel Barber, selon le compositeur, était la plus belle interprétation qu'il ait jamais entendue.

Bernstein schreibt seine Serenade 1954 nach der Lektüre von Platons "Symposion". Auf einer Dinner-Party im alten Athen werden Reden zum Thema Erotik gehalten. Das Werk mit seinem sinnlichen Streicherklang gilt als musikalisches Selbstporträt des Komponisten. Von Michael Lohse.

One of the leading violinists of his generation, Renaud Capuçon is known and loved for his poise, depth of tone, and virtuosity. He has worked with luminaries including Charles Dutoit, Claudio Abbado and Daniel Barenboim, and with all the major orchestras, whether it's the Berlin Philharmonic, the Vienna Philharmonic, the London Symphony Orchestra, and many, many more. He has recorded over 20 albums, and one reviewer labelled him “an uninhibited musician at the peak of his art”. He's in Sydney giving the Australian premiere of the violin concerto composed for him by Camille Pépin, with the Sydney Symphony Orchestra conducted by its chief conductor Simone Young. Renaud speaks about key moments in his career, providing insights into the life a of a top tier musician such as himself. We also hear about his role as artistic director of the Menuhin Music Academy plus the story of his remarkable instrument, played for many years by Isaac Stern. Renaud Capuçon performs Pépin's Violin Concerto La Sommeil a pris ton empreinte (Sleep retains your imprint) with the Sydney Symphony Orchestra under chief conductor Simone Young from 28 February to 2 March, a concert which also includes a performance of Mahler's Symphony no 5.

As a young actor (Local Hero, Crossing Delancey, Animal House) he played Goldberg in The Birthday Party, overseen by Harold Pinter himself. One speech was particularly opaque. “I had no idea what it meant, but to say these words was to be Isaac Stern on the violin.” Learning to trust the writer. Produced with the Museum of Jewish Heritage.

Jesse Vogel, Jon Shetrit, Micha Leder and Isaac Stern were moved by the events that took place on Israel to take action. They stopped their normal lives in New York and volunteered for Zaka, the search and rescue organization in Israel.In this episode we discussed what they experienced. 

About our guest: Rabbi Shira Stern was ordained by Hebrew Union College-Jewish Institute of Religion in New York in 1983 and earned her Doctor of Ministry from HUC-JIR in 2003.  She was the rabbi and educator of the Monroe Township Jewish Center for 13 years. She has also served as a hospital and hospice chaplain, Director of the Joint Chaplaincy Program of Greater Middlesex County and the Director of the Jewish Institute for Pastoral Care in New York City.Rabbi Stern founded the Center for Pastoral Care and Counseling in Marlboro, NJ, from which she recently retired as director. In her work there she worked with children and adults in focusing on problem solving and personal growth. Rabbi Stern was trained by the Red Cross to serve on the SAIR team - Spiritual Air Incident Response Team in 2001 and worked for four months at the Liberty State Park Family Assistance Center in the aftermath of 9/11. She is currently the lead chaplain for Disaster Spiritual Care for American Red Cross in New Jersey.Rabbi Stern writes on issues of Women in Judaism, biblical commentary and chaplaincy-related topics and has taught two Jewish feminist courses at Rutgers University. She is a Board Certified Jewish Chaplain and is a Past-President of Neshama: Association of Jewish Chaplains. She has been widely featured in the print and television media on a variety of topics.Rabbi Stern is married to Rabbi Donald Weber.See also: "Rabbi helps Pittsburgh community pick up the pieces" "Rabbi and Red Cross Volunteer Delivers Message of Hope to TempleShalom in Naples""Welcome to the Jewish Berkshires, Rabbi Shira Stern""Hatikvah on Mount Scopus", July, 1967, Isaac Stern, Leonard Bernstein and the Israel Philharmonic Orchestra About our host: Rabbi Edward Bernstein, PBCC, is the producer and host of NeshamaCast. He serves as Chaplain at Boca Raton Regional Hospital of Baptist Health South Florida. He is a member of the Board of Neshama: Association of Jewish Chaplains. Prior to his chaplain career, he served as a pulpit rabbi in congregations in New Rochelle, NY; Beachwood, OH; and Boynton Beach, FL. He is also the host and producer of My Teacher Podcast: A Celebration of the People Who Shape Our Lives.

Grammy nominated Japanese-American renowned violinist Midori is a visionary artist, activist and educator who made her debut with the New York Philharmonic at age 11. She reflects on her decision to "pursue a career in music as a performer" in her 20's, what she learned from mentors famed violinist Isaac Stern and legendary conductor and composer Leonard Bernstein, and why she loves to practice after a performance. Midori shares about her foundation Midori and Friends, which has helped to provide music education to over 300,000 underserved youth in NYC, opens up about her love for her home away from home (the dressing room), and David reminisces about the first time he heard her on the radio. Check out Midori on Facebook, Spotify, Apple Music, or the web.Learn more about Midori & Friends here.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Photograph of Midori by Timothy Greenfield-Sanders.Speaking Soundly was co-created by Jessica Handelman and David Krauss. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:25:12 - Les Grands entretiens - par : Judith Chaine - D'abord reconnu comme violoniste virtuose, Nikolaj Szeps-Znaider a parallèlement développé ces dernières années une carrière de chef d'orchestre de très haut niveau. Le musicien israëlo-danois est depuis 2020 directeur musical de l'Orchestre National de de Lyon, succédant ainsi à Leonard Slatkin.

SynopsisFor decades many of the 20th century's greatest composers routinely visited Venice's famous canals and churches during a biennial music festival that showcased brand-new works by the likes of Stravinsky, Prokofiev, Britten, and others.The French composer Darius Milhaud describes sharing space with several of his composer-colleagues in a cramped Festival “green room.” “It was a normal sight to see Stravinsky's rain-coat and Constant Lambert's tweed overcoat hanging near my two walking sticks,” writes Milhaud. “Meanwhile, the Italian composer Hildebrando Pizetti would be putting up a mirror, opening a silver toilet-case, and arranging flowers, his wife's photograph and a sheaf of telegrams.”On today's date in 1937, Milhaud conducted the first performance of his Suite Provencale at the Venice Festival. This jaunty score proved to be one of his most popular orchestral works. In 1954, it was Leonard Bernstein's turn. On today's date that year, he conducted in Venice the premiere performance of his Serenade for violin and orchestra, with Isaac Stern the featured soloist.Despite its admirable track record for picking winners, the Venice Festival shut down operations in 1973, although its impact lives on in the number of modern masterworks it helped launch in its day.Music Played in Today's ProgramDarius Milhaud (1892 - 1974) Suite provençale, Op. 152b Detroit Symphony; Neeme Järvi, cond. Chandos 7031Leonard Bernstein (1918 - 1990) Serenade (after Plato's "Symposium") Zino Francescatti, violin; NY Philharmonic; Leonard Bernstein, cond. Sony 60559

Our next Jack Benny, watch it on Spotify or listen anywhere else!

21 iulio Nace: 1899: Ernest Hemingway, escritor estadounidense, premio nobel de literatura en 1953 (f. 1961). 1920: Isaac Stern, violinista ucraniano (f. 2001). Fallece: 1948: David Wark Griffith, cineasta estadounidense (n. 1875). Conducido por Joel Almaguer. Una Producción de Sala Prisma Podcast. 2023

This week on The Sound Kitchen you'll hear the answer to the question about the Ostend energy summit. There's an update on RFI's Planète Radio ePOP video competition and the “Listeners Corner” with Paul Myers. All that, and the new quiz question, too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”).There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 29 April, I asked you a question about the Ostend energy summit. Earlier that week, nine European countries met in Belgium to discuss how to increase wind power in the North Sea. The Belgian Prime Minister, Alexander De Croo, said the goal is to build enough North Sea wind farms to produce 130 gigawatts of electricity by the end of the decade.You were to re-read our article “Expansion of North Sea wind farms tops the agenda at Ostend energy summit”, and send in the answer to this question: amongst the nine countries that participated in the summit, which two are currently producing the most wind energy? The answer is:  To quote our article: “Britain has the greatest number of offshore wind farms, 45 of them producing 14 GW, with plans to expand capacity to 50 GW by 2030.Germany is next, with 30 wind farms producing 8 GW, followed by the Netherlands, Denmark, and Belgium, all producing less than 3 GW.” In addition to the quiz question, there was the bonus question: “What will you do when you retire?”The winners are: Mrs. Mukta Banu, who's a member of the Shetu RFI Listeners Club in Naogaon, Bangladesh. Mukta is also the winner of this week's bonus question.  Congratulations, Mukta !Also on the list of lucky winners this week are RFI Listeners Club members Bidhan Chandra Sanyal from West Bengal, India; Muhammad Nasyr from Katsina State, Nigeria, and Kashif Khalil from Faisalabad, Pakistan.  Last but certainly not least, there's RFI English listener Mohammad Aslam, from Naogaon, Bangladesh.Congratulations winners!Here's the music you heard on this week's programme: “Hora staccato” by Grigoras Dinicu, performed by violinist Isaac Stern and pianist Alexander Zakin; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and “Un jour tu verras” by Georges van Parys and Marcel Mouloudji, sung by Marcel Mouloudji. Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “Macron marks 1,000 year anniversary of iconic Mont-Saint-Michel” to help you with the answer.You have until 3 July to enter this week's quiz; the winners will be announced on the 8 July podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.  

1956 - It's a children's record! Jack Benny tells the story of becoming a great violinist and how it all went wrong. Featuring the vocal talents of Mary Livingstone and Mel Blanc. Originally titled “Jack Benny Plays the Bee Ably Assisted by Isaac Stern” in 1956, it was re-released as “Jack Benny Fiddles With The Classics” in 1978.

[CLIC] is the only Hotel Conference that focuses on the California Hotel Market and [CLIC] Connect is our official interview show. Joining the conversation today is Isaac Stern Exe. Director Partner ESI/SureBuild and we are discussing SureBuild a new kind of Insurance, Leadership, Hotels, Hotel PIP's, Buying & Selling Hotels in CA, Brokerage, Lenders and 2023. Meet Isaac at the 6th Annual California Lodging Investment Conference on March 1-2, 2023 at The Westin South Coast Plaza Hotel in Costa Mesa, CA. Thank you Producer Dani Leffler & our Production Partners Red Roof Franchising & Chicago Title NCS- California. Please tour our website and sign up for [CLIC] 6 and our Blog at cliconference.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/craig859/support

Synopsis In the hands of a great performer, the violin can sing with the personality and intensity of a great opera singer. Pyrotechnics may dazzle, but nothing moves an audience as much as when a great violinist "sings" through his instrument. On today's date in 1896, a French audience in Nancy must has been so moved when the great violinist Eugène Ysaÿe gave the first performance of this music: the Poème for Violin and Orchestra by Ernest Chausson. In addition to famous artists like Manet and Degas, Chausson counted among his friends many of the great musicians of his day, including the great violinist Ysäye. Although they admired his work, Chausson was not always appreciated by the public. But when Ysaÿe premiered Chausson's Poème in Paris in 1897, the applause went on and on. Used to just the opposite reaction, Chausson was stunned by his success, and, while thanking Ysaye profusely, kept repeating to himself: "I just can't believe it!" Two modern-day violinists, Joshua Bell and Pamela Frank, were the inspiration for this songful contemporary work by Aaron Jay Kernis. Titled Air for Violin, it was originally composed for violin and piano, and premiered in 1995 by Joshua Bell. The following year, Pamela Frank and the Minnesota Orchestra premiered a new version of Air for violin and orchestra. Music Played in Today's Program Ernest Chausson (1855-1899) Poème, Op. 25 Isaac Stern, violin; Orchestre de Paris; Daniel Barenboim, conductor. CBS/Sony 64501 Aaron Jay Kernis (b. 1960) Air for Violin Minnesota Orchestra; David Zinman, conductor. Argo 460 226

Every December, Americans celebrate their memorable cultural icons when the Kennedy Center bestows its annual honors to those in the performing arts for their lifetime contributions. Since 1978, the Honors have been presented annually each December to five honorees followed by a gala celebration. The original strategy was that these unique individuals were people who have contributed to society, not someone who happens to have a pop record hit at the moment. The intention was not to do just another award show. Do you recall the first host? It was Leonard Bernstein in 1978. And the White House got involved by inviting the Honorees first to the White House for an initial presentation by the President. For 2022, who are the Honorees? Well, George Clooney, Amy Grant, Gladys Knight, Tania Leon and U2. In this podcast, we'll focus on two ceremonies held at the White House. The first, 40 years ago in 1982 honored George Abbott, Eugene Ormandy, Lillian Gish, Benny Goodman, and Gene Kelly. Then, in the second half of the podcast, the President honored in 1984, Lena Horne, Arthur Miller, Gian Carlo Menotti, Isaac Stern and Danny Kaye. And in the second half of the podcast, I'll share a bit about those who were offered the honor but declined.

Mona LisaLeonardo da Vinci1503-1516The Louvre Museum, Salle des États,  Room 711, Denon wing, Level 1If you haven't yet listened to our first episode about Mona Lisa, we recommend checking out Part One before continuing with this episode about how the First Lady of the Renaissance keeps making her mark — even in our modern world.In this episode (Mona Lisa, Part Two), we will learn about how Jackie Kennedy orchestrated the Mona Lisa's tour to the United States in 1963. We will hear from Liz Lidgett Gallery artist Hunt Slonem who saw the Mona Lisa on that tour at the National Gallery as a middle school student. We will also examine how the Mona Lisa has inspired acts of honor and controversy over the years.Mona Lisa (Part One and Part Two) features Liz Lidgett Gallery artist Hunt Slonem. Ten Minute Masterpieces is hosted by art advisor Liz Lidgett and produced by Maribeth Romslo.CREDITSMusic credits:Creative Morning (Premium Beat)Silent as Smoke, Zoot Suit, Voyager (Epidemic Sound)Schubert Trio No. 1 in B flat Op. 99, Eugen Istomin (piano), Isaac Stern, (violin), Leonard Rose (cello). Recorded in 1964.Mona Lisas and Mad Hatters (Elton John)Newsreel, historic audio, and film clip credits:Mona Lisa Makes U.S. DebutJacqueline and John F. Kennedy in ParisLes Kennedy à VersaillesPresident Kennedy's Speech in Paris (1961)The Cuban Crisis An Overview NewsreelPriceless Smile: President Leads Mona Lisa TributeMona Lisa scene from The Da Vinci Code movieRESEARCH AND LINKS OF INTERESTThe Two First Ladies by Margaret Leslie Davis (Vanity Fair, November 2008)Art News about Mona Lisa VandalismColored Mona Lisas ChristiesMy Modern MetLouvre Mona Lisa VR Experience“Jackie and the Mona Lisa” children's book by Debbie Rovin Murphy and Jen BrickingOur Spotify playlist inspired by the Mona Lisa Spotify playlist

February 3, 1946  - Jack Attends Isaac Stern Concert with the Colmans and the winning poem for the "I Can't Stand Jack Benny Contest". *Note: This episode was the very first episode of the podcast. This is an updated intro.  

Years ago, my dear friend and mentor Don Foley shared a story about Isaac Stern that I've never let go. The great violinist (1920-2001) was often asked why the music sounded so different when Isaac played it on his violin versus when the same song sheet was followed by others.“Anyone can play the notes,” he would tell students; “music is what goes on in between the notes.”Thanks for listening. This is the 15th article in a year-long series called Finding the Words. If you liked this week's essay, we hope you'll forward it along. And a reminder that your family, friends, and colleagues can subscribe to Finding the Words too — along with every episode of our podcast — simply by clicking this link.

I talk with prolific children's author Megan Hoyt on her new non-fiction picture book, The Greatest Song of All: How Isaac Stern United the World to save Carnegie Hall, published by Harper Collins Children's Books' new imprint, Quill Tree Books less than two weeks ago. Megan is also author of Bartali's Bicycle, published last year with the same publisher. Three more non-fiction picture books are forthcoming, also with Quill Tree: A Grand Idea: William Wilgus and his Grand Central Terminal, and Kati's Tiny Messengers: How Dr. Katalin Kariko Developed an mRNA Vaccine to Fight Covid 19. Mel Rosenberg is a professor of microbiology (Tel Aviv University, emeritus) who fell in love with children's books as a small child and now writes his own. He is also the founder of Ourboox, a web platform that allows anyone to create and share awesome flipbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

I talk with prolific children's author Megan Hoyt on her new non-fiction picture book, The Greatest Song of All: How Isaac Stern United the World to save Carnegie Hall, published by Harper Collins Children's Books' new imprint, Quill Tree Books less than two weeks ago. Megan is also author of Bartali's Bicycle, published last year with the same publisher. Three more non-fiction picture books are forthcoming, also with Quill Tree: A Grand Idea: William Wilgus and his Grand Central Terminal, and Kati's Tiny Messengers: How Dr. Katalin Kariko Developed an mRNA Vaccine to Fight Covid 19. Mel Rosenberg is a professor of microbiology (Tel Aviv University, emeritus) who fell in love with children's books as a small child and now writes his own. He is also the founder of Ourboox, a web platform that allows anyone to create and share awesome flipbooks. Learn more about your ad choices. Visit megaphone.fm/adchoices

Miri Ben-Ari on the Virtual Sessions presented by The DJ Sessions 6/8/22   About Miri Ben-Ari -   Miri Ben-Ari, a Grammy Award-Winning violinist/producer/humanitarian, “UN Goodwill Ambassador of Music” to the United Nations. Originally from Israel, has created her own unique music; a revolutionary fusion of classical, Hip-Hop, soul and project AfroStringz.   This classically trained violinist, who once studied under the late classical master Isaac Stern, Ben-Ari has helped sell millions of records by collaborating with other Grammy award-winning artists such as Kanye West, Jay Z, Wyclef Jean, Alicia Keys, Wynton Marsalis, Britney Spears, Maroon 5, Akon, Patti Labelle, Akon, Donna Summer, Janet Jackson, John Legend, Aventura, Fetty Wap, and Armin Van Buuren. Her album "The Hip Hop Violinist"/ Universal Records features many of these collaborations.   Among her accolades are the Grammy Award for “Best Rap Song”, an “Apollo Legend” by the Apollo theater in New York City, “International Jewish Woman to Watch”, the “Martin Luther King Award” from Israeli President, Shimon Peres, “Remarkable Woman” by First Lady, Michelle Obama, “Girl Up Advocate Award” from the United Nations Foundation, and the “Ellis Island Medal of Honor” by Neco.   Miri's recent collaboration with African artist Diamond Platnumz entitled “Baila” has garnered over 10 million views and won “Best Collaboration” award at the 2019 African Entertainment Awards USA. In 2020 she teamed up with Nigerian hit producer Young D. to create Afrostringz, Mixing the African music with the sound of Strings.   About The DJ Sessions -   “The DJ Sessions” is a Twitch/Mixcloud "Featured Partner” live streaming/podcast series featuring electronic music DJ's/Producers via live mixes/interviews and streamed/distributed to a global audience. TheDJSessions.com   The series constantly places in the “Top Ten” on Twitch Music and the “Top Five” in the “Electronic Music", “DJ", "Dance Music" categories. TDJS is rated in the Top 0.11% of live streaming shows on Twitch out of millions of live streamers.   It has also been recognized by Apple twice as a "New and Noteworthy” podcast and featured three times in the Apple Music Store video podcast section. UStream and Livestream have also listed the series as a "Featured" stream on their platforms since its inception.    The series is also streamed live to multiple other platforms and hosted on several podcast sites. It has a combined live streaming/podcast audience is over 125,000 viewers per week.   With over 2,300 episodes produced over the last 12 years "The DJ Sessions" has featured international artists such as: BT, Youngr, Sevenn, Miri Ben-Ari, Plastik Funk, Arty, Party Shirt, Superstar DJ Keoki, Robert Babicz, Jens Lissat, Alex Bau, Elohim, Hausman, Ayokay, Leandro Da Silva, Jerry Davila, Shlomi Aber, The Space Brothers, Dave Winnel, Cuebrick, Protoculture, Jarod Glawe, Camo & Crooked, ANG, Amon Tobin, Voicians, Bingo Players, Coke Beats, Mimosa, Yves LaRock, Ray Okpara, Lindsey Stirling, Mako, Still Life, Saint Kidyaki, Distinct, Sarah Main, Piem, Tocadisco, Nakadia, Sebastian Bronk, Toronto is Broken, Teddy Cream, Mizeyesis, Simon Patterson, Morgan Page, Jes, Cut Chemist, The Him, Judge Jules, Patricia Baloge, DubFX, Thievery Corporation, SNBRN, Bjorn Akesson, Alchimyst, Sander Van Dorn, Rudosa, Hollaphonic, DJs From Mars, GAWP, Somna, David Morales, Roxanne, JB & Scooba, Kissy Sell Out, Khag3, Massimo Vivona, Moullinex, Futuristic Polar Bears, ManyFew, Joe Stone, Reboot, Truncate, Scotty Boy, Doctor Nieman, DJ Ruby, Jody Wisternoff, Thousand Fingers, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Dirtmonkey, The Crystal Method, Beltek, Dyro, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more.   In addition to featuring international artists TDJS focuses on local talent based on the US West Coast. Hundreds of local DJ's have been featured on the show along with top industry professionals.   We have recently launched v3.1 our website that now features our current live streams/past episodes in a much more user-friendly mobile/social environment. In addition to the new site, there is a mobile app (Apple/Android) and VR Nightclubs (Oculus).   About The DJ Sessions Event Services -   TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed via live and archival viewing.   For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.

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

durée : 00:25:15 - REGIS PASQUIER 2 - Régis Pasquier passe son enfance à Fontainebleau. Ses parents sont alors professeurs à l'Académie Nadia Boulanger. Il évoque les grands pédagogues et personnalités qui ont jalonné son apprentissage de la musique, à commencer par Nadia Boulanger en classe d'harmonie.

We are delighted to welcome back Rob Cowan, who was our inaugural guest back in June. Rob and Paul discuss several recent historical boxsets that collect together recordings by three American émigré artists; pianist Andor Földes, conductor Antal Dorati and violinist Isaac Stern. www.prestomusic.com/classicalThe recordings discussed in this episode:Andor Foldes: Complete Deutsche Grammophon RecordingsEloquence - ELQ4841256https://www.prestomusic.com/classical/products/8797738--andor-foldes-complete-deutsche-grammophon-recordingsMozart, Schubert: SymphoniesLondon Symphony Orchestra, Hans Schmidt-Isserstedt, Walter Susskind, Antal DoratiEloquence - ELQ4840353https://www.prestomusic.com/classical/products/8813389--mozart-schubert-symphoniesThe Mozart & Haydn Recordings On Mercury LivingAntal DoratiEloquence - ELQ4840385https://www.prestomusic.com/classical/products/8813388--the-mozart-haydn-recordings-on-mercury-livingIsaac Stern - The Complete Columbia Analogue RecordingsSony - 19439724252https://www.prestomusic.com/classical/products/8793248--isaac-stern-the-complete-columbia-analogue-recordings

The work on this week's episode of the Phenomenal 50 is the Opus 56 Sonata for Two Violins by Sergei Prokofiev performed by Isaac Stern and Pinchas Zuckerman.

Today we have the privilege to talk with Miri Ben Ari, aka the Hip Hop Violinist, and probably one of the most famous and influential Israelis to hit the contemporary international music scene. Miri was born in Tel Aviv and where she grew up playing classical music since the age of 5. Her encounter with world renowned violinist Isaac Stern brought her towards the violin, and ever since then her romance with this instrument flourished. Following her military service in the IDF string quartet, she moved to New York to study jazz. She played gigs and worked hard and after some time it all paid off, when Jay-Z noticed her talent and invited her to play with him. She then went on to extraordinary accomplishments like playing with Wyclef at Carnegie hall, co-writing Jesus Walks with Kanye West (which got her the Grammy) and being featured in four tracks on his debut album, releasing her own debut album The Hip Hop Violinist, Performing on David Letterman's late night, performing for Barack and Michelle Obama at the White House and the list goes on and on and on. In addition to all that, Ben Ari has devoted her life to social causes. She is a UN ambassador of Music, and Her NGO Gedenk has set as its mission to educate American youth about the Holocaust. We are so honored to have Miri Ben Ari with us today.