Podcast appearances and mentions of israel philharmonic

Mark Bernat is a double bassist currently living in Austin, Texas. His groundbreaking recording and edition of the Six Bach Cello Suites were driving forces that led to their wider adoption in the double bass world. Mark studied at Juilliard and is a former member of the Israel Philharmonic, the Jerusalem Symphony, and the Seattle Symphony. He has taught at the Oberlin Conservatory, the University of Texas at Austin, and Emory University. In Austin, he formed the all-volunteer Red River Ensemble, which aims to bring music into high-stress hospital environments.   We dig into Mark's background, how his approach to practicing Bach has changed over the years, the remarkable accomplishments of his daughter Nina, and much more. Enjoy, and be sure to check out Mark's latest recording of all six Bach Cello Suites on YouTube, Spotify, and Apple Music!   Image credit: Photon Corral Photography   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Sivan Magen is an internationally acclaimed harpist. He has performed worldwide as a recitalist and soloist at Carnegie Hall and the Sydney Opera House and with the Israel Philharmonic, the Sydney Symphony and many other orchestras. He's an avid chamber musician too. His most recent recording won the 2023 Gramophone Award.My featured song in this episode is not one of mine. It's Mozart's Concerto for Flute and Harp, with Zubin Mehta conducting.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Sivan:www.sivanmagen.com—----------------------------------------ROBERT'S RECENT SINGLES:“ROUGH RIDER” is Robert's latest single. It's got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Valery Goldes is a recording artist, pianist, singer-songwriter, composer and a producer who grew up in Israel.  A child prodigy in classical piano, he has played with orchestras across Europe & Israel, including under the baton of Zubin Mehta with the Israel Philharmonic when he was only 13.  As a piano coach, Valery's passion has always been to share his music knowledge and experience with his students. He believes in being not only an instructor but a mentor to each of his students, many of whom are neurodiverse.

Josh Aronson is an Academy Award nominated movie and documentary filmmaker. His works include “Orchestra Of Exiles”, a brilliant documentary that tells the story of famed European violinist Bronislaw Huberman who, during WW II, was responsible for saving the lives of over 1,000 Jewish musicians and their families in the process of creating the Israel Philharmonic after the war. Josh has also created MTV videos, TV pilots and over 500 commercials. Plus, he's a concert pianist.My featured song is “The Rich Ones All Stars”, my recent single with my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with Josh:www.aronsonfilms.com—---------------------------------------ROBERT'S SINGLES:“LOVELY GIRLIE” is Robert's new single. It's a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

In Conversation begins a new year with a conductor whose passion for music is irrepressible. Australian born Daniel Smith is now based in Italy, and proudly bears the Italian honour of Australian Cultural Ambassador. Following his highly successful debut with The Mariinsky Orchestra, Daniel has guest conducted the Czech Philharmonic, London Philharmonic, Israel Philharmonic, Warsaw National Philharmonic, Frankfurt Radio Symphony, New Japan Philharmonic, amongst many others. Daniel shares stories of his hard fought career milestones, from cornering maestro Gianluigi Gelmetti in a Sydney Opera House lift to beg him to take him on as a student, to his breakthrough being the only conductor to be awarded Laureate in four of the most prestigious international conducting competitions in a single year. He speaks with great passion on his plans to share culture with as broad an audience as possible. Daniel Smith conducts The Barber of Seville for Opera Australia, which plays at the Sydney Opera House until 28 February.

Richard Wagner war nicht nur ein begabter Komponist, sondern auch ein gnadenloser Antisemit. In Israel ist er bis heute begreiflicherweise eine „Persona non grata“.

A life long lover of music,  Jennifer Ritvo Hughes found her calling as a college student sitting in the back of a concert hall.  A musician herself,  Jennifer was passionate about integrating her business savvy and love of music into a successful career supporting the arts.  Jennifer is CEO of American Friends of the Israel Philharmonic Orchestra overseeing their daily operations, fundraising efforts, community engagement, and promotion of the globally renowned Israel Philharmonic in the United States.  Jennifer received a master's degree in musicology from Brandeis University and has led a variety of performing arts organizations and initiatives, including Boston Bass Chorus. Cantata Singers and Wellesley College's first ever Arts at Wellesley initiative.     What You Will Hear in This Episode:  1:18 Jennifer's personal story 6:31 Greatest challenges 10:19 Lesson learned and work life balance 14:32 Challenges relative to gender and age 20:05 Confidence and courage as a young executive director 23:28 The role of the arts in cultural change   Quotes ”I really love bringing creativity to  the business side of things as much as the artistic side of things. And I think that when you are challenging yourself to be as creative as your counterparts on stage. That's when magic happens.” “Your strengths can also be your weaknesses if they're on overdrive.” “I don't think music is a universal language, but I think that music can communicate universally.  I think that music has that power to create a shared experience, a shared emotional response beyond language and to me, that is the essence of our shared humanity.”   Mentioned: American Friends of the Israel Philharmonic Instagram Facebook Youtube Boston Early Music Festival eConnect with Bonnie https://bonniemarcusleadership.com/ https://web.facebook.com/bonnie.marcus/  https://www.linkedin.com/in/bonniemarcus https://twitter.com/selfpromote https://www.instagram.com/self_promote_/ Gendered Ageism Survey Results Forbes article 5 Tips to own the superpower of your age IAMMusicGroup Purchase my book Not Done Yet on Amazon:  If you enjoyed this episode of Badass Women Podcast, then make sure to subscribe to the podcast and drop us a five-star review.

This week on the podcast is part two of our interview with acclaimed pianist and chamber musician, Alon Goldstein. His artistic vision and innovative programming have made him a favorite with audiences and critics alike throughout the United States and around the world. He made his orchestral debut at the age of 18 with the Israel Philharmonic under the baton of Zubin Mehta and has performed with renown orchestras and conductors ever since.  If you're interested in what it takes to be concert artist, from practicing, to programing to creating opportunities, you won't want to miss our interview with Alon Goldstein! https://www.alongoldstein.com/ and https://gpftrio.com/Alon invites us into his mindset when facing critiques and embarking on recording projects. Learn how he navigates the sea of opinions in the performing arts industry and his unique approach towards collaborating with labels and organizations. Alon underscores the importance of sharing ideas, listening to others, and making art more accessible.

This week on the podcast is part one of our interview with acclaimed pianist and chamber musician, Alon Goldstein. His artistic vision and innovative programming have made him a favorite with audiences and critics alike throughout the United States and around the world. He made his orchestral debut at the age of 18 with the Israel Philharmonic under the baton of Zubin Mehta and has performed with renown orchestras and conductors ever since.  If you're interested in what it takes to be concert artist, from practicing, to programing to creating opportunities, you won't want to miss our interview with Alon Goldstein! https://www.alongoldstein.com/ and https://gpftrio.com/Alon's inspiring journey embodies his unyielding commitment to his craft - a tenet that encourages going beyond the ordinary and giving it his absolute all. His unique philosophy of creating opportunities, rather than waiting for them to knock, is a powerful message for all aspiring artists and entrepreneurs in the arts.

Exciting episode today, as we have an international guest on the podcast today, interviewing Ilan Morgenstern! Ilan has experienced such a spectacular orchestral and solo playing career. He has subbed with numerous top orchestras across the United States and even overseas in Israel such as Israel Philharmonic, Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony, and many more. He has won many awards from internationally renowned competitions including the Jeju International Brass and Percussion Competition, Zellmer-Minnesota Orchestra Competition, and the National Repertory Orchestra's Concerto Competition. His official positions in the past include San Antonio Symphony, Houston Grand Opera Orchestra, Jacksonville Symphony, and Kansas City Symphony. Originally from Rehovot, Israel, Ilan has unique stories about his time growing up in Israel, how he eventually moved to the United States for his bachelor's and master's degrees, and continue through his progression as one of the top bass trombonists in North America up until his present day position in the Vancouver Symphony. -- Transition Music #1: Ballade for Bass Trombone Strings and Harp, Eric Ewazen, featuring Ilan Morgenstern, Rachel Ferris and the San Antonio Symphony Instagram: @8thposition @dbaldwin903 @_mehurst_

Synopsis Today marks the anniversary of the first performance of the best-known work of the Swiss-born American composer, Ernest Bloch, whose Hebrew rhapsody, —Schelomo, for cello and orchestra, premiered at Carnegie Hall on today's date in 1917. Schelomo is a meditation on the Book of Ecclesiastes, which describes King Solomon reflecting sadly on the vanity of human endeavor — Schelomo being the original Hebrew pronunciation of Solomon. Schelomo premiered just a year after Bloch came to the United States. In America, Bloch had found encouragement and remarkable acceptance of his music. His Schelomo was premiered at an all-Bloch concert at Carnegie Hall arranged by The Society of the Friends of Music with the Philadelphia orchestra's principal cellist Hans Kindler as soloist. Schelomo was originally written with the Russian cellist Serge Alexander Barjansky in mind, and was dedicated to him and his wife; but it was not until a concert in Rome in 1933, a fateful year for the Jews of Europe, that Bloch got to conduct the work with Barjansky as soloist. Despite his success in America, Bloch tried to resume his career in Europe in the 1930s, but, discouraged by the rise of anti-Semitism and threats of war, he returned to American for good in 1938. Music Played in Today's Program Ernest Bloch (1880 - 1959) Schelomo Mischa Maisky, cello; Israel Philharmonic; Leonard Bernstein, conductor. DG 427 347

Nina Bernat is the first prize winner at the 2019 International Society of Bassists Solo Competition and first and grand prize winner of the 2022 Minnesota Orchestra Young Artist Competition.    At the age of 19, she performed as guest principal of the Israel Philharmonic under Adrás Schiff and Osmo Vänskä and the New York Philharmonic under Gustavo Dudamel. As a recipient of the 2019 Keston MAX Fellowship, she performed with the London Symphony Orchestra on a subscription series concert at the Barbican Centre and in a chamber music concert for LSO Discovery Day at LSO St. Lukes.   We dig into her journey so far, what it was like having her dad as her teacher, the great Discover Double Bass interview she did with Geoff Chalmers, her father Mark Bernat's recent second recording of the Bach Cello Suites, and more.   Enjoy, and be sure to follow along with Nina on her website, Instagram, and YouTube!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsor!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   theme music by Eric Hochberg

Gene Porkorny has had a truly illustrious career as an orchestral musician. In Part 2 we talk about his many experiences with great orchestras of which he has been a member. Beginning with his joining the Israel Philharmonic at the age of 22, Gene talks about his learning curve, what it was like to work with different orchestras and their principal trumpet players, and the reasons why he will play different instruments for different composers and works.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!

Met vandaag: Covid cijfers; Netanyahu gaat vandaag regering aankondigen; hightech leiders waarschuwen Netanyahu; Israel Philharmonic speelde Hatikva in Abu Dhabi; stamcel doorbraak; uit EU-rapport blijkt 'alles voor Palestijnen' en veel meer nieuws uit Israël.

Hasidic rapper Nissim Black discusses collaborating with American Friends of the Israel Philharmonic for Chanukah and performing in Times Square for “Shine a Light,” a menorah lighting event intended to shine light on antisemitism, led by Jewish organizations including UJA whose Hindy Poupko comments.

Many people believe Gene Porkorny is the greatest orchestral tubist of his generation. A member of the Chicago Symphony Orchestra since 1989, he has also been a member of the Israel Philharmonic, the Utah Symphony, the St. Louis Symphony, and the Los Angeles Philharmonic. But in addition to his orchestral playing, Gene is an exceptional solo artist and chamber musician.As a young man Gene studied with many of the great brass players of our time. In Part 1 of our discussion, he talks about what he learned from each of his teachers (Jeff Reynolds, Roger Bobo, Larry Johanson, Tommy Johnson, and Arnold Jacobs and what made each of those teachers so special. He also talks about a concert in May of 1973 that changed the course of his life.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!

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Israel Philharmonic conductor Lahav Shani speaks with Jessica Steinberg for this week's Times Will Tell episode, ahead of the orchestra's nine-city tour in the US, beginning in November. The tour is the IPO's first since the start of the pandemic, and Shani's first as its artistic director. Shani, 33, is a world renowned pianist, double bass player and conductor, known for his skills as a musician and conductor as well as for the young age at which he's accomplished so much. The rising star also became the chief conductor of the Rotterdam Philharmonic Orchestra in September 2018 and the principal guest conductor of the Vienna Symphony Orchestra. Shani made his first appearance as a soloist with the Israel Philharmonic in 2007. Six years later, he conducted the debut concert of the Philharmonic's 2013 season. (That same year, he won the coveted top prize at Germany's Gustav Mahler International Conducting Competition.) He follows in the giant footsteps of the legendary Zubin Mehta, who led the IPO for nearly 50 years. Shani speaks about the challenges of following Mehta, about conducting his friends and colleagues, and the wonders of seeking new sounds and music. The following transcript has been very lightly edited. The Times of Israel: Tell us a little bit about this nine-city tour in the US, which is your first with the IPO since you just took over as musical director very recently.  Lahav Shani: Well, this is going to be the orchestra's very first tour since the pandemic, and that's a very serious thing for the Israel Philharmonic, because it's an orchestra that used to tour almost all the time relative to other orchestras. I toured with the orchestra before, but not as a conductor, as a pianist, or as a double bass player. On our tour to the Far East in 2010 is when I really got to know the orchestra in Japan, in South Korea, etc. That was also the very first time that I got the opportunity to conduct the orchestra. Wait, how old were you in 2010? I must have been 21. I went there as a double bass player and as a pianist soloist, and Zubin Mehta was still the music director, he just offered me to conduct the orchestra I had never heard. I had just started to study in Berlin the year before, and the musicians really wanted to see if I could really conduct. And so that was really the real beginning of my relationship with the orchestra as a conductor. So now, finally, to go on a real tour and be the music director, and in the US, in fantastic halls, that's a really special moment. You are the official conductor of the Israel Philharmonic. You're also the chief conductor of the Rotterdam Philharmonic. How does that actually work in real-time?  Well, conductors usually hardly see their own home, unfortunately, that's one of the biggest sacrifices one has to make in this profession. There are 52 weeks in a year, about nine of them I do in Israel, about eight or nine in Rotterdam, and a couple of weeks more with each orchestra on tour. And then the rest of the time, there's a little bit of piano playing. You still have your solo career, you still perform as a pianist, right? I play and conduct. I play chamber music with musicians from my orchestras and with soloists, at festivals, And I also like to enjoy my free time every once in a while. But then I go to Israel, now, for example, to rehearse with the orchestra for concerts in Israel. And then after we've done all the concerts, then we would have a few days to just refresh the repertoire that we're going to take on tour. Because we have played this repertoire before, so it's not like starting from scratch for us. So there's a lot of discussion, of course, about your youth, your age, you're in your early thirties if I'm not mistaken. Yes. You're the first IPO musical director to be born in Israel, and dealing with this challenge of aging audiences. What does it mean in terms of the Philharmonic repertoire? Everything has to be looked at in the right context. First of all, we're just stepping out of these two years of pandemic everywhere in the world, during which classical music suffered. Taking that into account, the Israel Philharmonic is really blessed with one of the best audiences in the world, and we're already selling out concerts again in Tel Aviv, Jerusalem, and Haifa. This is really a blessing because it's not the same situation everywhere in the world. And our public is really loyal, there are great music lovers in Israel. The orchestra sometimes repeats the same program five, six, even seven times so that our entire Israeli public can hear the concert. So you're repeating it so that everyone can make it to the same repertoire. Exactly. So about three times in Tel Aviv, two times in Haifa, one time in Jerusalem. That's just to play for all of our subscribers. The problem of the age of the audience has been an ongoing thing for decades. Classical music was always something that the younger people didn't find interesting. The important thing for me is that anyone who has any curiosity for music shouldn't be afraid to come and try it out and not to think that if they don't know enough, then they cannot enjoy it. The idea is that you first need the curiosity, and the music will just take you over if you're really interested, if you allow it, and if you become an active listener. You took over for Zubin Mehta, and I can't imagine what that's like, to follow in those footsteps.  First of all, it's a big honor, no question. Zubin Mehta is, I would say, one of my mentors, one of the musicians that really inspired me to become a conductor in the first place. I've played with him many times in the orchestra, as a double bass player. I played with him as a soloist pianist. I went on tours with him, with the orchestra. So there's a real feeling of being almost colleagues, even when I was much younger. My relationship with the orchestra has been shaped for many years. So it's not like I just came out of nowhere. They kept inviting me back every year as a [guest] conductor, and as a pianist. They liked you? Yeah, they liked me. I liked them. Many of the young musicians in the orchestra are people my age, these are people that I know since childhood. When they named me musical director, it was not the beginning of a relationship, but rather a continuation. It actually feels very natural and very much the right thing to do, and very comfortable. We're very direct with each other, as Israelis are in general. I often get the question, how do you deal with people older than you? Or how do you deal with people who are your friends, and you are supposed to lead them and tell them what to do. This relationship is so clear and direct and natural that I feel very comfortable with all of the musicians, and I feel that they're happy to go together with me and explore everything. What about your multifaceted career? You're a conductor, a solo pianist, a double bass player. What is that like to be both a performer, a musician, and the one who is guiding the whole show? Well, at the end, it's the same thing. Making music is making music. However, the big difference between conducting and playing an instrument yourself is that when you conduct, you're always dependent on other people. You have your musical ideas, but you can move your hands as fast as you want or as loud as you can. It doesn't make any sound. It's other people that have to like what you do. They have to agree with you. You have to convince them, and then they might play as you think they should. And when you play the piano, it's just you and the keyboard, and that's it. And if you're in good shape and if you practice, there's a good chance that you might be able to make the sound that you imagine. So also, it's very healthy, in a way, as a conductor, to keep this physical contact with the sound, not to forget what it means for the musicians to make those sounds. It's not just that they do what you want and they do what you tell them. They are the ones who express themselves, and they're the ones who make the sound and try their best. So this is really a collaboration in the end. But if you really play an instrument often, then you don't lose this feeling and you don't lose the feeling of what it means to make sound for other people. I like that explanation. And then, given the fact that you have two different orchestras that you work so closely, what is that like in terms of what you produce? Is there ever any overlap? Well, any piece that I take for any orchestra, not just for my orchestra, but also when I'm a guest conductor, it is going to be different than other orchestras. And the rehearsal process, a lot of it is improvisation. You have an ideal way, let's say, in your mind, and the orchestra does something that may be slightly different than your idea, even though they see your body language and you're clear [about your intent], they have their tendencies or their habits, or they want to do something else. And then as a leader, you need to ask yourself the question often, should I just take what I have right now? Is it good enough? Is it better than what I thought? Or is it very far away? You try to stay as objective as you can, also as a conductor, because if you tell the musician in the orchestra, can you play it like that and not another way, there is a very good chance they will ask, why is your way better than mine? And it's a very fair question. So you must be able to convince the musicians why they should play one way or another. Or if you like what they do, also just say, actually I like that better than my idea. Think about film directors, for example. Most likely, they have a very clear vision, a very clear image of the entire film in their mind. But then they're facing these world-class actors. And the actors, sometimes they have their way to say the lines. So there must be very good communication between the director and the actor so that the actor is able to say things as he understands or as she understands, with their subtext. And if the director feels this could work well, then they should let it happen. And if not, they need to be able to guide them in another way. It's exactly the same kind of communication. I like that metaphor. Okay, last question. You obviously have many new beginnings happening in the next month and year, but what are one or two things that you're looking to bring to your plate this year? Well, repertoire is something that we determine one, two, sometimes three years before we actually play it. Sometimes it's a bit annoying because if there is something you really, really want to perform but maybe in three years, you won't like it anymore. Who knows? I want to continue and deepen the relationship with my orchestras. It's true that this relationship goes years back, but as music director, this is just going to be my second official season because my first season had to be delayed during the pandemic. So it's really about deepening these relationships and keep exploring different territories of the repertoire together and keep discovering our sound. The combination of a conductor and an orchestra needs to bring something unique, something that is different, and this is something that is to be discovered. It's not that I can imagine to the last note in my mind and the orchestra has to do exactly what I imagine. This is a process that we need to really understand each other better so that we're completely free to express the music and focus on the music itself and stay in the flow and in communicating it with the public. Times Will Tell podcasts are available for download on iTunes, TuneIn, Pocket Casts, Stitcher, PlayerFM or wherever you get your podcasts. IMAGE: Lahav Shani, artistic director and chief conductor of the Israel Philharmonic, which will head to the US in November 2022 for its first US tour post-pandemic (Courtesy IPO)See omnystudio.com/listener for privacy information.

The Cello Sherpa Podcast Host, Joel Dallow, interviews Matt Haimovitz, Associate Professor of Cello at McGill University's Schulich School of Music in Montreal. We talk about what it was like to make his debut at the age of 13 as soloist with Zubin Mehta and the Israel Philharmonic, and his incredible journey to where he is today. For more information on Matt, his recordings, and record label, check out https://oxingalerecords.com/catalogue/ If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on twitter and instagram @theCello Sherpa

The Left's War Against Beauty and Classical Music (feat. Andrew Balio) In Today's episode of "Moment of Truth," Saurabh and Emma sit down with Andrew Balio, founder of The Future Symphony Institute and Principal Trumpet of the Baltimore Symphony Orchestra, to discuss the left's war against all things good and beautiful in western culture ranging from morals, to religious values, and even classical music.Wisconsin native Andrew Balio was appointed as Principal Trumpet of the Baltimore Symphony Orchestra in 2001 by Yuri Temirkanov. He recently served as principal trumpet of the Oslo Philharmonic concurrently with his BSO duties in 2014/15. In 2019, he was guest principal trumpet of the Chicago Symphony and in 2020, the Hong Kong Philharmonic. Prior to his arrival in Baltimore, he had been principal trumpet of the Israel Philharmonic under Zubin Mehta since 1994 and the Orquesta Sinfonica del Estado de Mexico since 1990, as well as the Boston Philharmonic. His solo debut was at age 15 with the Milwaukee Symphony playing the Haydn Concerto. His teachers included Charles Schlueter, Adolph Herseth, Roger Voisin and Gene Young.In 2014, he launched The Future Symphony Institute, an online think tank to examine the complexities of making symphony orchestras financially viable while preserving their artistic mission. Learn more about Andrew Balio's work:https://music.catholic.edu/faculty-and-research/faculty-profiles/balio-andrew/index.htmlhttps://www.bsomusic.org/musicians/musician/andrew-balio/––––––Follow American Moment across Social Media:Twitter – https://twitter.com/AmMomentOrgFacebook – https://www.facebook.com/AmMomentOrgInstagram – https://www.instagram.com/ammomentorg/YouTube – https://www.youtube.com/channel/UC4qmB5DeiFxt53ZPZiW4TcgRumble – https://rumble.com/c/c-695775Check out AmCanon:https://www.americanmoment.org/amcanon/Subscribe to our Podcast, "Moment of Truth"Apple Podcasts – https://podcasts.apple.com/us/podcast/moment-of-truth/id1555257529Spotify – https://open.spotify.com/show/5ATl0x7nKDX0vVoGrGNhAjiHeart Radio – https://www.iheart.com/podcast/269-moment-of-truth-77884750/ Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Throughout his career, Benjamin Zander has developed a human and transformative approach to making and teaching music. The orchestra is a group of highly trained individuals poised to coalesce into an effective whole. Passion, creativity, and the desire to contribute are basic human instincts. ​In this new model of leadership, the conductor sees his job as awakening possibilities in others. Zander has traveled the world lecturing to organizations on leadership. He has appeared as a keynote speaker at the World Economic Forum in Davos, where he was presented with the Crystal Award for “Outstanding Contributions in the Arts and International Relations.” His best-selling book, The Art of Possibility, co-authored with leading psychotherapist Rosamund Zander, has been translated into seventeen languages. Zander has established an international reputation as a guest conductor. He has conducted orchestras as diverse as the Israel Philharmonic, Bournemouth Symphony, the Scottish and Irish National Orchestras, the St. Petersburg Philharmonic, the Malaysian Symphony, the St. Louis Symphony Orchestra, the Toronto Symphony Orchestra, and the National Youth Orchestras of New Zealand, Australia and Venezuela.   Show Notes: https://www.benjaminzanderspeaker.com/ https://www.benjaminzanderspeaker.com/about.html

In this episode of Change It Up Radio, Nancy Laturno joins me to talk about finding resilience in the face of adversity and the healing power of music.   Nancy is the CEO of Mainly Mozart, whose famed festival boasts top-level players from the world's greatest orchestras including the New York Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Israel Philharmonic, and dozens more.   For over 30 years, the Mainly Mozart All-Star Orchestra has been home to the largest gathering of Concertmasters and Principal Players in the United States, but when the COVID-19 pandemic hit and quarantine protocols were put in place, they quickly had to learn how to adapt to all of these new changes.   Nancy shares how rather than taking a hiatus when all of the orchestras in the world were sitting quiet, Mainly Mozart found a way to keep the music alive and get these sidelined artists back on stage, and they made history as the first arts organization to perform live classical music in front of live audiences since quarantine began.   To Learn More About the Show, Visit: www.ChangeItUpRadio.com

Synopsis The Grove Dictionary of Music defines the word “aleatory” as follows: “music whose composition and/or performance is, to a greater or lesser extent, undetermined by the composer.” But isn't music supposed to be organized, planned, determined sound? Isn't “aleatoric music” a contradiction in terms? Well, not necessarily. Musicians throughout the ages have delighted in spontaneous, improvised sound, or musical games in which the results will be different with each performance. In the 20th century, American composers like Charles Ives and Henry Cowell often gave performers a great deal of freedom in the realization of their scores, and John Cage developed what he called “chance operations” into an art form all its own. On September 13, 1986, at Avery Fisher Hall in New York City, Leonard Bernstein conducted the Israel Philharmonic in the premiere of his new Concerto for Orchestra subtitled “Jubilee Games,” which incorporates some aleatoric elements. Bernstein explained, “Its first movement is musical athletics, with cheers and all. It is also charades, anagrams, and children's counting games… therefore aleatoric, ranging from structured improvisation to totally free orchestral invention. It is thus inevitable that the movement will vary considerably from one performance to another, and even one rehearsal to another.” Music Played in Today's Program Leonard Bernstein (1900 –1990) Concerto for Orchestra (Jubilee Games) (Israel Philharmonic; Leonard Bernstein, cond.) DG 429 231 On This Day Births 1819 - German pianist, teacher and composer Clara Schumann (née Wieck), in Leipzig; 1874 - Austrian composer Arnold Schoenberg, in Vienna; 1917 - American composer Robert Ward, in Cleveland; 1924 - French film composer Maurice Jarre, in Lyons; He won an Academy Award in 1965 for his "Dr. Zhivago" film score; Deaths 1894 - French composer Emmanuel Chabrier, age 53, in Paris; 1977 - English-born American conductor, arranger and new music patron, Leopold Stokowski, age 95, in Nether Wallop, Hampshire (England); 1985 - French-born American composer, painter and mystical philosopher Dane Rudhyar, age 90, in San Francisco; Premieres 1948 - Cyril Scott: Oboe Concerto, at Royal Albert Hall in London; 1956 - Stravinsky: "Canticum sacrum ad honorem Sancti Marci nomiminis," at St. Mark's in Venice, with the composer conducting; 1967 - Copland: "Inscape" for Orchestra (commissioned by the New York Philharmonic for its 125th Anniversary Year), at Hill Auditorium in Ann Arbor, Michigan, by the New York Philharmonic conducted by Leonard Bernstein; 1986 - Bernstein: Concerto for Orchestra ("Jubilee Games"), at Avery Fisher Hall in New York, by the Israel Philharmonic with composer conducting. Links and Resources On Leonard Bernstein

It's not every day that the Israel Philharmonic performs private birthday concerts from the stage of the Charles Bronfman Auditorium in Tel Aviv. But if you happen to be Charles Bronfman—and it's your 90th birthday, which it was on June 27, 2021—and you've got your name on the building because you were the main donor when the cultural centre was renovated—then you get Schubert, Brahms, balloons and surprise video greetings from Zubin Mehta, Itzhak Perlman and the new incoming president of the State of Israel, Isaac Herzog. Bronfman is a Canadian billionaire, philanthropist and recipient of the Order of Canada, among numerous other accolades. If don't know his name, you might at least know of Birthright, the international program that offers free trips to Israel for young Jews. He's the co-founder. Although Bronfman's goals have long been to help young Jews fall in love with Israel and embrace their Judaism, he sees a rise in anti-Semitism that makes it hard for young Jews to do that. The current conflict in the Middle East isn't helping matters. On today's episode, Bronfman joins for an in-depth interview about his new venture, called the Jewish Peoplehood Alliance, as well as his views on Israeli politics, Donald Trump, the Montreal Canadiens' odds at winning the Stanley Cup and how negotiations are going to bring a baseball team back to Montreal. What we talked about: Watch the Israel Philharmonic's "Concert in Denim", honouring Charles Bronfman's 90th birthday, on YouTube Read: "Charles Bronfman warns of 'rift' between diaspora and Israel" (cjnews.com) Learn about Bronfman's work at thecharlesbronfmanprize.org The CJN Daily is written and hosted by Ellin Bessner (@ebessner on Twitter). Victoria Redden is the producer. Michael Fraiman is the executive producer. Our theme music is by Dov Beck-Levine. Our title sponsor is Metropia. Find more great Jewish podcasts at thecjn.ca.

Having recently performed at the Hollywood Bowl with the LA Phil and Gustavo Dudamel, pianist David Fung joins us on the Classical Post Podcast for an intriguing conversation highlighting his design and style aesthetics. He speaks on the wabi-sabi approach to minimalism and a dream house of raw material. Plus, hear if he prefers to spend a day in Biden or Rhianna's shoes. Listen and subscribe on Apple Podcasts, Spotify, Google Podcasts, or other platforms. HIGHLIGHTS FROM OUR DISCUSSION Favorite cocktail: Manhattan with Luxardo cherries Style icons/movements: Marie Kondo, minimalism, wabi-sabi (finding beauty in imperfection) Architecture preference: Mid-century modern, Frank Lloyd Wright Dream aesthetic: Raw material, austerity, massive space Fashion: Issey Miyake, Cartier, Dior, Uniqlo Recommended products: Aesop Whose shoes would you walk in for a day? Toss up between Biden or Rhianna What does success mean to you? Success is being able to do what you love on a day-to-day basis and being able to share this. What's one important trait in the workplace? A simpatico professional environment is very valuable. Learn more: davidfung.com, Instagram, Facebook Praised for his “ravishing and simply gorgeous” performances in The Washington Post, pianist David Fung is widely recognized for interpretations that are elegant and refined, yet intensely poetic and uncommonly expressive. Declared a Rising Star in BBC Music Magazine, Mr. Fung regularly appears with the world's premier ensembles including the Cleveland Orchestra, the Detroit Symphony, the Israel Philharmonic, the Los Angeles Philharmonic, the National Orchestra of Belgium, the San Diego Symphony, and the San Francisco Symphony, as well as the major orchestras in his native country of Australia, including the Melbourne Symphony, the Queensland Symphony, and the Sydney Symphony. Mr. Fung garnered international attention as laureate of the Queen Elisabeth International Music Competition in Brussels and the Arthur Rubinstein Piano International Masters Competition in Tel Aviv. In Tel Aviv, he was further distinguished by the Chamber Music and Mozart Prizes, awarded in areas in which Mr. Fung has a passionate interest. Mr. Fung is the first piano graduate of the Colburn Conservatory in Los Angeles and is a Steinway Artist. -- Classical Post explores the intersection of classical music, style, and wellness, diving into meaningful conversations with leading artists from an array of different backgrounds. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive articles or subscribe to our monthly newsletter to be notified of new content.

Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf Mould, Bob. “Silver Age.” Silver Age. Merge Records, 2012. Vinyl. LP. Hart, Grant. “So Far From Heaven.” The Argument. Domino Records, 2013. Vinyl. LP. Hart, Grant. “Letting Me Out.” The Argument. Domino Records, 2013. Vinyl. LP. Hüsker Dü. “Let's Go Die.” Everything Falls Apart and More, Rhino Records, 1983/1993. CD. LP. Strayhorn, Billy. “Allah-Bye.” The Collector's Duke Ellington. The Franklin Mint Record Society, 1979. Vinyl. 2LP Tegan & Sara. “Living Room.” If It Was You. Universal Music, 2002. CD. LP. Chopin, Frederic. Concerto No.2 For Piano & orchestra - III - Allegro Vivace.  Perf. Israel Philharmonic orchestra. Cond. Zubin Metha. Murray Perahia - Piano. Sony Classical, 1990. CD. LP. Los Crudos. “La Madres Lloran.” Discografia, Maximum Rocknroll, 2018. Vinyl. LP. Los Crudos. “A Los Inseguros.” Discografia, Maximum Rocknroll, 2018. Vinyl. LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

Music as a Cultural Unifier and a Catalyst for Social Change

"When I hear Beethoven, I feel like he's reading my mind, reading my soul. It's impossible to comprehend. I compare Beethoven to someone like Da Vinci. Similar level of genius. His music is one of the great treasures we have." On today's program, cellist Pablo Ferrández is here. A colleague of Daniel on stage and a friend offstage, they have a lot talk about when it comes to cello, music, and music's role in modern life. But this is not a conversation where two musicians talk shop. Quite to the contrary-- it's a conversation with appeal to the general public, to even the most casual of listeners or someone with just a passing interest in music. Great music shapes us, it colors every aspect of our lives, it makes itself relevant and indispensable just by virtue of it existing. So where do we turn in these pandemic times when we need music the most? What do musicians do? Why does Beethoven mean so much, so long after his death? Is "relevance" an escape word-- a myth?-- people use when they don't want to fully confront a great work of art? Prizewinner at the XV International Tchaikovsky Competition and SONY Classical exclusive artist, Pablo Ferrández announces himself as a musician of stature. A captivating performer, “Ferrández has the lot: technique, mettle, spirit, authority as a soloist, expressivity and charm” (El Pais). Recent highlights include the debuts at the Hollywood Bowl with Los Angeles Philharmonic under G.Dudamel, with Bayersichen Rundfunk Symphony Orchestra under D. Gatti, with Bamberg Symphony under C. Eschenbach, performances of Brahms Double Concerto and Beethoven Triple Concerto with Anne-Sophie Mutter, and appearances with the London Philharmonic, Israel Philharmonic, Rotterdam Philharmonic, Vienna Symphony, and Orchestre National de France, among others. The 20/21 season will bring the debuts with Filarmonica della Scala under R. Chailly, Mahler Chamber Orchestra under D. Gatti, Salzburg Mozarteum Orchestra, Philharmonia Orchestra, BBC Scottish Symphony, RTE National Symphony Orchestra, Festival Strings Luzern, Orchestra de la Svizzera Italiana, Moscow State Symphony Orchestra and returns with the Dusseldorf Symphony at the Elbphilharmonie, Orchestra Sinfonica Nationale RAI, St. Petersburg Philharmonic, Spanish National Orchestra, RTVE Orchestra, Orquesta Sinfónica de les Illes Balears and the Basque National Orchestra. He will also be Artist-in-residence at the Tenerife Symphony Orchestra. As a recitalist and chamber musician, he frequently collaborates with such artists as Vadim Repin, Martha Argerich, Gidon Kremer, Yuja Wang, Nikolay Lugansky, Khatia Buniatishvili, Beatrice Rana, Denis Kozhukhin, Maxim Rysanov, Ray Chen, Alice Sara Ott, Elena Bashkirova, Luis del Valle and Sara Ferrández. Born in Madrid in 1991, in a family of musicians, Pablo Ferrández joined the prestigious Escuela Superior de Música Reina Sofía when he was 13 to study with Natalia Shakhovskaya. After that he completed his studies at the Kronberg Academy with Frans Helmerson and became scholar of the Anne-Sophie Mutter Foundation. Mr. Ferrández plays the Stradivarius “Lord Aylesford” (1696) thanks to the Nippon Music Foundation. ----------------- talkingbeats.com Please consider supporting Talking Beats with Daniel Lelchuk via our Patreon: patreon.com/talkingbeats In addition to early episode access, bonus episodes, and other benefits, you will contribute to us being able to present the highest quality substantive, long-form interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever.

New episodes Tuesday and Friday. A conversation with Danielle Ames Spivak, CEO of American Friends of the Israel Philharmonic. How do we manage our lives during the Coronavirus crisis? How do we keep our sanity? How do we use this quarantine to bring out the best in ourselves? Tune in and share your stories with podcast@jewishjournal.com. Follow David Suissa on Facebook, Twitter and Instagram.

In this, the penultimate episode of this series, the boys take a trip to Renaissance Italy in pursuit of the abbess-composer Eleonora d'Este. Sam reviews Silhouettes, the latest disc from viola-piano duo Dana Zemtsov and Anna Fedorova, and Tim chats to violinist Jennifer Pike about Elgar, Vaughan Williams and Polish cuisine.Alex Aldren sings on the wards: https://youtu.be/_j5rmoI1750Olivia Giovetti on opera and blackface: https://van-us.atavist.com/color-blindHelen Mirrren introduced the Israel Philharmonic: https://youtu.be/Ib3O-9Sp6ssLaura Volpi interviews dr Laurie Stras: https://bachtrack.com/interview-laurie-stras-renaissance-music-choral-march-2019Tête à tête opera festival: https://www.tete-a-tete.org.uk/festival/2020-festival-whats-on/Sky Orchestra: http://www.skyorchestra.co.uk/Music Credits: ‘Tim and Sam's Podcast' written and performed by Harry Sever 'O beate Christi confessor' by (possibly) Leonora d'Este, performed by Musica Secreta Rebecca Clarke's Sonata for Viola, Mov. 1, performed by Dana Zemtsov and Anna Fedorova Elgar's Violin Sonata, Mov. 1, performed by Jennifer Pike and Martin Roscoe Vaughan Williams's The Lark Ascending, performed by Jennifer Pike and Martin RoscoeFollow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

New episodes Monday, Wednesday and Friday. A commentary on the cyberattack against the Israel Philharmonic virtual global concert that took place on Sunday. How do we manage our lives during the Coronavirus crisis? How do we keep our sanity? How do we use this quarantine to bring out the best in ourselves? Tune in every day and share your stories with podcast@jewishjournal.com. Follow David Suissa on Facebook, Twitter and Instagram. 

Il 26 dicembre 1936 ha luogo il primo concerto della Israel Philharmonic Orchestra a Tel Aviv. Massimo Acanfora Torrefranca lo racconta a WikiMusic

We'll be joined from NY by Filmmaker, Josh Aronson, to discuss his documentary that is about to be released, "To Be of Service," about veterans with PTSD who have found their Service Dog to be a mode of treatment that profoundly helps them return to a life of feeling and love. A member of the Director's Guild of America, Aronson has won numerous awards for his work including: Academy Award nomination, Time Life Freddy Award, Best Film Heartland Film Festival, Best Documentary, St. Louis Film Festival, Golden Spire, San Francisco Film Festival and more. Aronson and his wife, violinist, Maria Bachmann, founded Telluride Musicfest, a chamber music festival in Tellur which is in it's 15th year. Producer/Director/Writer, Josh Aronson specializes in documentaries. He directed the Oscar- nominated "Sound & Fury" followed by films about transsexuals for Showtime - "The Opposite Sex" and "Beautiful Daughters." He explored the American rodeo culture in the feature documentary, "Bullrider."  Aronson has made a number of music films for PBS  including "Feelin' No Pain" about the world of Doo Wop, and "Playing for Real" about building careers in the cut throat world of classical music. He made the Holocaust era "Orchestra of Exiles," about the dramatic founding of the orchestra that became the Israel Philharmonic. Aronson is the founder of Harmony Project Hudson, an after school music education program for at-risk kids in Hudson, NY. Art will talk about The Backstage, and More!

We'll be joined from NY by Filmmaker, Josh Aronson, to discuss his documentary that is about to be released, "To Be of Service," about veterans with PTSD who have found their Service Dog to be a mode of treatment that profoundly helps them return to a life of feeling and love. A member of the Director's Guild of America, Aronson has won numerous awards for his work including: Academy Award nomination, Time Life Freddy Award, Best Film Heartland Film Festival, Best Documentary, St. Louis Film Festival, Golden Spire, San Francisco Film Festival and more. Aronson and his wife, violinist, Maria Bachmann, founded Telluride Musicfest, a chamber music festival in Tellur which is in it's 15th year. Producer/Director/Writer, Josh Aronson specializes in documentaries. He directed the Oscar- nominated "Sound & Fury" followed by films about transsexuals for Showtime - "The Opposite Sex" and "Beautiful Daughters." He explored the American rodeo culture in the feature documentary, "Bullrider."  Aronson has made a number of music films for PBS  including "Feelin' No Pain" about the world of Doo Wop, and "Playing for Real" about building careers in the cut throat world of classical music. He made the Holocaust era "Orchestra of Exiles," about the dramatic founding of the orchestra that became the Israel Philharmonic. Aronson is the founder of Harmony Project Hudson, an after school music education program for at-risk kids in Hudson, NY. Art will talk about The BAckstage, and More!    

2020 is Beethoven Year - he was born 250th years ago, in 1770 – and the record industry is lining up a vast number of releases in celebration. Berlin-based Deutsche Grammophon, not surprisingly, is spearheading the campaign with a huge Beethoven Edition and one of the earliest releses is a new set of the five piano concertos. The young Polish-Canadian pianist, Jan Lisiecki, joined the Academy of St Martin in the Fields for a tour which ended up in Berlin with a live recording. Lisiecki spoke to James Jolly at the Jurmula Festival in Latvia – where Jan was playing the Fourth Concerto with the Israel Philharmonic and Zubin Mehta, and he explained how this project came about and how the Fourth Concerto occupies a special place in his musical affections and career. 

TBJ113: Rebecca Cherian on encouraging young women players, the importance of allies and the Bernstein Bounce. Rebecca Cherian is Co-Principal Trombone of the Pittsburgh Symphony. From her bio: Rebecca Cherian was awarded the position of co-principal trombone of the Pittsburgh Symphony Orchestra by Lorin Maazel in 1989. She has been trombone instructor at Carnegie Mellon University since 1993. Cherian was a founding member of the International Women’s Brass Conference in 1994 and served as the IWBC Newsletter Editor for five years.  As a California native, Cherian began her professional career at the age of 16 as trombonist with the San Jose Symphony under the direction of George Cleve. At the age of 17, she appeared as a soloist with the San Francisco Symphony as a result of winning First Prize in their Young Musicians’ Awards. Cherian earned her Bachelor of Music Degree from the California Institute of the Arts and her Master of Music Degree from the Yale School of Music. While in school she was awarded First Place in the Atwater Kent Brass Competition and Outstanding Chamber Music Performer at Yale. She studied with Miles Anderson, Robert Szabo, and John Swallow. Before becoming a member of the Pittsburgh Symphony Orchestra, Cherian held positions of principal trombone with the Springfield Symphony in Massachusetts and the Rhode Island Philharmonic. She was trombone instructor at the University of Connecticut in Storrs, the Hartt School of Music and Wesleyan University. As a freelance artist, she toured with the Israel Philharmonic under the Direction of Leonard Bernstein, performed with the Boston Opera, New York City Ballet, Hartford, New Haven, and Vermont Symphonies and Goodspeed Opera House. In September 1993, Cherian enjoyed the honor of performing at the White House in Washington, D.C. as part of a 15-woman ensemble of brass and percussion players for the opening reception of the Annual International Women’s Forum. The group performed the world premiere of Joan Tower’s fanfare, Celebration, which was dedicated to Hillary Clinton. Cherian appears regularly as a soloist and master class Clinician at the IWBC. Cherian released her second solo CD, “L’Invitation au Voyage,” in 2015. Both her first CD, “Water Awakening,” and “L’Invitation au Voyage.” are available through cdbaby.com or amazon.com. She can also be heard on “From the Back Row,” a recording on Albany Records of the Low Brass Section of the Pittsburgh Symphony and numerous recordings of the Pittsburgh Symphony Orchestra under the direction of Lorin Maazel, Mariss Jansons and Manfred Honeck. In this fun and lively discussion, we cover: The dramatic Rebecca/Becky controversy Playing with the PSO The recent PSO concert at Lincoln Center in NYC Technical difficulties Becky still has a home phone (thankfully!)! The state of the PSO How social media played a part in getting the word out about the PSO player's positions Her first gig was in San Antonio Symphony at 16 years of age Losing her slide story Women in the career field, how things have changed and what work there still is to do The importance of building allies in a group How to coach and encourage young women players (and the men too!) Diversity issues in general Picking the instrument in school, despite trombone not being a "girl's" instrument Soloing with the San Francisco Symphony at 17 Lance's monumental frack  Playing under Bernstein with the Isreal Philharmonic on tour in Mexico and Texas (and learning Rite of Spring and bass trumpet in one day) Meeting Bernstein Bernstein falling off the podium (and bouncing back), AKA the "Bernstein Bounce" Herp Alpert Playing at the White House Links: PSO Bio CMU Bio Shires Trombone Artist Page Becky's CD Baby store From the Back Row CD (with the PSO low brass section) Want to help the show? Here are some ways: Help others find the show by leaving a rating and review on iTunes. Show us some love on Instagram, Facebook, and Twitter. Help us pay the bills (and get regular bonus episodes!) by becoming a Patreon patron. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Laura Melnicoff is a cellist, classically trained at the conservatories of New York City, and holds a Masters in Cello Performance from Tel Aviv University. Her performances have included the stages of Carnegie Hall, the Women’s International Convention for Chabad Emissaries, tours in Europe and Israel, and an internship with the Israel Philharmonic. https://www.facebook.com/LauraMelnicoffCellist/ Concerto in B Minor by Antonin Dvorak: https://www.youtube.com/watch?v=0LB8ImR3j7w Suite for Solo Cello, Gaspar Cassadó: https://www.youtube.com/watch?v=ll8qq1jRFdI https://www.soundheightsrecords.com

How Great Leaders Inspire Unpredictable Brilliance? Itay Talgam sees himself as a disciple of his great teacher, Leonard Bernstein, and has conducted many orchestras around the world, including the St. Petersburg Philharmonic, the Israel Philharmonic, and the Leipzig Opera House. Talgam now teaches leadership to Fortune 500 companies, nonprofits and universities, and at conferences around the world, including TED, Google’s Zeitgeist, and the World Economic Forum at Davos. He also founded the Maestro Program, to help everyday people develop a musician's collaboration and a conductor's leadership. 5x15 brings together five outstanding individuals to tell of their lives, passions and inspirations. There are only two rules - no scripts and only 15 minutes each. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories

I had such a great time spending a week with Diego at Andrés Martin’s bass festival this fall.  Diego is one of the most inspiring double bassists I know, and he's doing great things for the double bass both in Spain and in his home country of Uruguay. About Diego Zecharies: Diego Zecharies is a highly dedicated professional musician who has mastered his art globally, branching out as recording artist, professor, soloist, principal bass, producer and pedagogue, born in Montevideo Uruguay, nowadays based in Spain. Diego began his studies in his hometown, continues in Jerusalem and graduated with the highest qualification in the ÜdK Berlin (University of Arts Berlin) under the guidance of Prof. Rainer Zepperitz, Prof. Klaus Stoll and violin Prof. Ilan Gronich. During his studies, Diego performed as a principal bass at the Mahler Jugend Orchester, the Junge Deutsche Philharmonie and the Jeunesses Musicales World Orchestra. He won the Friczay Stipendium at Deutsche Symphonie Orchester Berlin and played as a substitute with the Rundfunk Symphonie-Orchester Berlin. Diego served as Principal Bass position in The Mahler Chamber Orchestra, the bandArt Orchestra, Brandenburg Symphoniker, Philharmonie Potsdam, and Sinfonica di Milano. He also is assiduously invited as Principal Bass at the Orchestra della Svizzera Italiana (Lugano, Switzerland); the Ensemble Les-Dissonances (Paris) with violinist David Grimal; collaborated with the the Israel Philharmonic; the Jerusalem Chamber Orchestra and the Luzern Festival Orchestra, recording together with Maestro Abbado many concerts for ARTE and for the Deutsche Grammophone. Diego played chamber music concerts with Emmanuel Ax, Christian Zacharias and Elizabeth Leonskaya, symphonic concerts with world-class conductors such as Mehta, Maazel, Abbado, Nagano, Ashkenazy, Temirkanov, Pappano, Sinopoli, Ozawa, Welzer Möst and soloists such as Yo-Yo Ma, Yuri Bashmet, Anna Sophie Mutter, F.P. Zimmerman, Martha Argerich, Alfred Brendel, Maurizio Pollini, Gordan Nikolic and others, always as Principal Bass. Diego is Principal Solo Bass in Galicia Symphony Orchestra from the year 2002. Renowned as a very active and passionate soloist, Diego’s research has brought him to perform some world-premiere material including entire unaccompanied Double Bass recitals, like at the BASS EUROPE Convention in Amsterdam 2014 and ISB World Convention 2015 in Denver (U.S.A) with great appreciation both critics and public. Diego appeared as soloist with: the Chamber Orchestra of Galicia Symphony; the Camerata of the Ministry of Education and Culture of Montevideo; the Galicia Symphony Orchestra; the OJS of Montevideo, the Orquesta de Baja California,among others and gave the opening unaccompanied Double Bass recital for the UNESCO Chair Culture of Peace and Human Rights under the World Peace Forum 2010. Diego has given numerous master classes in Europe, South América and South Korea, been assigned as coach on many youth orchestras across Spain and Germany and has recently been appointed as Director of the International Double Bass Festival of Montevideo and Director of the Double-Bass Cathedra of the Uruguayan National Orchestral Training Plan. This cathedra foresees a minimum of 3 seminars with solo recitals and telematic virtual master classes given throughout the year, plus an international festival every 2 years. In Spain, Diego is the Artistic Director of the “ReSuena Project”, which brings together kids from diverse cultural and social backgrounds, throughout the creation of youth symphony orchestras and choirs all over the city, project originally inspired on Venezuela’s “El Sistema de Orquestas”. Links to Check Out: Diego's website Music For Double Bass Solo, Duo And Quintett (new album) Montevideo International Double Bass Festival Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D’Addario Strings This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Subscribe to the podcast to get these interviews delivered to you automatically!

Hai-Ting Chinn Read more at www.hai-ting.com American Mezzo-soprano Hai-Ting Chinn performs in a wide range of styles and venues, from Purcell to Pierrot Lunaire, Cherubino to The King & I, J.S. Bach to P.D.Q. Bach. She was featured in the revival and tour of Phillip Glass’s Einstein on the Beach, performed at venues around the world from 2011–2014, and she is currently singing the role of Belle in Glass’s La Belle et la Bête, also on tour. She has performed with New York City Opera, The Wooster Group, OperaOmnia, the Orpheus Chamber Orchestra, Israel Philharmonic, Orchestra of St. Luke’s, and the Waverly Consort; and on the stages of Carnegie Hall, the Mann Center in Philadelphia, the Edinburgh Festival, the Verbier Festival, and London’s West End. She has premiered new works by Amy Beth Kirsten, Du Yun, Conrad Cummings, Stefan Weisman, Yoav Gal, and Matt Schickele. Hai-Ting is also an Artist in Residence at HERE arts center, where she is developing Science Fair, a staged solo show of science set to music.

Born in Jessup, Pennsylvania, Cossa studied with Anthony Marlowe in Detroit, Michigan, Robert Weede in Concord, California, and Armen Boyajian in New York City. He made his debut at the New York City Opera as Morales in 1961, and a week later sang Sharpless with the company. He won the American Opera Auditions in 1964 and was sent to Italy for debuts at the Teatro Nuovo in Milan and Teatro della Pergola in Florence.[2] He made his debut at the San Francisco Opera in 1967 as Zurga in Les pêcheurs de perles. His Metropolitan Opera debut took place on January 30, 1970 as Silvio in Pagliacci. Other roles there were Figaro in Il barbiere di Siviglia, Lescaut in Manon Lescaut, Marcello in La bohème, Mercutio in Romeo and Juliette, Masetto in Don Giovanni, Valentin in Faust, Yeletsky in Pique Dame, Germont in La traviata, and Albert in Werther. In 1976 he created the role of David Murphy in the world premiere of Gian Carlo Menotti's The Hero with the Opera Company of Philadelphia.[3] Cossa's left a few notable recordings of his best roles such as Belcore in L'elisir d'amore opposite Dame Joan Sutherland and Luciano Pavarotti, Achillas in Handel's Giulio Cesare opposite Norman Treigle and Beverly Sills, Nevers in Meyerbeer's Les Huguenots, again opposite Sutherland, Martina Arroyo and Huguette Tourangeau, and the baritone solo part in Roger Sessions' When Lilacs Last in the Dooryard Bloom'd. He can also be heard on the Classical Record Library's A Celebration of Schumann and Schubert with the Chamber Music Society of Lincoln Center. He has sung as soloist with the New York Philharmonic, the Boston Symphony, the Chicago Symphony, the Israel Philharmonic, and the National Symphony. He was chosen by Licia Albanese to be the recipient of the Puccini Foundation's Bacccarat Award in 2004, and in 1993 was inducted into the Hall of Fame for Great American Singers at the Academy of Vocal Arts in Philadelphia. Cossa taught at the Manhattan School of Music and in 1988 he accepted a position as Professor of Music at the University of Maryland, College Park, where he became chair of Voice/Opera.   Also, a SWEET GUY!!!!!!!!!!!!!!!!!!!!!!!

Protests in the concert hall are nothing new: think of the riot-inducing premiere of Stravinsky's The Rite of Spring in 1913 or the backlash at the 1861 premiere of Wagner's Tannhauser. Recently, protesters for a variety of causes have picketed the Metropolitan Opera, the Israel Philharmonic and the Valery Gergiev's Mariinsky Orchestra, among others. It happened again on Oct. 4 at a St. Louis Symphony concert, when a group of demonstrators protesting the police shooting of Michael Brown began to sing, chant and unfurl banners from the balcony, moments before the Brahms Requiem. Beyond the sensational headlines, is there something deeper at play? And can a political demonstration actually shed light on the music that audiences have paid money to hear? Our experts thought so. They are: Sarah Bryan Miller, Classical music critic of the St. Louis Post-Dispatch, who witnessed the St. Louis Symphony protest. Philip Kennicott, Art and architecture critic of The Washington Post Kenneth Woods, a conductor, cellist and author of the blog, "A View from the Podium." Some highlights of the podcast: Concert halls can either be an inappropriate forum for demonstrations or "a vehicle for creating empathy and connection." How a 1968 protest at a Mstislav Rostropovich performance made a powerful statement about the Prague Spring. Why "music is most effective and engaging with political challenges when we step beyond politics and look at the universal human ideas." Listen to the full podcast above and tell us in the comments below: Have you ever witnessed a demonstration in a concert that was effective or ineffective?

    In this episode, River Oaks Chamber Orchestra's Artistic Director, founder, and principal oboist, Alecia Lawyer takes Dacia inside the mind of an oboe player. In this strange world, people grow their own (bamboo), enjoy fame alongside Willie Nelson, and live on the edge without all of the annoying parachutes and bungee cords. Audio production by Todd Hulslander, with pearls of editing wisdom from Dacia Clay. Music used in this episode includes: – Le Tombeau de Couperin by Ravel:  St. Paul chamber Orchestra with Kathy Greenbanks, principal oboist – La Scala, by Rossini: rocohouston.org (look for the Season Finale) – Shostakovich Symph #5, Mvt. III – Tchaikovsky #4 Mvt. II, Lorin Maazel with the Cleveland Orchestra – Rimsky-Korsakov Scheherazade, Mvt III oboe solo     – Stravinsky Pulcinella Suite, Mvt II, Israel Philharmonic and Zubin Mehta     – William Schuman New England Tryptich,  Mvt. II. When Jesus Wept, Gerard Schwarz and the Seattle Symphony

We’re concluding our chat with Michigan State University and Interlochen Arts Academy double bass instructor Jack Budrow this week on Contrabass Conversations. In addition to helping place students in major orchestras across the globe, Jack has had a very distinguished performance career as a former member of the Houston Symphony, Santa Fe Opera Orchestra, and as Principal Bass of the North Carolina Symphony. About Jack Budrow: Jack Budrow is professor of music and co-chair of the string area at the Michigan State University College of Music. He has enjoyed a long and varied career in double bass performance and teaching. Budrow has been a member of the Houston Symphony, and principal bass of the North Carolina Symphony, Santa Fe Opera, and the American National Opera orchestras. A well-known teacher, Budrow’s students play in many of America’s symphony orchestras, including Cincinnati, San Francisco, Atlanta, Houston, Charleston, San Antonio, the Michigan Opera, and the Army Band. Internationally, he has placed students in the Oslo Philharmonic, Israel Philharmonic, Munich Radio Orchestra, and the Caracas Symphony.Each summer, Budrow teaches at Interlochen Center for the Arts and Indiana University. He serves on the board of directors of the International Society of Double Bassists, and was a judge for their most recent International Solo Bass Competition. Budrow has presented master classes throughout the United States, including the Cleveland Institute, Florida State University, University of Houston, Indiana University, University of Michigan, Peabody Conservatory, and University of Texas. In addition, he served as the bass section coach at the National Orchestral Institute and New World Symphony. Budrow received his B.M. from Bowling Green State University.

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

We’re chatting with Michigan State University and Interlochen Arts Academy double bass instructor Jack Budrow this week on Contrabass Conversations. In addition to helping place students in major orchestras across the globe, Jack has had a very distinguished performance career as a former member of the Houston Symphony, Santa Fe Opera Orchestra, and as Principal Bass of the North Carolina Symphony. Jack discussed several topics of great interest to double bass students and performers with co-hostJohn Grillo and me, including repertoire he uses in his teaching, essential skills for auditioning, and how the educational orientation has changed for music performance students over the past few decades. We chatted at great length with Jack for this interview, and we’ll be wrapping up the remainder of this interview in the coming weeks, so stay tuned for more great content with this influential and engaging music educator and performer in the coming weeks. Enjoy!   About Jack Budrow: Jack Budrow is professor of music and co-chair of the string area at the Michigan State University College of Music. He has enjoyed a long and varied career in double bass performance and teaching. Budrow has been a member of the Houston Symphony, and principal bass of the North Carolina Symphony, Santa Fe Opera, and the American National Opera orchestras. A well-known teacher, Budrow’s students play in many of America’s symphony orchestras, including Cincinnati, San Francisco, Atlanta, Houston, Charleston, San Antonio, the Michigan Opera, and the Army Band. Internationally, he has placed students in the Oslo Philharmonic, Israel Philharmonic, Munich Radio Orchestra, and the Caracas Symphony. Each summer, Budrow teaches at Interlochen Center for the Arts and Indiana University. He serves on the board of directors of the International Society of Double Bassists, and was a judge for their most recent International Solo Bass Competition. Budrow has presented master classes throughout the United States, including the Cleveland Institute, Florida State University, University of Houston, Indiana University, University of Michigan, Peabody Conservatory, and University of Texas. In addition, he served as the bass section coach at the National Orchestral Institute and New World Symphony. Budrow received his B.M. from Bowling Green State University.