Podcast appearances and mentions of Jennifer Higdon

In this conversation, we dive into the extraordinary creative partnership between two of the most celebrated figures in contemporary opera—librettist Gene Scheer and composer Jake Heggie. Together, Gene and Jake have brought to life some of the most powerful operatic works of our time, including Moby-Dick, Three Decembers, and It's a Wonderful Life. Their collaboration is not only rooted in artistic brilliance but also in a deep, long-standing friendship.Individually, their accomplishments are equally impressive. Gene Scheer has worked with a range of renowned composers, including Jennifer Higdon on Cold Mountain and Tobias Picker on An American Tragedy. He's also an accomplished composer in his own right—his song American Anthem was featured in Ken Burns' Emmy Award-winning documentary on World War II.Jake Heggie's groundbreaking first opera, Dead Man Walking, with a libretto by Terrence McNally, launched him into the spotlight. Since then, his work in art song and opera has made a lasting impact, earning him the title of Musical America's 2025 Composer of the Year. So who better to explore the dynamic between a librettist and a composer? In this two-part conversation, we unpack what makes a successful collaboration and how words and music come together to create something truly unforgettable.Part One's conversation took place during a particularly exciting time—Moby-Dick was being performed at the Metropolitan Opera. Throughout our discussion, the opera serves as a touchstone for understanding the creative process. We begin with a fundamental question: how do they do it? Specifically, how do hard work and patience shape their creative journey?We get into the nuts and bolts of collaboration—how they challenge and inspire each other to reach new heights. Gene shares insights into the stages of researching and writing a libretto, including the story of how saving $100 unexpectedly launched his career. And in his own words, Gene describes his role simply and powerfully: “My job is to write a libretto that inspires music.”[Subscriber Content]: In Part Two, we step back and learn more about Gene's early experiences—his time studying and singing in Vienna (including the month he saw 27 operas!). Jake opens up about the legendary Stephen Sondheim, a mentor and inspiration, and how Sweeney Todd changed his life. In fact, Jake dedicated Moby-Dick to Sondheim.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Elisabeth Remy Johnson celebrates 50 years of Atlanta Symphony Orchestra broadcasts on WABE. The ASO Principal Harpist performs the GRAMMY Award-winning Harp Concerto by Atlanta School composer Jennifer Higdon on March 20th and 22nd. Plus, we learn about the three new solo exhibitions on view at Echo Contemporary and hear about Aris Theatre’s relaunch of “Cailini,” an Atlanta-based Celtic Woman Tribute Band.See omnystudio.com/listener for privacy information.

Katherine Needleman is a wonderful oboe player, who has been the principal oboist of the Baltimore Symphony since 2003. She's also active as a solist and chamber musician, and is on faculty at the Curtis Institute of Music. She is a champion of music of our time and you'll find her recordings and many projects on her website. To many listeners in the Classical Music world, she's probably better known for her Substack articles and posts on social media that address misogyny, sexual misconduct and assault, and the lack of diversity and equity in the Classical music world. In this conversation you'll hear about some of her activism and advocacy work , and different aspects of Katherine's life as a musician, including her work as a composer and educator, and mentors including Jennifer Higdon. Please note the timestamps to navigate the episode. I regret that I didn't get into improvisation with her, because she's also an excellent improvisor and has put out an album of improvised chamber music “The Marmalade Balloon”. Perhaps we can get into this next time she comes on the podcast! You can watch this on YouTube or listen to the podcast, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/katherine-needleman Katherine Needleman website “Land Where My Fathers Died” Aria for oboe and piano by Jennifer Higdon (sheet music available on the composer's website) It's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity. Please look at the links for different ways to support this independent podcast. Original Merch for sale Can you buy this independent podcaster a coffee? In January 2025 I'll be releasing Season 5 of this series. I've linked some other episodes that may interest you: Anna Petersen, Gail Archer, Omo Bello, Karen Donnelly, Renee Yoxon and Jessica Cottis, among many others! Newsletter sign-up Linktree for social media ⁠ Timestamps (00:00) Intro (03:20) Katherine is also a composer and improvisor, her feminist posts (05:54) fund for new music, Fatima Landa (12:40) parenting, performance anxiety, oboe reeds (18:46)activism, starting to write about lack of diversity, etc (21:44) Katherine's experience at Curtis as a student, her approach as a teacher (26:02) Katherine the composer (27:00) excerpt from “Land Where My Fathers Died” (link in description to complete performance) (32:26)challenges of performing as an introvert (34:13)other episodes you'll like, different ways to support this series (34:53)solo broadcast concerts, importance of exercise (37:22) auditions (43:02) reactions to her posts (44:39)orchestra musicians as soloists with their orchestras, Kevin Puts oboe concerto (47:06) Marin Alsop, lack of gender diversity in the conducting world (51:21) Queen of Filth digest (55:52) the mandatory dress story and gendered dress codes (59:22) Jennifer Higdon (01:01:24) excerpt from Aria for oboe and piano by Jennifer Higdon with Jennifer Lim on piano (link in description to complete performance) (01:04:37) what Katherine has changed her mind about, presentation and tone, need to prioritize (01:07:50) orchestra playing, chamber music, music education (01:11:50) Katherine's determination to continue Substack and activism, and need to compartimentalize for mental health

Send us a textDoug & Ben are joined by Nicole Plummer, mezzo-soprano, and they enjoy beer from several different regions of the United States while discussing Jennifer Higdon's Cold Mountain.

Miguel Harth Bedoya has been the Music Director of the Fort Worth Symphony Orchestra for 20 years and is now their Music Director Laureate. In addition to other Music Director positions he has held, he has also guest conducted major orchestras around the world such as the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, and the Chicago Symphony - to name only a few. He is currently the Mary Franks Thompson Director of Orchestral Studies at Baylor University. We begin by asking Miguel about the differences in conducting various levels of orchestras, ranging from student orchestras to the top orchestras in the world... and his main thought is, "The love of music is very important." I also ask him about score study, to which he explains why a piece sounds different to him each time he reads and studies its score. (He also mentions how reading Cervantes' Don Quixote three times over the years gave him a different understanding of the book each time he read it.) Miguel was the conductor for the premiere and recording of Jennifer Higdon's Cold Mountain, and he talks about the process of bringing a new opera to life. We end with an explanation of why an orchestra is like a research laboratory.[Subscriber content] In Part 2, we begin by talking about Miguel's background. He was born in Peru, and we trace his journey as a student from Peru to Chile to the Curtis Institute and finally to Juilliard. He was an assistant conductor for the New York Philharmonic when Leonard Slatkin was delayed in getting to a concert, and he talks about jumping in at the last moment. He also talks about a later experience conducting Copland's Appalachian Spring with that great orchestra. We finally turn to his career as a teacher, and his belief that building a foundation is critical to becoming a conductor. We end on a non-musical note... his helping with the disposal of garbage in Fort Worth... known as the "Cowboy Compost"... while he was Music Director of the Fort Worth Symphony.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

SynopsisOn today's date in 2005, the Philadelphia Orchestra gave the premiere performance of a new Percussion Concerto by American composer Jenifer Higdon. The soloist was Colin Currie, a Scottish virtuoso for whom the work was tailor made.In program notes for her work, Higdon wrote, “When writing a concerto, I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie), to nonpitched smaller instruments like brake drums, wood blocks or Peking Opera gongs.“Not only does a percussionist have to perfect playing all these instruments, he must make decisions regarding the use of sticks and mallets ... not to mention the choreography. ... Where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized.”Higdon's new concerto proved popular with both audiences and the critics, and in 2010 the work won that year's Grammy for best classical contemporary composition.Music Played in Today's ProgramJennifer Higdon (b. 1962) Percussion Concerto; Colin Currie, percussion; London Philharmonic; Marin Alsop, cond. LPO CD 0035

This podcast features American composer Jennifer Higdon in a wide-ranging conversation with Raymond Bisha, during which she describes the long swathe of influences on her composing career. The musical spotlights comprise extracts from her latest recording for Naxos of two powerfully engaging works: the Concerto for Orchestra, written in 2002 and demanding virtuosity from principal players, individual sections and the entire orchestra alike; and her pyrotechnic Duo Duel, a concerto for two percussionists written in 2020, that boasts a killer cadenza (during which you should hold on to your hat) and a diaphanous opening (for which you should hold your breath, and with which this podcast begins…).  This recording features solo percussionists Matthew Strauss and Svet Stoyanov, with the Houston Symphony conducted by Robert Spano

Jennifer Higdon wrote her Concerto for Orchestra for the Philadelphia Orchestra and its then-Music Director Wolfgang Sawallisch who gave the work its premiere in 2002. Since then it's been recorded by the Atlanta Symphony and, on a new Naxos album just out, by the Houston Symphony - both conducted by Robert Spano. The new recording finds the Concerto for Orchestra joined by a much newer work, Higdon's double percussion concerto, Duo Duel (2020), played by the artists who commissioned it, Svet Stoyanov and Matthew Strauss. James Jolly caught up with Jennifer Higdon to talk about the two works' beginnings, and about how the composer manages her amazingly busy schedule. This week's podcast is produced in association with the Lake George Music Festival where you can enjoy classical music among some of America's most spectacular scenery. Visit lakegeorgemusicfestival.com to find out more.

Synopsis The marimba is a percussion instrument of tuned bars, usually made of wood, arranged like the keys of a piano. These bars are struck with mallets to produce resonate, rounded—and, well, "woody"—musical tones. The marimba was developed in Mexico and Guatemala, inspired by instruments native to Africa reconstructed in the New World by unfortunate Africans brought over to Central America to work as slaves. By the mid-20th century, the marimba was showing up in jazz ensembles, and classical composers would, on occasion, even write a marimba concerto or two. More recently, massed marimbas make up a sonorous, albeit stationary, component of hyper-kinetic drum and bugle corps spectaculars. The contemporary American composer Jennifer Higdon loves the sound of the marimba, and so in 2006 wrote a piece for three marimbas, entitled Splendid Wood. "'Splendid Wood' is a joyous celebration of the sound of wood, one of nature's most basic materials," says Higdon. "Wood is a part of all sorts of things in our world, but is used most thrillingly and gloriously in instruments. This work reflects the evolving patterns inside a piece of wood, always shifting, and yet every part is related and contributes to the magnificent of the whole." Splendid Wood was commissioned by Bradford and Dorothea Endicott, for Frank Epstein and the New England Conservatory Percussion Ensemble, and had its New York premiere on today's date in 2007, by the Mannes Percussion Ensemble under the direction of James Preiss. Music Played in Today's Program Jennifer Higdon (b. 1962) Splendid Wood New England Conservatory Percussion Ensemble Naxos 8.559683

Synopsis English is a quirky language, take for example the way English labels groups of birds – it can be quite idiosyncratic and even poetic: “A conspiracy of ravens,” “A trembling of finches.”For composers, birdsong has always exerted great fascination and has been a source of inspiration, but on today's date in 2006, bird nomenclature was the inspiration for a new string quartet that received its premiere in Tucson at a concert sponsored by the Arizona Friends of Chamber Music. The new work was by the American composer Jennifer Higdon, who explains: “The first time someone told me that a collection of larks is called an ‘Exaltation', I immediately thought, ‘What a sound an exaltation of larks must make!' This prompted my imagination to run wild – in a composerly-fashion – thinking of thousands of birds flying and singing wildly, with extraordinary energy and intensity. How to capture the beauty of the idea of exalting and singing? A string quartet seemed perfect!“Higdon's new quartet, titled An Exaltation of Larks was given its 2006 premiere by the Tokyo String Quartet, but it was perhaps inevitable that its first recording was made by – who else? – the Lark Quartet. Music Played in Today's Program Jennifer Higdon (b. 1962) – An Exaltation of Larks (Lark Quartet) Bridge 9379

This is another repeat conversation for Harmonious World, as musicians around the world continue to produce exciting new music.  My guest for the first episode of 2023 is violinist Matthew J Detrick, who is discussing his project Apollo Chamber Players.The latest album from Apollo Chamber Players is Moonstrike, featuring music composed by Jennifer Higdon, Jerod Impichchaachaaha' Tate and Pierre Jalbert. You can hear my previous conversation with Matthew in episode 82 and with Jerod in episode 68.Thanks to Matthew for allowing me to play extracts from Moonstrike alongside our conversation.Don't forget the Quincy Jones quote that sums up why I do this: "Imagine what a harmonious world it would be if every single person, both young and old, shared a little of what he is good at doing."Support the showThanks for listening to Harmonious World.Please rate and review wherever you find your podcasts - it really helps.Follow me on instagram.com/hilseabrookFollow me on facebook.com/HilarySeabrookFreelanceWriterFollow me on twitter.com/hilaryrwriter

Synopsis On New Year's Eve, 1948, Eugene Ormandy and the Philadelphia Orchestra gave the first performance of the Symphony No. 5 by the American composer George Antheil. Now, in his youth, Antheil was something of a wild man, composing a Ballet mechanicque for a percussion ensemble that included electric bells, sirens, and airplane propellers. It earned him a reputation, and Antheil titled his colorful 1945 autobiography what many called him: "The Bad Boy of Music." But the great Depression and World War II changed Antheil's attitude. Rather than write for small, avant-garde audiences, Antheil found work in Hollywood, with enough time left over for an occasional concert work, such as his Symphony No. 5. In program notes for the premiere, Antheil wrote: "The object of my creative work is to disassociate myself from the passé modern schools and create a music for myself and those around me which has no fear of developed melody, tonality, or understandable forms." Contemporary critics were not impressed. One called Antheil's new Symphony "nothing more than motion-picture music of a very common brand" and another lamented its "triviality and lack of originality," suggesting it sounded like warmed-over Prokofiev. The year 2000 marked the centennial of Antheil's birth, and only now, after years of neglect, both Antheil's radical scores from the 1920s and his more conservative work from the 1940s is being performed, recorded and re-appraised. Music Played in Today's Program George Antheil (1900-1959) Symphony No. 5 (Joyous) Frankfurt Radio Symphony; Hugh Wolff, conductor. CPO 999 706 On This Day Births 1894 - Anglo-Irish composer Ernest John Moeran, in Heston, Middlesex; 1899 - Mexican composer Silvestre Revueltas, in Santiago, Papasquiaro; 1962 - American composer Jennifer Higdon, in Brooklyn, New York; Deaths 1950 - French composer Charles Koechlin, age 83, in Canadel, France; 1970 - British composer Cyril Scott, age 91, in Eastbourne, England; Premieres 1724 - Bach: Sacred Cantata No. 122 ("Das neugeborne Kindelein") performed on the Sunday after Christmas as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1842 - Lortzing: opera "Der Wildschütz" (The Poacher), in Leipzig at the Stadttheater; 1865 - Rimsky-Korsakov: Symphony No. 1, in St. Petersburg, with Balakirev conducting (Julian date: Dec. 19); 1879 - Gilbert & Sullivan: operetta "The Pirates of Penzance," at the Fifth Avenue Theatre in New York, with the composer conducting (see also Dec. 30 above); 1943 - Martinu: Violin Concerto (No. 2), by the Boston Symphony with Serge Koussevitzky conducting and Micsha Elman the soloist; 1948 - Antheil: Symphony No. 5, by Philadelphia Orchestra, Eugene Ormandy conducting; 1948 - Howard Hanson: Piano Concerto, by the Boston Symphony with the composer conducting and Rudolf Firkusny the soloist. Links and Resources On George Antheil More on Antheil

For violinist Hilary Hahn, finding success as an international soloist has never been about sticking to the same menu of concertos by Beethoven, Mendelssohn, and Sibelius. Now in the fourth decade of her storied career, the three-time Grammy Award winner has consistently worked to expand the scope of the violin canon — commissioning a slate of new works from composers like Edgar Meyer, Jennifer Higdon, and Lera Auerbach. But on Eclipse, her latest release on Deutsche Grammophon, the centerpiece of the album isn't a work written for her. In fact, it's not even by a living composer. It's the violin concerto of Alberto Ginastera — a work that's seldom performed, and one Hahn immediately fell in love with when she first heard it years ago. Ever since then, she knew she had to record it. "It felt like one of those pieces I needed to take on for my own reasons, but also that it wasn't played very much," Hahn says on the latest episode of the Classical Post podcast. "I was enamored with the work, felt like it was written for me, even though I never met the composer. It's exactly what I like to dive into emotionally in music, and it requires a very specific relationship to the instrument that I feel is a strength of mine." Part of the reason Hahn was eager to record the work was not only the chance to add to the concerto's story with her performance — but also to allow everyone who listens to contribute their personal perspective to the work. "Music is a way to connect you with your own experience. As a listener, you are part of the interpretation of that music's history. When you listen to a piece, you add to the diversity of stories that it tells, just by being present in its space." In this discussion, we talk more about Eclipse and why another work on the album, Dvořák's Violin Concerto, deserves much more time in the spotlight as well. Plus, she shares how her wellness routine is all about tuning into the daily ebb and flow of her body, and the facial massage stone that helps her undo the neck and jaw tension that comes with years of playing the violin. Listen to Eclipse on Spotify, Apple Music, or wherever you stream and download music. — Classical Post uncovers the creativity behind exceptional music. Dive into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

The star string trio Time for Three performs for us (with composer Kevin Puts on the piano). In this session, we talk about their new album Letters for the Future, which contains concertos written for them by Kevin Puts and Jennifer Higdon.

Synopsis As the season begins, we offer you this “Autumn Music” — a woodwind quintet by American composer Jennifer Higdon. Higdon says she wanted to write a companion piece to another famous woodwind quintet titled “Summer Music” by Samuel Barber. Higdon's “Autumn Music” was commissioned by Pi Kappa Lambda, the national music honorary society, and premiered at their 1994 national convention in Pittsburgh. “Autumn Music,” says Higdon, “is a sonic picture of the season of brilliant colors. The music of the first part represents the explosion of leaves and the crispness of the air of fall. As the music progresses, it becomes more spare and introspective, moving into a more melancholy and resigned feeling.” Jennifer Higdon was born in Brooklyn in 1962, and teaches at the Curtis Institute of Music in Philadelphia. Her chamber and orchestral pieces have been performed by ensembles coast to coast. She's also active as a performer and, as she explains, as an enthusiastic member of the audience: “I love exploring new works — my own pieces and the music of others — in a general audience setting, just to feel a communal reaction to new sounds. Music speaks to all age levels and all kinds of experiences in our lives. I think it can express anything and everything.” Music Played in Today's Program Jennifer Higdon (b. 1962): Autumn Music –Moran Woodwind Quintet (Crystal 754) On This Day Births 1875 - Lithuanian composer Mikolajus Ciurlionis, in Varena (then the Kaunas province of the Russian Empire; Julian date: Sept. 10); 1933 - Spanish composer Leonardo Balada, in Barcelona; 1961 - American composer Michael Torke, in Milwaukee, Wisc.; Deaths 1989 - American song composer Irving Berlin, age 101, in New York City; Premieres 1869 - Wagner: opera, "Das Rheingold," in Munich at the Hoftheater, Franz Wüllner conducting; The opera was performed at the Bavarian emperor Ludwig II's request, but against the composer's wishes; 1938 - Webern: String Quartet, Op. 28, at South Mountain, Pittsfield, Mass., during the Berkshire Chamber Music Festival; This work was commissioned for $750 by the American music patron, Elizabeth Sprague Coolidge; 1964 - Jerry Bock: musical "Fiddler On the Roof" opens on Broadway: It would run for 3,242 performances before closing; 1971 - Barber: "The Lovers" for solo voice and chorus (after a poem by Pablo Neruda), in Philadelphia; 1989 - Bernstein: "Arias and Barcarolles" (orchestrated version prepared by Bright Sheng), at the Tilles Center of Long Island University with the New York Chamber Symphony conducted by Gerard Schwarz and featuring vocalists Susan Graham and Kurt Ollmann; The first version of this work, for soloists and piano four-hands, premiered on May 9, 1988, at Equitable Center Auditorium in New York City; 1990 - James MacMillan: "The Beserking" (Piano Concerto), at Henry Wood Hall in Glasgow by pianist Peter Donohoue and the Royal Scottish Orchestra, Matthias Bamert conducting; 1990 - Christopher Rouse: "Jagannath" for orchestra, by the Houston Symphony Orchestra, Christoph Eschenbach conducting; 2000 - Philip Glass: “Tirol Concerto” for piano and orchestra, by Dennis Russell Davies (piano and conductor) with the Stuttgart Chamber Orchestra, at the 7th annual Klangspuren Festival in Schwaz, Tirol (Austria); 2000 - Zwilich: "Millennium Fantasy" for piano and orchestra, by the Cincinnati Symphony, Jesús Lopez-Cobos conducting with soloist Jeffrey Biegel; Others 1937 - During the Spanish Civil War, Mexican composer Silvestre Revueltas conducts his 1935 composition “Homage to Federico Garcia Lorca” in Madrid while the city was under siege by Spanish fascist forces; The Spanish poet Lorca had been killed by the Falangists; Links and Resources On Jennifer Higdon On Barber's "Summer Music"

Apollo Chamber Players releases its sixth album, MoonStrike. MoonStrike is a universal celebration of storytelling, space, and folk song realized through new works by Jennifer Higdon, Jerod Impichchaachaaha' Tate, and Pierre Jalbert. Tate's title work, MoonStrike, is narrated by Chickasaw astronaut John Herrington, the first American Indian citizen to fly in space. All three works were commissioned by Apollo Chamber Players as part of its 20x2020 project, launched in 2014 with a mission to commission 20 new multicultural works before the end of the last decade. Purchase the music (without talk) at:Moonstrike (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Salomon representing Primo Artists. https://khedgecock.podomatic.com/rss2.xml 

Some classical musicians choose to follow a specific lane throughout their career, either as an orchestral musician, a chamber player, or a concert soloist. But Stewart Goodyear can't confine his career to one lane — he demands an entire highway. As a concert pianist, composer, arranger, and improviser, Goodyear has built one of the most multifaceted careers of any musician today. His recitals thoughtfully place works of Debussy and Liszt next to his own compositions and new pieces from Jennifer Higdon and Anthony Davis. And his ever-expanding discography shows incredible depth — from the complete concertos of Beethoven to Gershwin's Rhapsody in Blue and Goodyear's transcription of Tchaikovsky's Nutcracker. This eclectic approach to music-making is the result of an artist who finds inspiration in everything life has to offer. "The more I'm not boxed in, the more there's room to create and think outside that box," Goodyear says on the latest episode of the Classical Post podcast. In this conversation, we discuss the many exciting projects on the horizon this season — including his second year as the inaugural Artist in Residence at Toronto's Royal Conservatory of Music, the world premiere of his Piano Concerto with the Grammy Award-winning Albany Symphony Orchestra, and the Toronto premiere of Callaloo, Goodyear's suite for piano and orchestra that pays homage to his Trinidadian background. Plus, he shares more about the ways positivity and optimism fuel his wellness routines, the similarities he sees between cooking and orchestration, and how finding a great restaurant in New York City can be as simple as "letting your feet take you where you want to go." — Classical Post uncovers the creativity behind exceptional music. Dive into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

Comprising violinists Nick Kendall and Charles Yang, and double bassist Ranaan Meyer, Time For Three joins online editor Davina Shum for a conversation about triple concertos. How does the group maintain the synergy of a chamber ensemble against the backdrop of a symphonic orchestra? In light of commissioned works by Pulitzer-winning composers Kevin Puts and Jennifer Higdon, Nick, Charles and Ranaan share their approaches towards working together, as well as remotely during the pandemic, plus the boys share their favourite string techniques implemented on their new album Letters for the Future.  Time For Three will perform Kevin Puts's Contact on 28 July with the Philadelphia Orchestra and Erina Yashima at the Saratoga Performing Arts Center. More information can be found here  Check out thestrad.com for the latest news, articles and reviews on all things to do with string playing. Register and subscribe to access exclusive archival content from 2010 onwards. Student discount! Get 50% off an online subscription! Check it out here: https://bit.ly/3eQ75AB  Find us on social media: Facebook.com/thestrad Twitter: @TheStradMag Instagram: @the_strad_ II: Codes (Scherzo) Contact – Kevin Puts Letters for the Future Time For Three / Philadelphia Orchestra / Xian Zhang Deutsche Grammophon

Pulitzer Prize-winner Jennifer Higdon is one of America's busiest composers, and her catalogue is even more vast than many people realize. She joins Garrett (49:00) to talk about the Pulitzer win, her late brother, and the influence of East Tennessee on her musical identity. Scott unpacks "The Price of Luck" and highlights a one-man band; Garrett celebrates Tower of Power and offers a critical look on a historic conductor hire, and the guys spend the finale raising awareness about the potential connections between shows of equity and white supremacist organizations. Playlist: MFSB - "The Sound of Philadelphia" Bootsy Collins & Friends - "We're Gonna Party Today" Aidan Ramsay - "Five Dreamscapes" for solo piano Gustav Holst - 'Mars' from "The Planets" (perf. Seattle Symphony/Jonathon Heyward: https://www.youtube.com/watch?v=3hZa3nZCxJo) Tower of Power - "Some Days Were Meant For Rain" Josh Dion - Studio Live Session Jennifer Higdon - "Dark Wood" Jennifer Higdon - 'Roaring Smokies' from "Concerto 4-3" perf. Ella Fitzgerald and Louis Armstrong More: Jennifer Higdon: http://jenniferhigdon.com The Price of Luck: https://van-magazine.com/mag/classism-in-classical-music/ Five Things to Know About Jonathon Heyward: https://www.msn.com/en-us/music/news/five-things-to-know-about-jonathon-heyward-the-bso-e2-80-99s-newly-appointed-music-director/ar-AAZR3M6?fbclid=IwAR2bbCUm0qI7L9Pj-CEx-OOm9PvtJaLWnDrCFm6diICHax3bEhJrtyBCZrk American Renaissance: https://www.amren.com/about/

Time for Three — Letters for the Future (DG) Jump to giveaway form New Classical Tracks - Time for Three by “This is Kevin Puts; he's our new member, our composer in residence — ‘Time for Four.'” The members of the string trio Time for Three — violinists Nick Kendall and Charles Yang, and bassist Ranaan Meyer — are talking about Puts and his involvement on their latest album, Letters for the Future, which also includes music by composer Jennifer Higdon. Meyer: “We've been on this journey for a while. When we started out, we were this band that was discovering a common ground with classical music. We had this desire and inquisitive nature of wanting to explore all different genres. “Now fast-forward to today, and we're here to talk about our recording with the Philadelphia Orchestra, which features Jennifer Higdon's work that was also the very first concerto that was ever written for us back in 2008. Here is an exclusive performance for YourClassical MPR of the Cadenza from Higdon's Concerto 4-3: Watch now “We're also super excited about our latest concerto, Contact, by Kevin Puts. In addition to being a sensational composer and writing gorgeous music that is incredibly storytelling in nature, he is like-minded to our group, which pushes us forward on our instruments.” How is this album a homecoming for the group? Kendall: “When Ranaan and I attended the Curtis Institute of Music in the late ‘90s, Mark O'Connor, Edgar Meyer and Yo-Yo Ma released Appalachian Waltz, which blew our minds. At that time, it also seemed natural for Time for Three to do the same. We had this incredible opportunity with the Philadelphia Orchestra with help from maestro Christoph Eschenbach. “Eschenbach saw this energy from us and thought if he could put these virtuoso musicians in the hands of a master composer, who would that be? We had a meeting with him, and both of our lists had Jennifer Higdon, who was a teacher at Curtis. That is the story behind Concerto 4-3.” Can you talk about the creativity behind Contact? Puts: “I thought it was an interesting idea to start with nothing but a three-voice chorale and then gradually elaborate on that. As far as there being a message, I didn't really think of it that way until later. We realized what we were working on a piece about all the different forms of contact.” Here's an exclusive performance of Puts' Gankino Horo, which is not featured on the album: Watch now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. More on Time for Three New Classical Tracks: Time for Three Time for Three Giveaway Time For Three New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Time for Three — Letters for the Future (DG store) Time for Three — Letters for the Future (Amazon) Time for Three (official site)

The star string trio Time for Three performs for us (with composer Kevin Puts on the piano). In this session, we talk about their new album Letters for the Future, which contains concertos written for them by Kevin Puts and Jennifer Higdon.

This year, Raven Chacon became the first Native American to win the Pulitzer Prize for Music with his "Voiceless Mass". He joins Garrett (1:00:00) to talk about his reactions to the win, his perspective on Indigenous land acknowledgements, and more. Garrett and Scott cover a Lizzo misstep, unpack a maestro's words pertaining to "thoughts and prayers", and highlight music by Jennifer Higdon, Kendrick Lamar, and more. Scott takes the lead in the final movement to address racist reactions to Moses Ingram's recent role in "Obi-Wan Kenobi". Playlist: Béla Bartók - Viola Concerto, mov. 3 Franz Joseph Haydn - Symphony No. 93, mov. 2 PaviElle French - "Bye" Ludwig van Beethoven - Symphony No. 4, mov. 3 Lizzo - "Grrrls" Florence Price - Symphony No. 1, mov. 1 Kendrick Lamar - "United In Grief" Kendrick Lamar - "Mother I Sober" ft. Beth Gibbons of Portishead Jennifer Higdon - "Celestial Blue" Raven Chacon - "Voiceless Mass" (https://www.youtube.com/watch?v=nctWwXbRvqM) John Williams - "Theme" from 'Obi-Wan Kenobi' More: Raven Chacon's "Voiceless Mass" Wins Pulitzer: https://www.pulitzer.org/winners/raven-chacon Lizzo Faces Backlash for Lyric Choice in New Song ‘Grrrls: https://www.billboard.com/music/music-news/lizzo-grrrls-lyrics-backlash-abelist-slur-1235086460/ Lizzo is Changing the Lyrics to Her 'Grrrls' Single Following Criticism Over Ableism: https://www.nbcnews.com/pop-culture/pop-culture-news/lizzo-changing-lyrics-grrrls-single-criticism-ableism-rcna33391 In Impassioned Speech, Philadelphia Orchestra Music Director Addresses Gun Violence: https://www.inquirer.com/news/philadelphia-mass-shooting-yannick-nezet-seguin-metropolitan-opera-20220607.html ‘Obi-Wan Kenobi' Star Moses Ingram Faces Racist Abuse Online: https://www.oregonlive.com/entertainment/2022/06/obi-wan-kenobi-star-moses-ingram-faces-racist-abuse-online-refuses-to-grin-and-bear-it.html

Synopsis On today's date in 2002, a high-profile musical event occurred at Philadelphia's new Kimmel Center for the Performing Arts. The city was hosting the 57th National Conference of the American Symphony Orchestra League, and the Philadelphia Orchestra was celebrating its 100th anniversary with eight new commissions, all to be premiered in the Orchestra's new Verizon Hall. On June 12th, the new piece was a Concerto for Orchestra by a 39-year-old composer named Jennifer Higdon. Higdon's “Concerto” opened the Philadelphia Orchestra's program, followed by Richard Strauss's tone-poem “Ein Heldenleben.” Both pieces were performed before an audience of orchestral professionals from around the country – not to mention Higdon's proud mother. Higdon, understandably a little nervous, quipped to a newspaper reporter, "You'll know my mother because she'll be the one crying BEFORE the piece starts." Higdon needn't have worried. Her “Concerto for Orchestra” was greeted with cheers from both its audience and performers – the latter in typically irreverent fashion, dubbed the new piece “Ein Higdonleben.” Higdon, the only woman among the eight composers commissioned for the orchestra's centennial project, calls herself a "late bloomer" as a composer. She taught herself the flute at age 15 and didn't pursue formal music training until college. She was almost finished with her bachelor's degree requirements at Bowling Green State University when she started composing her own music. Music Played in Today's Program Jennifer Higdon (b. 1962) –Concerto for Orchestra (Atlanta Symphony; Robert Spano, cond.) Telarc 80620

We offer a rundown of the ongoing WGTE Presents: TSO in HD program on WGTE-TV, and revisit some conversations from the past — including clips from TSO tubist David Saltzman and composers Samuel Adler (pictured) and Jennifer Higdon. All three are featured in an upcoming episode of TSO in HD, along with works by Christopher Dietz and Erich Wolfgang Korngold. Panelists Zak Vassar and Merwin Siu join us by phone to give the backstory on these selections, and the thematic thread that binds them together.

We take on one of the most difficult piano concertos in the repertoire, Rachmaninoff's Third - which is coming to the Peristyle courtesy of Van Cliburn gold medalist Olga Kern (pictured). Also, Pulitzer and Grammy-winning composer (and BGSU grad) Jennifer Higdon joins us by phone to talk about her Concerto for Orchestra, also on the program. And, while we have her on the line, we test our luck with a "getting to know you" quiz all about Jennifer and her music!

Harpist extraordinaire Yolanda Kondonassis and Rochester Philharmonic Music Director Ward Stare join us to preview their new album, American Rapture from Azica Records. Included on the disc are the Symphony No. 1 by Samuel Barber; a cave-diving inspired tone poem by the young composer Patrick Harlin (Rapture), and the world premiere centerpiece of the recording: the Harp Concerto by Grammy Award and Pulitzer prize-winning composer Jennifer Higdon.

Musicians from KINETIC perform works by Schulhoff, Klatzow, and Higdon.

Synopsis The American composer Jennifer Higdon is used to having her new works premiered by some of this country's major orchestras. The Philadelphia Orchestra, for example, gave the premiere performance of her “Concerto for Orchestra” in 2002. The following year, another Higdon work, a piece for wind band entitled “Rhythm Stand,” premiered in Philadelphia. Now, if Higdon's “Concerto for Orchestra” was composed for the virtuoso members of the Philadelphia Orchestra, “Rhythm Stand” was intended for amateur musicians—middle-school students, to be precise, and its premiere was given by the kids of the Baldi Middle School Band, led by Sandra Dylan. “Rhythm Stand” was commissioned by the American Composers Forum for their “BandQuest” series of new scores, all written by leading composers, but intended for young performers. Higdon explains the title of her new piece as follows: “Composing is merely the job of combining interesting sounds into interesting patterns. And interesting patterns create cool rhythms. So... I'm making a STAND FOR RHYTHM… rhythm is everywhere… ever listened to the tires of a car running across pavement, or a train on railroad tracks? Because music can be any kind of sound arranged into an interesting pattern, I added sounds that you normally wouldn't hear coming from band instruments, sounds created out of ordinary things that might be nearby… like music stands and pencils, for example…. And some performers in this piece get even more basic...they snap their fingers.” Music Played in Today's Program Jennifer Higdon (b. 1962) — Rhythm Stand (University of Minnesota Symphonic Band; Craig Kirchoff, cond.) Hal Leonard (full score, parts and CD) HL-04002285

Yolanda Kondonassis — Five Minutes for Earth (Azica Records) Jump to giveaway form New Classical Tracks - Yolanda Kondonassis by “I had such a great time practicing new stuff,” harpist Yolanda Kondonassis said. “It rewires your neurons when you're sitting there for hours absorbing new music, new material, new techniques and new everything.”During the pandemic Kondonassis had time and space to learn 15 new solo pieces for harp inspired by Earth for her latest album, Five Minutes for Earth. How does this album fit into the mission of your nonprofit? “My foundation, Earth at Heart, will sponsor and finance all ongoing performances of these five-minute pieces that are on the album every time they're performed. Any harpist anywhere in the world, if they can upload their performance and info to the Earth at Heart website, a contribution will be made to an Earth conservation organization. “The idea was not only to inspire through the arts, but in the case of Five Minutes for Earth, it gives artists a way to contribute through their performances.” Why is five minutes the magic number? “Five minutes started as a construct. I asked myself, ‘What can I realistically ask composers to do or donate?' I thought five minutes was a great metaphor for the time we have as a global community to get our act together.” How would you describe Maximo Diego Pujol's piece, Milonga Para Mi Tierra? “Diego says it's a love song for my Earth, and I love that ownership. It's not just the Earth. It's my Earth. That's an important part of the title and subliminally threaded throughout. It's nostalgic and melancholy while remaining hopeful. It's awe inspiring to watch that work in progress.” Can you talk about the composer and piece that opens the album? “Takuma Itoh, who is based in Honolulu, Hawaii, composed Kohola Sings. He wrote this piece using the stunning effect. It's a string-bending maneuver that can imitate the songs of whales.” Can you talk about Michael Daugherty's Hear the Dust Blow? “The initial idea came from the Dust Bowl period. The Grapes of Wrath and all that came from a convergence of elements. It was a combination of weather patterns and an abuse of the land. We learned something back then in the 1930s, but we need to learn it again. “There are gorgeous, aching moments in this piece. The idea of wishing, hoping and dreaming of a new day and a better life are woven through his piece. It is the glue. “Each piece has a small element of both looking back and forward. They are all so different from one another. But, if I were to try and narrow down a common thread with each work, it is that they all have a touch of melancholy combined with lots of hope.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now More on Yolanda Kondonassis From NPR Tiny Desk: Jason Vieaux And Yolanda Kondonassis Performance Today In studio with Yolanda Kondonassis and Jason Vieaux New Classical Tracks Yolanda Kondonassis premieres new harp concerto by Jennifer Higdon in 'American Rapture' Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Yolanda Kondonassis — Five Minutes for Earth (Amazon) Yolanda Kondonassis (official site)

There are many women composers these days, and this program introduces some of them: Caroline Shaw, Ellen Taaffe Zwilich, Anna Thorvaldsdottir, Lera Auerbach, Kaija Saariaho, Chen Yi, Jennifer Higdon, Libby Larsen, Missy Mazzoli, Gabriela Lena Frank, and Tania Leon.

Pianist Lisa Kaplan of eighth blackbird joins us to chat about the many evolutions of their organization, from the original ensemble to their many teaching endeavors. We chat about the Chicago Artists Workshop and Blackbird Creative Lab, two of the ways in which they continue to “move music forward” beyond their primarily performance-based projects. Kaplan shares about how the ensemble conceptualizes and puts projects—such as This is my Home—into action. We speak about how the organization integrates interns into their administrative process. And, we ask, "why 'eighth blackbird'?" Born in Motown, Lisa Kaplan is a pianist specializing in the performance of new work by living composers. Kaplan is the founding pianist and Executive Director of the four-time Grammy Award-winning sextet Eighth Blackbird. Kaplan has won numerous awards, performed all over the country and has premiered new pieces by hundreds of composers, including Andy Akiho, Jennifer Higdon, Amy Beth Kirsten, David Lang, Missy Mazzoli, Nico Muhly, George Perle, and Pamela Z. She has had the great pleasure to collaborate and make music with an eclectic array of incredibly talented people - Laurie Anderson, Jeremy Denk, Bryce Dessner, Philip Glass, Bon Iver, J. Ivy, Glenn Kotche, Shara Nova, Will Oldham, Natalie Portman, Gustavo Santaolalla, Robert Spano, Tarrey Torae, Dawn Upshaw and Michael Ward-Bergeman to name a few. As a proud, single-mama-by-choice, Kaplan has been having an incredible time raising and learning from her happy-go-lucky 4 year old, Frida. Musically as of late, she has also greatly enjoyed and appreciated the opportunity to do both composing and arranging for Eighth Blackbird as well as some producing. In 2019, Kaplan co-produced her first record, When We Are Inhuman with Bryce Dessner. Kaplan is a true foodie, gourmet cook, avid reader, crossword and Scrabble addict, enjoys baking ridiculously complicated pastry and loves outdoor adventures. She has summited Mt. Kilimanjaro, braved the Australian outback, stared an enormous elephant in the face in Tanzania's Ngorongoro Crater and survived close encounters with grizzly bears in the Brooks Range of Alaska. The transcript for this episode can be found here. For more information about eighth blackbird, please visit their website, Facebook, Twitter, Instagram, YouTube, and Spotify.

Join Kai Swanson as he converses with Quad City Symphony Orchestra Music Director Mark Russell Smith and soloist, Roberto Diaz. In this episode, we discuss the works featured on Masterworks VI including Strauss - Fruhlingsstimmen, Higdon - Viola Concerto, Barber - Symphony No. 1, and Respighi - Pines of Rome. Support the show (https://qcsymphony.secure.force.com/donate/?dfId=a0n5d00000SJXSBAA5&)

Synopsis On today's date in 2009, Hilary Hahn premiered a new violin concerto by the American composer Jennifer Higdon, a work tailor-made for the violinist, according to Higdon: “She's got gorgeous tone in the top register, but also down really low, so I tried to utilize her entire range, her lyrical gift, her ability to play super fast and negotiate through complex meter changes.” When asked if it wasn't intimidating writing a violin concerto in the 21st century, considering the incredible legacy of great violin concertos already written, Higdon said a little intimidation is a good thing: “There's nothing like fear to get the imagination running. Starting a piece is the worst,” says Higdon, “and that can stretch from one day to three weeks of agony. The cats run and hide.” Higdon's Violin Concerto for Hilary Hahn won the 2010 Pulitzer Prize for Music, and the composer said she found that out in a very 21st century fashion, when she noticed her cell phone was suddenly flooded with dozens and dozens of messages. “I jumped up and down a little,” confesses Higdon – and that probably scared her cats, too. The cats' names, for the record, are Beau and Squeak. Music Played in Today's Program Jennifer Higdon (b. 1962) — Violin Concerto (Hilary Hahn, vn; Royal Liverpool Philharmonic; Vasily Petrenko, cond.) DG 146980-2

It was an honor to host Dr. Jennifer Higdon earlier this year. Since her episode, she's continued composing, and presenting. In this show she discusses life as a composer, music she finds inspiration from, and what it was like to win one of the biggest awards for musicians.Jennifer Higdon, a Pulitzer Prize and three-time Grammy winner, is one of the most performed living American composers working today. She is the recent recipient of Northwestern University's Nemmers Prize and the UT Austin EM King Award. Previous honors include the Guggenheim, Koussevitzky, and Pew Fellowships, as well as two awards from the American Academy of Arts & Letters. Commissions have come from a wide range of performers: from the Philadelphia Orchestra and the Chicago Symphony, to The President's Own Marine Band; from the Tokyo String Quartet to Eighth Blackbird, as well as individual artists such as singer Thomas Hampson, violinist Hilary Hahn and pianist, Yuja Wang.  Her first opera on Charles Frazier's book, “Cold Mountain”, was commissioned by Santa Fe Opera, Opera Philadelphia, NC Opera, and Minnesota Opera, selling out all of its runs and winning the International Opera Award. She makes her living from commissions. Her works are recorded on over 70 CDs. The recording of her “Percussion Concerto” with Colin Currie and the London Philharmonic was recently inducted into The Library of Congress' National Recording Registry. Jennifer holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia.For more information about Dr. Jennifer Higdon, visit her official website here.Visit Creative Peacemeal Podcast on social media, browse podcast swag, and continue the creative conversations via the blog!Website https://tstakaishi.wixsite.com/musicInstagram @creative_peacemeal_podcastFacebook https://www.facebook.com/creativepeacemealpod/***To make a donation to Dachshund Rescue of Houston click here!As always, THANK YOU for listening and if you have a moment, share an episode with a friend, or leave a review on Apple by clicking here and scrolling to "Ratings and Reviews" Support the show (https://www.patreon.com/creativepeacemeal)

KINETIC performs works by living American composers, including Higdon, Adams, and Abels.

Composer Viet Cuong joins us to discuss the role that marching band played in his formative years and the impact it continues to have on his current career. He shares his approach to composing for small ensembles, preparing students to take advantage of new and innovative tools, and the skills vital for success as a freelance musician. We finish with a conversation about what it means to “sound like tomorrow”. Called “alluring” and “wildly inventive” by The New York Times, the “irresistible” (San Francisco Chronicle) music of American composer Viet Cuong (b. 1990) has been commissioned and performed on six continents by musicians and ensembles such as the New York Philharmonic, Eighth Blackbird, Saint Paul Chamber Orchestra, Sō Percussion, Alarm Will Sound, Atlanta Symphony, Sandbox Percussion, Albany Symphony, PRISM Quartet, Orchestra of St. Luke's, and Dallas Winds, among many others. Viet's music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, National Gallery of Art, and Library of Congress, and his works for wind ensemble have amassed hundreds of performances worldwide, including at Midwest, WASBE, and CBDNA conferences. He was recently featured in The Washington Post‘s “21 for '21: Composers and performers who sound like tomorrow.” In his music Viet enjoys exploring the unexpected and whimsical, and he is often drawn to projects where he can make peculiar combinations and sounds feel enchanting or oddly satisfying. His recent works thus include a percussion quartet concerto, tuba concerto, snare drum solo, and, most recently, a concerto for two oboes. This eclecticism extends to the range of musical groups he writes for, and he has worked with ensembles ranging from middle school bands to Grammy-winning orchestras and chamber groups. Viet is also passionate about bringing different facets of the contemporary music community together, and he will have opportunities to do so with an upcoming concerto for Eighth Blackbird with the United States Navy Band. He recently began his tenure as the California Symphony's 2020-2023 Young American Composer-in-Residence, where he and the symphony will develop three new orchestral works together over three years. Viet is currently on the music theory and composition faculty at the University of Nevada, Las Vegas. He holds degrees in music composition from the Curtis Institute of Music (Artist Diploma), Princeton University (MFA), and the Peabody Conservatory (BM/MM). His mentors include Jennifer Higdon, David Serkin Ludwig, Donnacha Dennehy, Steve Mackey, Dan Trueman, Dmitri Tymoczko, Kevin Puts, and Oscar Bettison. During his studies, he held the Daniel W. Dietrich II Composition Fellowship at Curtis, Naumburg and Roger Sessions Fellowships at Princeton, and Evergreen House Foundation scholarship at Peabody, where he was also awarded the Peabody Alumni Award (the Valedictorian honor) and Gustav Klemm Award. The transcript for this episode can be found here. For more information about Viet Cuong, please visit his website, Facebook, Instagram, Twitter, YouTube, and SoundCloud.

Synopsis One of the finest music schools in the world opened its doors in Philadelphia on today's date in 1924. The Curtis Institute of Music was founded with a $12 million dollar grant from Mary Louise Curtis Bok. For many decades, that initial grant provided full scholarships for all Curtis students. According to Mrs. Bok, “The aim is for quality of work rather than quick, showy results." Distinguished Curtis alumni have included performers like Hilary Hahn, Peter Serkin, and Richard Goode. And here's an impressive statistic: today Curtis alumni occupy nearly 25% of the principal desk positions in the top five American symphony orchestras. Curtis also graduated many famous composers as well, including Samuel Barber, Leonard Bernstein, and Ned Rorem. To help celebrate its 75th anniversary in 1999, the Curtis Institute commissioned a new orchestral work from the American composer Jennifer Higdon, who had joined the school's faculty. Her “Blue Cathedral” was premiered by the Curtis Symphony in the spring of 2000. Higdon says her music is like “a story that commemorates living and passing through places of knowledge and of sharing – and of that song called life.” That description seems to fit the Curtis Institute as well. Music Played in Today's Program Jennifer Higdon (b. 1962) — Blue Cathedral (Atlanta Symphony; Robert Spano, cond.) Telarc 80596

This is the first in a mini-series of episodes where host Tim Cynova in joined by other white male leaders to discuss their personal and professional journeys as their companies engage in the work to become anti-racist organizations. DAVID B. DEVAN (he/him) joined https://www.operaphila.org/ (Opera Philadelphia) in January 2006 and was appointed General Director of the company in 2011. Since his arrival, David has worked closely with board and administration on strategic planning initiatives and building partnerships within the community and the opera world. David guided the company through a transformative period of innovation that led Opera News to describe it as “one of the leading instigators of new work in the country” and the New York Times to describe Opera Philadelphia as "a hotbed of operatic innovation." Under his leadership and artistic vision, Opera Philadelphia has grown to become a company of international stature and a favorite co-producing partner with companies all over the globe, developing fresh productions of classic works as well as premieres written by today's leading composers. The company has engaged and energized both established and emerging artists, providing opportunities for important role debuts for singers like Lawrence Brownlee, Eric Owens, Nathan Gunn, Stephanie Blythe, Christine Goerke, Leah Crocetto, and Lisette Oropesa. As The Daily Beast recently commented, “Opera Philadelphia has been at the forefront of commissioning new operas with contemporary subject matter and an innovative, genre-blending sensibility to snare a younger audience and revitalize opera for the 21st century.” Key achievements include the establishment of the Aurora Series for Chamber Opera at the Perelman Theater, an extremely popular and highly-subscribed opera series at the Kimmel Center's intimate 550-seat Perelman Theater; the establishment of the nation's first ever collaborative Composer in Residence Program with New York partner Music-Theatre Group, a comprehensive program supported by The Andrew W. Mellon Foundation, designed to foster the growth of tomorrow's great operatic composers; the creation of the American Repertoire Program in 2011, solidifying Opera Philadelphia's role as a national leader in the creation of new works; and the creation of the site-specific Opera in the City series. Under David's leadership, the company established the annual Festival O in 2017, launching each season with an immersive, 12-day festival featuring multiple operatic happenings in venues throughout the city. Opera Philadelphia also presents additional productions each spring, making it the first U.S. opera company to open a year-round season with a dynamic festival. Under David's leadership, Opera Philadelphia has commissioned or co-commissioned eight new operas, including Charlie Parker's YARDBIRD by Daniel Schnyder and Bridgette Wimberly, and starring Lawrence Brownlee, which has since been staged at The Apollo Theater in New York and Hackney Empire in London; Cold Mountain, based on the best-selling novel by Charles Frazier and written by Jennifer Higdon and Gene Scheer, and co-commissioned with The Santa Fe Opera; and Breaking the Waves by Missy Mazzoli and Royce Vavrek, based on the film by Lars von Trier, which has since been staged at Beth Morrison Projects' PROTOTYPE Festival and was named Best New Opera of 2016 by the Music Critics Association of North America. As immediate past Chair of the Board of Directors for the Greater Philadelphia Cultural Alliance and a member of the Opera America board, David is privileged to serve in a city with rich and diverse cultural roots. He continues to work tirelessly to make opera as an important part of our community. TIM CYNOVA (he/him) wears a multitude of hats, all in service of creating anti-racist workplaces where people can thrive. He is the Principal of the...

Donald Macleod in conversation with award winning American composer Jennifer Higdon. If you were to ask Jennifer Higdon what her biggest musical influence might be, she's more likely to cite Lennon and McCartney than Bach or Beethoven. Born in 1962 in New York, the soundtrack of her childhood was the Beatles, Simon & Garfunkel and Peter Paul and Mary, the Rolling Stones, and reggae. A move to Atlanta, Georgia, and then to a farmhouse in rural Tennessee, added bluegrass and country music. It wasn't until Higdon was in her teens that her musical curiosity directed her towards classical music. Formal studies followed, and she began to compose when she was 21 years old. Coming to classical music later on, has been, according to Higdon, a significant factor in her own musical language. She's now one of the most performed living American composers. Having just completed her second opera and a concerto in the past year, Higdon is much in demand, with commissions on her books that take her right up to 2024. Recorded at the end of May, speaking to Donald Macleod from Articulate Studios in Philadelphia, USA, in an extended interview Jennifer Higdon gives a fascinating insight into her life and her musical preoccupations. Starting with strings on Monday, they move on to vocal writing, the influence of colour on music, the natural world and writing concertos, an area which has now become something of a speciality. Music Featured: Dance Card (No 5, Machina Rockus) String Poetic (II: Nocturne, arr for cello and piano) String Poetic (III: Blue Hills of Mist) Echo dash Voices Viola Sonata (II: Declamatory) Concerto for Orchestra (2nd mvt) Love Sweet (No 2, The Giver of Stars; No 5, A Fixed Idea) O magnum mysterium The Singing Rooms (III: The Interpretation of Dreams (excerpt); IV: Confession) Cold Mountain (Chorus: Our Beautiful Country) A Quiet Moment Love Came Down Blue Cathedral (excerpt) Scenes from the Poet's Dreams (No 4, In the Blue Fields they sing) City Scape (III: Peachtree Street) Blue Cathedral Piano Trio (I: Pale Yellow; II: Fiery Red) City Scape (II: River sings a song to trees) Scenes From the Poet's Dreams (II: Summer Shimmers Across the Glass of Green Ponds) Autumn Music Secret & Glass Gardens (excerpt) Splendid Wood (excerpt) All Things Majestic (I: Teton Range) Violin Concerto (III: Fly Forward) Concerto 4-3 for String trio and Orchestra (I: The Shallows) Percussion Concerto (excerpt) Zaka (excerpt) Concerto for Orchestra (3rd mvt) Harp Concerto (III: Lullaby) Presented by Donald Macleod Produced in Cardiff by Johannah Smith For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Jennifer Higdon (born 1962) https://www.bbc.co.uk/programmes/m000y70t And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

We're back for another eight episodes! This summer season we'll be focusing on music, research, performances and theories by women. In this episode, we discuss the music of American composer Jennifer Higdon, our views on recital requirements in conservatories, and the constant dilemma of "making it" as a musician. Timestamps: Emily's experience with the piece: 3:30 Lydia rants about recital requirements: 7:02 The fear of not being a good enough musician: 17:16 Listening to and discussing Fanfare Ritmico: 29:05 Higdon's other works: 40:32 Get in touch with us at: thetheoryclubpodcast@gmail.com

Jess Gillam is joined by composer and pianist AyseDeniz Gokcin to share the music they love. With passionate and romantic music by Rachmaninov, Chopin and Brahms, the celestial and other worldly sounds of Jennifer Higdon's Blue Cathedral and Max Richter's Journey CP1919, plus the powerful empowering force that is Beyonce.

Pacifica Quartet — Contemporary Voices (Cedille) Jump to CD giveaway form “I can relate so much to these three pieces after going through this pandemic,” said violist Mark Holloway reflecting on, Contemporary Voices, the most recent release from Pacifica Quartet. “Each one has something quite unique to say.” The recording features three contemporary pieces commissioned by the quartet, which won a Grammy for best Chamber Music Performance. The ensemble is also opening the MN Beethoven Festival on June 27. Can you talk about ‘Glitter, Doom, Shards, Memory — String Quartet No.3' by Shulamit Ran and the visual art that inspired it? “There was an exhibition at the Metropolitan Museum of Art called ‘Glitter and Zoom German Portraits from the 1920s.' I think this was an inspiration to Ran. The quartet was in residence at the museum, and they wanted music that had a connection to the visual art. “There's a German-Jewish painter named Felix Nussbaum who perished in Auschwitz during the Holocaust. Ran wanted to show in music what a normal life, with its joys and sorrows, and ups and downs might be like. Daily life can be torn apart by cruelty, war and hatred. Nussbaum keep painting in the camps during the war. The struggle to survive, create, express and identify is really powerful.” Can you talk about Jennifer Higdon's work Voices that she dedicated to the quartet after collaborating with them at a summer festival? “It's a real knockout of a piece. It starts off with this relentless, crazy frenzy of energy called ‘Blitz.' It's a real explosion. Higdon was saying that a lot of pieces start out soft and then loud. She wanted to see what it might be like the other way around.” Is it true that the combination of instruments on Ellen Taaffe Zwilich's Quintet for Alto Saxophone and String Quartet isn't a combination you hear often? “I too, was unsure what it would sound like. The fact that we're playing with someone else is already something to celebrate. You're joining forces and making music together with a friend. In this case, it's her terrific colleague, Otis Murphy, who's a saxophone professor at Indiana University. You hear the jazziness and different sounds coming from her pen. The piece has a celebratory nature to it, and it just really seems appropriate after all we've been through.” Watch Now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway Form Resources Pacifica Quartet — Contemporary Voices (Cedille) Pacifica Quartet — Contemporary Voices (Amazon) Pacifica Quartet (Official site) Ellen Taaffe Zwilich (Official site) Jennifer Higdon (Official site) Shulamit Ran (Theodore Presser)

It's not just because Richie Hawley is a great clarinettist and has some fascinating ideas and techniques for bringing music to our ears, but this was a great conversation for the latest  episode of Harmonious World.Richie's latest album is with pianist Conor Hanick. A Gentle Notion includes the clarinet sonatas of Aaron Copland, Jennifer Higdon and Pierre Jalbert, together with Joan Tower's stunning Wings.  Thanks to Richie for allowing me to play extracts from both Wings and A Gentle Notion alongside our conversation.Follow me on instagram.com/hilaryrwriterFollow me on facebook.com/HilaryRobertsonFreelanceWriterFollow me on twitter.com/hilaryrwriterSupport the show (https://www.buymeacoffee.com/HWpodcast)

Landres won a spot with the prestigious United States Marine Band "The President's Own"  in his early twenties, while still a graduate student at the Yale School of Music. He gives us a primer on military bands, and discusses how he balances work and personal life to make time for his many hobbies, which include reading, cooking, and gardening. “Landres's Picks” - Favorite USMB Videos-SHOSTAKOVICH The Gadfly Suite, Overture-GRAINGER Lincolnshire Posy, 5. Lord Melbourne-"America's All-Star Band" - an Emmy Award-winning series in collaboration with Gerard Schwarz and American Public Television. All the big band rep in addition to contemporary composers like Jennifer Higdon and Bright Sheng. Episode 1, Episode 2, Episode 3-Women Marines Reserve Band - cool peek into what military band life was like for women during WWII-March of the Women Marines, written by a tuba player in the band-Commando March. Me playing on tour, in my hometown, across the street from my high school. Commando March = first recording of the Marine Band I heard, and the first time I remember getting jazzed about classical music.-Some Star Wars--because, why not?Follow us on Instagram at @Rising_Stars_Podcast_More about the host at caroljantsch.com

In this fabulously informative and lively interview, Jennifer Higdon, the world's 'busiest' composer, offers insights not only into her inspirations and motivations but also her working practice and outlook on the music business. The various detours around reviewers and critics make it even more engaging!

This week I held something of a cultural exchange programme with writer, vlogger, and musician David Hurwitz. Known to many from his reviews website *Classics Today*, the lockdown prompted David to start his very successful YouTube channel earlier this year, which has been gaining a global following ever since. On the show David chooses five of his favourite pieces of British music, I return the compliment with five American classics and we have a discussion peppered with David's inimitable no-nonsense approach and personal anecdotes. It's a highly entertaining show and a great way to end this first season of The Presto Music Podcast. Keep subscribed wherever you get your podcasts though, as we'll be back in the new year with more stimulating chat with the experts. Thankyou for listening to the first 10 episodes, and please do get in touch if there are any subjects or guests that you would like to suggest, at info@prestomusic.comYou can listen to the podcast right here on this page, or click on the links in the player (via the symbol of the box with the arrow coming out of the top) to find it in Apple, Spotify, Stitcher and other popular podcast apps, where you will be able to subscribe and receive notifications when new episodes become available in the future.

This week, we start out with a rousing round of Two Truths and a Lie and then we move on to our three interviews, all probing the same topic: what is American Classical Music?We asked each of our guests to select two works to frame our discussions: one from music history and one of their own composition.JENNIFER HIGDONhttp://jenniferhigdon.com/Copland, Appalachian SpringHigdon, blue cathedralDAMIEN GETERhttps://www.damiengetermusic.com/Gershwin, Porgy & Bess, Opening of Act IIIGeter, String Quartet No. 1 “Neo-Soul”JEROD IMPICHCHAACHAAHA' TATEhttp://jerodtate.com/Erb, “Ritual Thunder”Tate, “Clans”CLASSICAL MIXTAPEThe full playlistKENSHOChristopher Rouse, IscariotWILLBernstein, West Side Story: “Dance at the Gym”TIFFANYWilliam Grant Still, Wood NotesTHINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” GET A COPY OF ALEX ROSS'S WAGNERISM FOR OUR BOOK CLUBhttps://us.macmillan.com/books/9780374285937You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

Grammy nominated baritone, Jorell Williams talks about the constant refining of the voice, the visceral feelings and aural sensations of singing, and reworking his breath and how it changed his career path.

We take on one of the most difficult piano concertos in the repertoire, Rachmaninoff's Third - which is coming to the Peristyle courtesy of Van Cliburn gold medalist Olga Kern (pictured). Also, Pulitzer and Grammy-winning composer (and BGSU grad) Jennifer Higdon joins us by phone to talk about her Concerto for Orchestra, also on the program. And, while we have her on the line, we test our luck with a "getting to know you" quiz all about Jennifer and her music!

Jennifer Higdon is one of the most performed living American composers today. She taught herself to play the flute at the age of 15, wrote her first composition when she was 21, then eventually went on to win the Pulitzer prize for her violin concerto in 2010. She recently completed her first opera, “Cold Mountain”, which was premiered by the Santa Fe Opera in 2015 and is being performed in Philadelphia this week. Jennifer Higdon and I have known each other since we were classmates at The Curtis Institute of Music in Philadelphia. Over the years it's been such an honor and a delight to perform so many of her works - in fact, I even helped her record her very first album, Rapid Fire, way back in 1995. Despite all the well-deserved accolades Jennifer has received for her incredible compositions, she remains one of the sweetest, most genuine and down-to-earth persons I know. In this special interview, Jennifer tells the stories behind some of her most popular compositions, and shares some practical insights into what it takes to be able to make a full-time living as a composer today.  Links Jennifer's Website: http://jenniferhigdon.com Info on ordering Jennifer's music: http://jenniferhigdon.com/contact.html