Podcast appearances and mentions of JoAnn Falletta

“One of the things we know about the brain is that information that is acquired through problem solving is more likely to be retained. I might start rehearsal by saying 'take out the piece in D major,' 'let's start in the climactic moment of the Brahms,' 'take out the piece where fire is used as a metaphor for passion.' You start with a problem, so you're already engaging neurons. This works at any age."Sharon J. Paul holds the Robert M. Trotter Chair of Music at the University of Oregon, where she currently serves as Department Head of Music Performance and Director of Choral Activities. Her teaching includes graduate courses in choral conducting, repertoire, and pedagogy, along with conducting the internationally award-winning Chamber Choir.In March 2020, Oxford University Press published Dr. Paul's book, Art & Science in the Choral Rehearsal, which features many of the creative and evidence-based teaching strategies she has cultivated over her career.The University of Oregon Chamber Choir has placed first or second in four international choral competitions, most recently winning first prize in the Chamber Choir category at the Grand Prix of Nations Competition in Gothenburg, Sweden in August 2019. The Chamber Choir became a resident ensemble of the Oregon Bach Festival in 2014, performing each summer under conductors such as Helmuth Rilling, Matthew Halls, John Nelson, Jane Glover, and Joann Falletta.University of Oregon choirs under Dr. Paul's direction have performed at the National Association for Music Education's state and divisional conferences, and at ACDA Northwestern Division conferences.Dr. Paul has presented interest sessions at regional, state, division, national, and international conferences. She appears frequently as adjudicator, clinician, teacher, and honor choir director throughout the United States and abroad. In 2019, she received Oregon ACDA's Podium Award for “outstanding contributions to the choral arts,” and in the fall of 2014 she received the University of Oregon's Fund for Faculty Excellence Award.Dr. Paul completed her DMA in Choral Conducting at Stanford University, her MFA in Conducting from UCLA, and her BA in Music from Pomona College.To get in touch with Sharon, you can email her at sjpaul@uoregon.edu or find her on Facebook (@sharon.paul.50).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace HudsonPodMatchPodMatch Automatically Matches Ideal Podcast Guests and Hosts For Interviews

Alex Cousins joined Rockabilly Greg “In the Flamingo Lounge” on February 17, 2025. Alex is a 21st-century musician and performing artist, excelling as a virtuoso cellist. Despite a late start at 14, he soloed with the Buffalo Philharmonic Orchestra just three years later, winning the 2014 Young Musicians Scholarship. A 2020 Peabody Conservatory graduate with a Masters in Music, Cello Performance, Alex blends classical training with pioneering work on the electric cello. After graduating from the Peabody Conservatory, Alex returned to Buffalo where he immersed himself in amplified music, electronics, songwriting, and the electric cello, playing in various local bands from 2022-2024, spanning genres including alternative rock, folk, blues, and pop/indie rock. A seasoned session musician and educator, Cousins mentors young musicians and has recorded with artists including Robby Takac from the Goo Goo Dolls. He regularly performs in Buffalo Public Schools, demonstrating the versatility of acoustic and electric cellos. His collaborations include JoAnn Falletta, Marin Alsop, Leon Fleischer, The Eagles, and he has performed at venues including Kleinhans Music Hall, KeyBank Center Arena, SXSW Festival, and the Music is Art Festival. In 2025, Alex launched "Strings Unbound: An Evening with Alex Cousins," showcasing the electric cello as lead instrument. His seven-piece band will perform reimagined popular music covers from the past 50 years, debuting at The Caz in Buffalo on April 17, 2025.

This week on the Feb. 7 Friday LIVE, Genevieve Randall and guests have lively conversations about: conductor JoAnn Falletta's new gig in Omaha; "Moulin Rouge" at the Lied Center; singer/songwriter Alex Williams' shows in Nebraska; Nebraska Chamber Players concerts; Ailey II at Wayne State College; and a new exhibition at Sheldon Musuem of Art. Also, a Ross film review by Kwakiutl Dreher and a look at art exhibitions at UNO.

This week on the Feb. 7 Friday LIVE, Genevieve Randall and guests have lively conversations about: conductor JoAnn Falletta's new gig in Omaha; "Moulin Rouge" at the Lied Center; singer/songwriter Alex Williams' shows in Nebraska; Nebraska Chamber Players concerts; Ailey II at Wayne State College; and a new exhibition at Sheldon Musuem of Art. Also, a Ross film review by Kwakiutl Dreher and a look at art exhibitions at UNO.

JoAnn Falletta is a Classical Music Superstar. She is a phenomenally accomplished lady. For 25 years she has been the Music Director and Conductor of the Buffalo Philharmonic Orchestra. She was the first female conductor in the United States of a major symphony orchestra. She's a Juilliard graduate. She studied with Leonard Bernstein. She's a 2x Grammy winner. And that's just scratching the surface of all of her accomplishments.My featured song is “New York City Groove”, from the album Made In New York by my band Project Grand Slam, in honor of the fact that both JoAnn and I grew up in New York City. 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 JoAnn at:www.joannfalletta.com—---------------------------------------ROBERT'S SINGLES:“SOSTICE” is Robert's newest 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

On this week's episode of ‘New Classical Tracks,' conductor JoAnn Falletta and the Buffalo Philharmonic Orchestra honor conductor Lukas Foss and his legacy on their latest album, featuring his Symphony No. 1. Listen now!

JoAnn Falletta leads Interlochen's World Youth Symphony Orchestra in their final concert of the 2024 season and the 97th annual performance of “Les Préludes.” Classical IPR presents the live broadcast this Sunday, August 4 at 7:30 PM ET.

 JoAnn Falletta, conductor of the Buffalo Philharmonic Orchestra, discusses a programme of orchestral works by composer/conductor Lukas Foss, who was both a predecessor of hers in Buffalo and a mentor to her. Highlighting his eclecticism as a composer, who went wherever his mind took him, Raymond Bisha discusses the performers' latest album, which features four works that colourfully reflect Foss' wide embrace and expert craftsmanship.

To celebrate the 200th anniversary of Beethoven's Symphony No. 9, music critic Norman Lebrecht and conductor JoAnn Falletta discuss what makes it revolutionary and why it's so challenging to perform.Michael McManus spent most of his career as a political advisor but has subsequently become a playwright. His new play Party Games is a political comedy that questions the power of AI and the influence of unelected advisors.A new exhibition at the Bodleian Library in Oxford - Write, Cut, Rewrite - looks at the drafts, additions and omissions behind key artistic decisions from great writers. Writer Lawrence Norfolk and poet Alice Oswald talk about the importance of rewriting and editing.Presenter: Samira Ahmed Producer: Torquil MacLeod

On the latest episode of ‘New Classical Tracks,' conductor JoAnn Falletta leads the Buffalo Philharmonic Orchestra in music by Antonín Dvořák and David Serkin Ludwig on their latest album, ‘Echoes of Eastern Europe.' Find out more!

The short-lived, San Francisco-based Women's Philharmonic, founded in 1981 and disbanded in 2004, had an enormous impact on America's classical music scene, promoting not only the music of woman composers but performances by prominent woman conductors and soloists. In 1992, they made their first recording for the Koch International Classics label under the direction of conductor JoAnn Falletta. Musical Concepts is pleased to return this recording, featuring works by Fanny Mendelssohn, Clara Schumann, Germaine Tailleferre, and Lili Boulanger, to international availability.TracksFanny Mendelssohn Ouverture (arr. Falletta) (10:32)Clara SchumannPiano Concerto in A Minor, Op. 7 (1836) I. Allegro maestoso (6:34) II. Romanze (Nina Flyer, cello) (4:51) III. Finale (10:24) Germaine TailleferreConcertino for Harp and Orchestra I. Allegretto (7:26) II. Lento (3:32) III. Rondo (5:03) Lili Boulanger D'un Soir Triste (arr. Falletta) D'un Matin de Printemps (arr. Falletta) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Udo talks to Julia Tai, the Music Director of the Missoula Symphony Orchestra & Chorale. Maestro Tai is also the Music Director of Philharmonia Northwest, and the Co-Artistic Director of the Seattle Modern Orchestra. Her career has led to acclaimed performances and rehearsals with the American Youth Symphony, Bakersfield Symphony Orchestra, Bohuslav Martinu Philharmonic (Czech Republic), Boise Philharmonic, Brandenburger Symphoniker (Germany), Estonian National Youth Symphony (Estonia), to name but a few. Born in Taipei, Taiwan, Julia Tai began her violin studies at age four and piano at eight. She received her Bachelor and Master of Music degrees from the University of Southern California Thornton School of Music, where she was awarded “Outstanding Graduate.” She holds a Doctor of Musical Arts degree in orchestral conducting from the University of Washington. She has studied conducting with some of the finest conductors in the world, including Peter Erös and Jorge Mester, and has participated in masterclasses with Marin Alsop, JoAnn Falletta, Neeme Järvi, Daniel Lewis, Gustav Meier, Otto-Werner Müller, Jorma Panula, and Larry Rachleff. She is recognized as a prominent innovator of the contemporary music world and has established a reputation for her creative programming, community engagement, and innovative education programs. While Julia Tai is becoming one of today's most dynamic and engaging conductors on the international stage, she is also the first female conductor in the history of the Missoula Symphony. Words cannot describe Maestro Tai, one needs to see her conducting live, on stage, feeling the music!

On this episode of Why Music Matters with Jeff Miers, I'm speaking with JoAnn Falletta, Music Director of the Buffalo Philharmonic Orchestra. Called "one of the finest conductors of her her generation” by The New York Times, Maestro Falletta is the first woman to be appointed Music Director of a major American ensemble. Throughout the course of her career, she has been a tireless champion of music's ability to transcend cultural and physical boundaries, and to speak to our shared humanity. Tune in! And don't forget to subscribe! Watch the video version here!  Listen on Apple Podcasts Listen on Spotify Visit my website Visit my Substack  Produced by 678Main. 

Following five acclaimed albums with the LSO and JoAnn Falletta for Naxos, the composer Kenneth Fuchs has released a new collection of his orchestral works with John Wilson's Sinfonia of London. Recorded at St Augustine's, Kilburn, in North London, by Chandos, the collection has just been issued. James Jolly caught up with Kenneth Fuchs just before last Christmas - and the day after recording sessions - to talk about the four works on the new album.

Greetings! Since the over-arching theme of PTE is "multi-genre" avant-garde, I decided to focus today's LGBTQ+ Pride program on living composers working in various styles, some more "avant" than others, but all worth recognition and airplay. Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter: https://twitter.com/envpusher1      6-24-23 PTE Playlist / LGBTQ+ Pride Special   Spectrum I: Red - Divisi Chamber Singers / composer & text: Sally Whitwell - Spectrum - Divisi Chamber Singers (2022) https://divisichamber.com/    Spectrum III: Yellow - Divisi Chamber Singers / composer: Sally Whitwell, text: Monique Duval - Spectrum - Divisi Chamber Singers (2022) https://divisichamber.com/    Syrup & Silicone - Divisi Chamber Singers / composer: Robert McIntyre, text: Savanna Wegman / Spectrum - Divisi Chamber Singers (2022) https://divisichamber.com/    Chamber Concerto No. 2, op. 28B for violin & - violin: Aiman Mussakhajayeva (EYE-mahn mousah-ha-jah-YEH-vah) / Kazakh State Symphony Orchestra, cond. Tigran Shiganyan / composer: Lowell Liebermann - Violin Concerto, Op. 74 | Chamber Concertos 1 and 2 | Air - Blue Griffin Records (2023) https://www.bluegriffin.com/cd-catalog/p/lowell-liebermann-violin-concerto-op-74-chamber-concertos-1-and-2-air    Silent Passability (Ride To The Countryside) - Terre Thaemlitz - Couture Cosmetique: Transgendered electroacoustique sympotomatic of the need for a cultural makeover (or​.​.​. What's behind all that foundation​?​) - Comatonse Recordings (1997) https://comatonse.bandcamp.com/album/couture-cosmetique-transgendered-electroacoustique-sympotomatic-of-the-need-for-a-cultural-makeover-or-whats-behind-all-that-foundation    Monster Walk Instrumental - Jack Curtis Dubowski - Halloween Horror - self-release (2022) https://jackcurtisdubowsky.bandcamp.com/album/halloween-horror    The Only Tune: Part 1 - The Two Sisters / Part 2 - The Old Mill Pond / Part 3 - The Only Tune - voice/banjo/guitar: Sam Amidon / composer: Nico Muhly - Brassland/Bedroom Community (2008) https://nicomuhly.bandcamp.com/album/mothertongue     Fields/Clouds - Meredith Monk and Vocal Ensemble - Book of Days - ECM (1989) https://www.meredithmonk.org/    Vibrate - Rufus Wainwright - Want One - Dreamworks (2003) https://rufuswainwright.com/music/want-one/    Just Imaginings - Wendy Carlos - Beauty In The Beast - Audion (1986) https://www.wendycarlos.com/+bitb.html#1notes    Time is of the Crosscents - ‡Starving Poet§ - Syllabic Idyllic - digital album (2021) https://starvingpoet.bandcamp.com/album/syllabic-idyllic    Out of the Dark, Suite for Chamber Orchestra after Three Paintings by Helen Frankenhaler - London Symphony Orchestra, cond. JoAnn Falletta / composer: Kenneth Fuchs - An American Place / Eventide / Out of the Dark - Naxos (2005) https://www.naxos.com/MainSite/BlurbsReviews/?itemcode=8.559224&catnum=559224&filetype=AboutThisRecording&language=English    Disintegration Loops (excerpt) - Wordless Music Orchestra / composer: William Basinski / arrangement: Maxim Moston - Sound And Silence: 'Remembering Sept. 11'  At The Temple Of Dendur  NPR Broadcast 9-10-2011 https://www.npr.org/sections/deceptivecadence/2011/09/07/140265002/remembering-september-11-a-live-concert-webcast-from-the-temple-of-dendur#above 

JoAnn is one of the most beloved and enterprising of all conductors working today. She's enjoyed spectacular success during her tenures as music director at a number of orchestras, and is just a delight to be around!

JoAnn Falletta and the Buffalo Philharmonic Orchestra — Danny Elfman: Violin Concerto 'Eleven Eleven' & Adolphus Hailstork: Piano Concerto No. 1 (Naxos) Jump to giveaway form New Classical Tracks - JoAnn Falletta by “I've been doing a lot of American concertos and commissioning them for our players. I'd love to start a concert series of American concertos,” conductor JoAnn Falletta says. “What better way to start than with these two unbelievable pieces?” As the Buffalo Philharmonic Orchestra music director and music director laureate of the Virginia Symphony Orchestra, Falletta has built a reputation as a champion of American composers. Her latest recording features Danny Elfman's first violin concerto, Eleven Eleven, with violinist Sandy Cameron, and the Piano Concerto No. 1, by Adolphus Hailstork, with pianist Stewart Goodyear. “I chose these works because they were from a different world than we normally associate with concertos. Adolphus Hailstork is African American and has intense training in classical Western music,” Falletta says. “Violinist Sandy Cameron comes from Danny Elfman, who had never written a classical piece until he wrote this amazing violin concerto. They are two very out-there concertos. I love them. They're destined to be classics of the 21st century.” The Virginia Symphony commissioned Adolphus Hailstork's Piano Concerto No. 1. “That's right. It was commissioned right after I became music director. Part of the reason for the commission was that Hailstork lived in my apartment building. We both came to Virginia at the same time. I came to work with the orchestra, and he came to teach at Old Dominion University and Norfolk State University. “He wrote so many pieces and was very active as a composer. We played them all. He was also our composer in residence, and we got to do premieres of his pieces all the time. But we asked him to write a piano concerto, and he wrote this amazing piece. We took it with us when we made our debut performance at Carnegie Hall. “I thought it was time to record it with the Buffalo Philharmonic Orchestra. We have to record it because no one knows about this piece. It's one of the greatest piano concertos ever written, after Gershwin.” Tell me about Eleven Eleven, by Danny Elfman. “He was working with Sandy on some of the Tim Burton films, and he had written some parts for solo violin. Sandy lived in Los Angeles and was playing them. Her virtuosity struck him. He said, ‘I want to write a violin concerto, and I want to write it for you.' He had never written a classical piece. At 60, he said, ‘It's about time. If I'm going to do this, I must do it now.' “They came up with this incredible idea of slightly amplifying the violin. Doing that allowed Danny to use the tremendous forces he wanted because the violin would be heard. People listening to the recording won't even be aware of that.  “Danny told me about putting in a Latin tango in the second movement and then wanted to take it out because he said, ‘Oh, no. That's too pop.' Sandy talked him out of it, saying, ‘No, it's great. Our orchestra agreed it was one of their favorite spots.' “It's similar to a film noir concerto if that makes sense. Danny's well known for his Batman music with a city noir soundscape where it's dark and a little threatening. It's just so enticing this dark journey that he takes us on. I teased him when he was there by saying this is what Batman would sound like if you played the violin.” 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 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 JoAnn Falletta and the Buffalo Philharmonic Orchestra — Danny Elfman: Violin Concerto 'Eleven Eleven' & Adolphus Hailstork: Piano Concerto No. 1 (Amazon Music) JoAnn Falletta and the Buffalo Philharmonic Orchestra — Danny Elfman: Violin Concerto 'Eleven Eleven' & Adolphus Hailstork: Piano Concerto No. 1 (Presto music) JoAnn Falletta (official site)

You saw her guest conduct the Sarasota Orchestra last February and now she returns to the Van Wezel Performing Arts Hall on Monday, March 27 at 7:30 p.m., courtesy of the Sarasota Concert Association, to conduct her very own orchestra, the Grammy Award-winning Buffalo Philharmonic. For their Florida tour, conductor JoAnn Falletta, the Buffalo Philharmonic, and guest violin soloist Sandy Cameron will  present  Kodaly's Dances of Galánta, Mendelssohn's Violin Concerto, and Dvorak's Symphony No. 7. Tickets are available from the Sarasota Concert Association by going to SCASarasota.org or by calling 941-966-6161.JoAnn joins Robyn on the podcast this week to talk about her shift from guitar player to conductor, the incredible amount of organization involved in taking a symphony orchestra on tour, and just which movie gets her vote: Tár or Mr. Holland's Opus?All that and more on this week's episode of the Suncoast Culture Club podcast. Come along and join the club!• Sarasota Concert Association Website & Facebook• JoAnn Falletta Website & Facebook• Buffalo Philharmonic Website & Facebook & Instagram & Twitter• The Pops Orchestra of Bradenton and Sarasota Website & Facebook & Instagram• SCF Music Program Website & Facebook & InstagramSupport the show

We take a look at the Toledo Symphony's all-French program, with special guest Mélisande McNabney, who solos in Francis Poulenc's harpsichord concerto at the Peristyle. Also joining us a bit later in the program is the Grammy award-winning conductor JoAnn Falletta, who provides insight into the music on the concert, which she leads with the TSO. And don't forget our quiz of the day as we test our panelists' knowledge of French composer facts! Photo of Mélisande McNabney by Matthew Perrin Photography

Synopsis Late in 2013, the musical world was gearing up to celebrate the 70th birthday of British composer John Tavener, but sadly he died, so his 70th birthday, which fell on today's date in 2014, became a memorial tribute instead. Tavener had suffered from ill health throughout his life: a stroke in his thirties, heart surgery and the removal of a tumor in his forties, and two subsequent heart attacks. In his early twenties, Tavener became famous in 1968 with his avant-garde cantata entitled The Whale, based loosely on the Old Testament story of Jonah. That work caught the attention of one of The Beatles, and a recording of it was released on The Beatles' own Apple label. Tavener converted to the Russian Orthodox Church in 1977, and his music became increasingly spiritual. Millions who watched TV coverage of the funeral of Diana, Princess of Wales, in 1997, were deeply moved by his “Song for Athene,” which was performed to telling effect as Diana's casket left Westminster Abbey. Taverner was knighted in 2000, becoming Sir John Tavener In 2003, Tavener's Ikon of Eros, commissioned for the Centennial of the Minnesota Orchestra, and premiered at St. Paul's Cathedral—the one in St. Paul, Minnesota, that is, not the one in London—and Tavener came to Minnesota for the event. Music Played in Today's Program Sir John Tavener (1944-2013) Ikon of Eros Jorja Fleezanis, vn; Minnesota Chorale; Minnesota Orchestra; Paul Goodwin, conductor. Reference Recording 102 On This Day Births 1791 - French opera composer Louis Joseph F. Herold, in Paris; 1898 - Italian-American composer Vittorio Rieti, in Alexandria, Egypt; 1944 - British composer Sir John Tavener, in London; Deaths 1935 - Russian composer Mikhail Ippolitov-Ivanov, age 75, in Moscow; 1947 - Venezuelan-born French composer Reynaldo Hahn, age 72, in Paris; Premieres 1725 - Bach: Sacred Cantata No. 92 ("Ich hab in Gottes Herz und Sinn") performed on Septuagesimae Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1828 - Schubert: Piano Trio in Bb, Op. 99 (D. 898), at a private performance by Ignaz Schuppanzigh (violin), Josef Linke (cello), and Carl Maria von Bocklet (piano); 1830 - Auber: opera "Fra Diavolo" in Paris at the Opéra-Comique; 1876 - Tchaikovsky: "Serenade mélancolique" for violin and orchestra, in Moscow (Julian date: Jan. 18); 1897 - Glazunov: Symphony No. 5, in London; 1915 - Ravel: Piano Trio in a, in Paris, by Gabriel Wilaume (violin), Louis Feuillard (cello), and Alfredo Casella (piano); 1916 - Granados: opera "Goyescas," at the Metropolitan Opera in New York; 1927 - Copland: Piano Concerto, by the Boston Symphony conducted by Serge Koussevitzky, with the composer as soloist; 1941 - Copland: "Quiet City," at Town Hall in New York City by the Little Symphony conducted by Daniel Saidenberg; This music is based on incidental music Copland wrote for Irwin Shaw's play of the same name produced by the Group Theater in New York in 1939; 1944 - Bernstein: Symphony No. 1 ("Jeremiah"), at the Syria Mosque in Pittsburgh by the Pittsburgh Symphony conducted by the composer, with mezzo-soprano Jennie Tourel as vocal soloist; 1972 - Scott Joplin: opera "Treemonisha" (orchestrated by T.J. Anderson), in Atlanta; 1990 - Joan Tower: Flute Concerto, at Carnegie Hall in New York, with soloist Carol Wincenc and the American Composers Orchestra, Hugh Wolff, conducting; 1995 - Elinor Armer: “Island Earth” (to a text by Sci-Fi writer Usula K. Le Guin), at the University of California, Berkeley, by the various San Francisco choirs and the Women's Philharmonic, conducted by JoAnn Falletta; On the same program were the premiere performance's of Chen Yi's “Antiphony” for orchestra and Augusta Read Thomas's “Fantasy” for piano and orchestra (with piano soloist Sara Wolfensohn); 1997 - Morten Lauridsen: “Mid-Winter Songs” (final version) for chorus and orchestra, by the Los Angeles Master Chorale, John Currie conducting; Earlier versions of this work with piano and chamber orchestra accompaniment had premiered in 1981, 1983, and 1985 at various Californian venues; 2000 - André Previn: "Diversions," in Salzburg, Austria, by the Vienna Philharmonic, the composer conducting; Others 1742 - Jonathan Swift, Dean of St. Patrick's Cathedral in Dublin (and the author of "Gulliver's Travels"), objects to the cathedral singers taking part in performances of Handel's works while the composer is in that city (Gregorian date: Feb. 8); Rehearsals for the premiere performance of Handel's "Messiah" would begin in April of that year, involving the choirs of both Christ Church and St. Patrick's Cathedrals in Dublin; 1971 - William Bolcom completes his "Poltergeist" Rag (dedicated to Teresa Sterne, a one-time concert pianist who was then a producer for Nonesuch Records); According to the composer's notes, the "Poltergeist" Rag was written "in a converted garage next to a graveyard in Newburgh, N.Y." Links and Resources On Tavener

This Morning, maybe don't bring your gun into a family-fun corn maze, Jay Skurski from the Buffalo News joins us, Grammy winner and BPO conductor JoAnn Falletta joins us in studio, and we visit The Villages!See omnystudio.com/listener for privacy information.

Synopsis On this day in 1904, in Cologne, Germany, Gustav Mahler conducted the first performance of his Fifth Symphony. It was not a success. Applause was light, with loud hissing from some in the audience. Even Mahler's wife, Alma, complained so much about the orchestration that Mahler kept tinkering with the score until the last year of his life. Despite this inauspicious beginning, Mahler's Fifth has become a popular showpiece for virtuoso orchestras and its slow movement, marked Adagietto -- supposedly Mahler's musical love to Alma -- has become one of Mahler's best-loved pieces. The American composer Jerome Moross also had a symphony premiered on today's date. The year was 1943, Moross was 30 years old, and Sir Thomas Beecham conducted its premiere performance with the Seattle Symphony. Unlike Mahler, Moross wrote only ONE symphony, and the American hobo tune inspired the slow movement of his “The Midnight Special.” Jerome Moross is best known his work in Hollywood. His 1958 score for “The Big Country” was nominated for an Academy Award. Moross also wrote the music for “Wagon Train,” a popular TV Western. As Moross once said: “a composer must reflect his landscape and mine is the landscape of America. I don't do it consciously, it is simply the only way I can write.” Music Played in Today's Program Gustav Mahler (1860-1911) Symphony No. 5 Chicago Symphony; Claudio Abbado, cond. DG 427 254 Jerome Moross (1913-1983) Symphony No. 1 London Symphony; JoAnn Falletta, cond. Koch 7188

Please join the EC team and our illustrious Maestri in a joyful and enlightening conversation where they discuss what they are most proud of over the course of their storied careers, considerations around programming, leadership on the podium, and the significance of being an American Music Director. We can't wait for you to hear it and tell us what you think!

Guitarist and composer DJ Sparr joins us to chat about the central role that the relationships built in school play in securing future work. He shares about his experience performing Kenneth Fuch's Electric Guitar Concerto with JoAnn Falletta and the London Symphony Orchestra and the difference between performing his vs. others' works. We also talk about the typical day-to-day schedule of a performer-composer, and working this into family life. Electric guitarist and composer D. J. Sparr, who Gramophone recently hailed as “exemplary,” is one of America's preeminent composer-performers. He has caught the attention of critics with his eclectic style, described as “pop-Romantic…iridescent and wondrous” (The Mercury News) and “suits the boundary erasing spirit of today's new-music world” (The New York Times). The Los Angeles Times praises him as “an excellent soloist,” and the Santa Cruz Sentinel says that he “wowed an enthusiastic audience…Sparr's guitar sang in a near-human voice.” He was the electric guitar concerto soloist on the 2018 GRAMMY-Award winning, all-Kenneth Fuchs recording with JoAnn Falletta and the London Symphony Orchestra. In 2011, Sparr was named one of NPR listener's favorite 100 composers under the age 40. He has composed for and performed with renowned ensembles such as the Houston Grand Opera, Cabrillo Festival, New World Symphony, Washington National Opera, and Eighth Blackbird. His music has received awards from BMI, New Music USA, and the League of Composers/ISCM. Sparr is a faculty member at the famed Walden School's Creative Musicians Retreat in Dublin, New Hampshire. His works and guitar performances appear on Naxos, Innova Recordings, & Centaur Records. D. J. lives in Baton Rouge, Louisiana with his wife Kimberly, son Harris, Nannette the hound dog, and Bundini the boxer. D. J. Sparr's music is published by Bill Holab Music. The transcript for this episode can be found here. For more information about DJ Sparr, please visit his website.

We jump into the New Year with an all-American program, featuring Adolphus Hailstork's Three Spirituals for Orchestra and Samuel Barber's Knoxville: Summer of 1915 (featuring soprano Janinah Burnett). Finishing off the program is Antonin Dvořák's "New World" Symphony, which was written while Dvořák was living and working in the United States. Multiple Grammy winner and guest conductor JoAnn Falletta (pictured) joins us for a lively discussion of these works, her personal friendship with "Dolph" Hailstork, and her remarkable career and musical journey. Oh, and there's even a classical guitar quiz (before she was a world famous conductor, JoAnn Falletta was a guitarist). Photo: Cheryl Gorski

Multiple Grammy Award-winning conductor JoAnn Falletta talks with Haley Taylor about the remarkable pianist Claudette Sorel. A child prodigy (and eventual "poet of the keyboard" according to Falletta), Sorel was also a champion of modern music as well as female musicians. In this commemorative 2-CD set, we hear a selection of lesser-known works as well as a collection of American piano concertos. Claudette Sorel founded the Elizabeth and Michel Sorel Charitable Organization in 1996, named for her parents, to help expand opportunities and stretch the boundaries for women in music. JoAnn Falletta was a founding member of the Sorel Organization's Advisory Board in the 1990s and she is a current Trustee. You can learn more about Claudette Sorel at the organization's website: http://www.sorelmusic.org.

En este episodio conoceremos a la compositora romántica Fanny Hensel Mendelssohn, antiguamente conocida más como "la hermana de Félix Mendelssohn", pero que recientemente se está ganando su propio lugar dentro de los compositores reconocidos de la primera mitad del siglo XIX.  La música de Fanny Mendelssohn que vas a escuchar en este episodio 00:30 Allegro grazioso No. 1, WV 294, interpretado por Elżbieta Sternlicht. 05:04. String Quartet in E-Flat Major (H. 277), interpretado por Quatuor Ébène. 10:36. 4 Lieder, Op. 6: No. 4, Il saltarello romaNo. Allegro molto, interpretado por Ana Markovic & Yen-Ling Liu. 13:56 Six mélodies pour le Piano, Op. 4 & Op. 5: Andante soave in E-Flat Major, interpretado por Beatrice Rauchs. 15:36. Das Jahr: 12 Characterstucke (original version): No. 4. April, interpretado por Wolfram Lorenzen. 16:45. 6 Lieder, Op. 1: No. 1, Schwanenlied, interpretado por Jerilyn Chou & Chiaki Kotobuki. 18:26. Overture in C Major, interpretado por The Women's Philarmonic, JoAnn Falletta.    

Gustav Mahler - Songs of a Wayfarer: The Drunkard in Spring Charles Reid, tenor; Attacca Quartet; Virginia Arts Festival Chamber Players; JoAnn Falletta, conductor; Arnold Schoenberg More info about today's track: Naxos 8.573536 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

A program featuring acclaimed conductor JoAnn Falletta, who talks about her early love of music, how seeing her first symphony concert inspired her to become a conductor, and all the listening and preparation that goes into being successful at her job.

JoAnn Falletta and the BPO — Light in a Time of Darkness (Beau Fleuve) Jump to giveaway form   New Classical Tracks - JoAnn Falletta by “I found that the smaller concerts we did all the time during the 2021 season were fantastic for us in developing new skills,” said JoAnn Falletta, music director of the Buffalo Philharmonic Orchestra. “We learned how to listen and lead each other in repertoire that we never played. “We made a recording of some of our favorite pieces from that time, because they were meaningful. Every concert is meaningful, but, somehow, when you're playing in the middle of something as dark as what we lived through, it meant ‘life,''' she said about their new recording, Light in a Time of Darkness. “Six pieces made it onto the disc, and I think we'll always treasure, in our memories, the idea of being together and knowing that somehow we would get through this.” Why did you choose to start the album with Ralph Vaughan Williams' Fantasia on a Theme by Thomas Tallis? “Time gets suspended in this piece. Vaughan Williams, on his way back to Thomas Tallis, chose one of his hymns to recast for strings. It feels ageless or timeless. That was what the pandemic was like, time standing still.” How did you discover Ulysses Kay's Pieta? Stanislav Traykov/Wikipedia Michelangelo Buonarroti's sculpture 'Pieta' is housed in St. Peter's Basilica. “I have to give complete credit to my English hornist, Anna Mattix. She is a sleuth for English horn pieces, and she's fabulous. She rediscovered this piece, and there was no recording when she brought it to me. I thought it was extraordinary. “Kay was the first Black American to win the Prix de Rome. When he was in Rome, he went to see Michelangelo's Pieta and wrote this piece about it. It is filled with his personal reflection on that work of art.” What do you love most about George Walker's Lament? “I'm so glad we did this piece. I think this is an American classic. We talk about Samuel Barber's Adagio for Strings, but this is a similar piece. It's a piece of mourning and in Walker's case, it is more intimate. It has a lot of inner feeling of mourning, but it's unforgettable.” 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 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 JoAnn Falletta and the BPO — Light in a Time of Darkness (BPO Store) JoAnn Falletta (official site)

Synopsis Many good things come in threes – at least William Bolcom seems to think so. On today's date in 1971, in a converted garage next to a graveyard in Newburgh, New York, American composer and pianist William Bolcom put the finishes touches to the second of three piano pieces he collectively titled “Ghost Rags.” “Ghost Rag” No. 2 was titled “Poltergeist” and dedicated to Tracey Sterne, who at that time was a dynamic record producer at Nonesuch Records.  In her youth Sterne pursued a career as a concert pianist, but in the 1960s and 70s was responsible for assembling the Nonesuch label's astonishingly diverse catalog of old, new and world music.   “Ghost Rag” No. 3, titled “Dream Shadows,” was described by Bolcom as a “white rag” which evoked “the era of white telephones and white pianos” and “was in the white key of C Major.” Bolcom dedicated this rag to his fellow composer, William Albright. And Bolcom's ‘Ghost Rag” No. 1, which has proved to be the most popular of the three, was titled “Graceful Ghost.”  Bolcom dedicated this music to the memory of his father, whose benign spirit Bolcom said he often felt hovering around his piano while he played at night. Music Played in Today's Program William Bolcom (b. 1938) — Graceful Ghost Rags (Paul Jacobs, piano) Nonesuch 79006 On This Day Births 1791 - French opera composer Louis Joseph F. Herold, in Paris; 1898 - Italian-American composer Vittorio Rieti, in Alexandria, Egypt; 1944 - British composer Sir John Tavener, in London; Deaths 1935 - Russian composer Mikhail Ippolitov-Ivanov, age 75, in Moscow; 1947 - Venezuelan-born French composer Reynaldo Hahn, age 72, in Paris; Premieres 1725 - Bach: Sacred Cantata No. 92 ("Ich hab in Gottes Herz und Sinn") performed on Septuagesimae Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1828 - Schubert: Piano Trio in Bb, Op. 99 (D. 898), at a private performance by Ignaz Schuppanzigh (violin), Josef Linke (cello), and Carl Maria von Bocklet (piano); 1830 - Auber: opera "Fra Diavolo" in Paris at the Opéra-Comique; 1876 - Tchaikovsky: "Serenade mélancolique" for violin and orchestra, in Moscow (Julian date: Jan. 18); 1897 - Glazunov: Symphony No. 5, in London; 1915 - Ravel: Piano Trio in a, in Paris, by Gabriel Wilaume (violin), Louis Feuillard (cello), and Alfredo Casella (piano); 1916 - Granados: opera "Goyescas," at the Metropolitan Opera in New York; 1927 - Copland: Piano Concerto, by the Boston Symphony conducted by Serge Koussevitzky, with the composer as soloist; 1941 - Copland: "Quiet City," at Town Hall in New York City by the Little Symphony conducted by Daniel Saidenberg; This music is based on incidental music Copland wrote for Irwin Shaw's play of the same name produced by the Group Theater in New York in 1939; 1944 - Bernstein: Symphony No. 1 ("Jeremiah"), at the Syria Mosque in Pittsburgh by the Pittsburgh Symphony conducted by the composer, with mezzo-soprano Jennie Tourel as vocal soloist; 1972 - Scott Joplin: opera "Treemonisha" (orchestrated by T.J. Anderson), in Atlanta; 1990 - Joan Tower: Flute Concerto, at Carnegie Hall in New York, with soloist Carol Wincenc and the American Composers Orchestra, Hugh Wolff, conducting; 1995 - Elinor Armer: “Island Earth” (to a text by Sci-Fi writer Usula K. Le Guin), at the University of California, Berkeley, by the various San Francisco choirs and the Women's Philharmonic, conducted by JoAnn Falletta; On the same program were the premiere performance's of Chen Yi's “Antiphony” for orchestra and Augusta Read Thomas's “Fantasy” for piano and orchestra (with piano soloist Sara Wolfensohn); 1997 - Morten Lauridsen: “Mid-Winter Songs” (final version) for chorus and orchestra, by the Los Angeles Master Chorale, John Currie conducting; Earlier versions of this work with piano and chamber orchestra accompaniment had premiered in 1981, 1983, and 1985 at various Californian venues; 2000 - André Previn: "Diversions," in Salzburg, Austria, by the Vienna Philharmonic, the composer conducting; Others 1742 - Jonathan Swift, Dean of St. Patrick's Cathedral in Dublin (and the author of "Gulliver's Travels"), objects to the cathedral singers taking part in performances of Handel's works while the composer is in that city (Gregorian date: Feb. 8); Rehearsals for the premiere performance of Handel's "Messiah" would begin in April of that year, involving the choirs of both Christ Church and St. Patrick's Cathedrals in Dublin; 1971 - William Bolcom completes his "Poltergeist" Rag (dedicated to Teresa Sterne, a one-time concert pianist who was then a producer for Nonesuch Records); According to the composer's notes, the "Poltergeist" Rag was written "in a converted garage next to a graveyard in Newburgh, N.Y." Links and Resources On William Bolcom

In a rare twist to the usual format for Harmonious World, I was not speaking to either the performer or the composer of the album I had been listening to. This time, I was speaking to renowned conductor JoAnn Falletta on her work to bring the performances of pianist Claudette Sorel to the listening world.Claudette Sorel Rediscovered  is a double DC showcasing the late pianist in solo works and American concertos, all taken from her out-of-print recordings. This was a labour of love for Buffalo Philharmonic Orchestra Music Director JoAnn Falletta and it was fascinating to discuss Sorel, the music and the process of bringing this music to life once more.Thanks to JoAnn for allowing me to use tracks from the album alongside our conversation.Follow me on instagram.com/hilaryrwriterFollow me on facebook.com/HilaryRobertsonFreelanceWriterFollow me on twitter.com/hilaryrwriterDon'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 show (https://www.buymeacoffee.com/HWpodcast)

We jump into the New Year with an all-American program, featuring Adolphus Hailstork's Three Spirituals for Orchestra and Samuel Barber's Knoxville: Summer of 1915 (featuring soprano Janinah Burnett). Finishing off the program is Antonin Dvořák's "New World" Symphony, which was written while Dvořák was living and working in the United States. Multiple Grammy winner and guest conductor JoAnn Falletta (pictured) joins us for a lively discussion of these works, her personal friendship with "Dolph" Hailstork, and her remarkable career and musical journey. Oh, and there's even a classical guitar quiz (before she was a world famous conductor, JoAnn Falletta was a guitarist). Photo: Cheryl Gorski

We jump into the New Year with an all-American program, featuring Adolphus Hailstork's Three Spirituals for Orchestra and Samuel Barber's Knoxville: Summer of 1915 (featuring soprano Janinah Burnett). Finishing off the program is Antonin Dvořák's "New World" Symphony, which was written while Dvořák was living and working in the United States. Multiple Grammy winner and guest conductor JoAnn Falletta (pictured) joins us for a lively discussion of these works, her personal friendship with "Dolph" Hailstork, and her remarkable career and musical journey. Oh, and there's even a classical guitar quiz (before she was a world famous conductor, JoAnn Falletta was a guitarist).  Photo: Cheryl Gorski

JoAnn Falletta is Music Director of the Buffalo Philharmonic. She's also one of the founding board members of the Claudette Sorel Organization. Sorel was a pianist, teacher and music philanthropist who advocated a higher profile for contemporary music – particularly by women composers. Falletta and WRCJ's Peter Whorf speak about the remarkable life of Claudette Sorel – commemorated in the recent re-release of classic recordings: Claudette Sorel: Rediscovered.

The Winston-Salem Symphony is kicking off its 75th anniversary year with concerts called "Celebrate!" Sharing conducting duties are Karen Ni Bhroin, the symphony’s Assistant Conductor, and Grammy winner JoAnn Falletta, one of the most renowned conductors working in the world today. The two talk about the environment for women in classical music today compared to the past. They also talk about the importance and benefits of expanding the concert repertoire to include works by lesser-known composers. Learn more about "Celebrate" Pictured JoAnn Falletta (photo by Heather Bellini) and Karen Ni Bhroin. JoAnn Falletta Karen Ni Bhroin

Multiple Grammy Award-winning conductor JoAnn Falletta talks with Haley Taylor about the remarkable pianist Claudette Sorel. A child prodigy (and eventual "poet of the keyboard" according to Falletta), Sorel was also a champion of modern music as well as female musicians. In this commemorative 2-CD set, we hear a selection of lesser-known works as well as a collection of American piano concertos. Claudette Sorel founded the Elizabeth and Michel Sorel Charitable Organization in 1996, named for her parents, to help expand opportunities and stretch the boundaries for women in music. JoAnn Falletta was a founding member of the Sorel Organization's Advisory Board in the 1990s and she is a current Trustee. You can learn more about Claudette Sorel at the organization's website: http://www.sorelmusic.org.    

This week on the podcast is part two of our interview with acclaimed conductor JoAnn Falletta. Maestra Falletta gives an inspiring interview, and recalls what it was like being the first woman to lead a major American ensemble, and why mentoring students and commissioning music is so important to her. We'll also hear her describe the business activities she oversees as the Music Director of the Buffalo Philharmonic, and the entrepreneurial activities she manages as a guest conductor and teacher. If you want to be a performing artist you won't want to miss our interview with JoAnn Falletta!Show Notes: https://www.artsentrepreneurshippodcast.com/episodes/144-joann-falletta-pt-2-of-2

This week on the podcast is part one of our interview with acclaimed conductor JoAnn Falletta. Maestra Falletta gives an inspiring interview, and recalls what it was like being the first woman to lead a major American ensemble, and why mentoring students and commissioning music is so important to her. We'll also hear her describe the business activities she oversees as the Music Director of the Buffalo Philharmonic, and the entrepreneurial activities she manages as a guest conductor and teacher. If you want to be a performing artist you won't want to miss our interview with JoAnn Falletta!Show Notes: https://www.artsentrepreneurshippodcast.com/episodes/143-joann-falletta-pt-1-of-2

JoAnn Falletta & the Buffalo Philharmonic Orchestra — The Four Seasons / The Four Seasons of Buenos Aires (Beau Fleuve) Jump to giveaway form When the Buffalo Philharmonic Orchestra took the stage for their season opening concert last September, there was no audience in the hall due to the pandemic. Their loyal fans were watching the concert online.  Conductor JoAnn Falletta had to switch gears quickly. “Initially, we had a very big concert, and we pull out all the stops when we give our opening,” she said. “But, of course, that was not possible. We decided that the most thrilling thing we could do for our audience was to feature Nikki Chooi, our new concertmaster, performing The Four Seasons.” That performance is featured on their latest recording, The Four Seasons / The Four Seasons of Buenos Aires. Why was it important to include The Four Seasons?  “It had to do with Chooi's performance of it, which was thrilling. He puts his own 21st-century voice into it. He was reveling, seeing a sense of humor and loving the music. But, he was not burdened by past performances. He was playing from his heart. “This piece was written almost 300 years ago, and it is still relevant. The coming alive in the spring, the voices of the birds, the summer thunderstorms and the drinking wine is affirming to us about how we understand Antonio Vivaldi. We felt that we had a connection with that music, because it gave us a feeling that life would go on. We can get through this.” What made guest violinist Tessa Lark a good fit for Astor Piazzolla's The Four Seasons of Buenos Aires? “It's about the composer's background. Piazzolla's family were immigrants who moved to Argentina from Italy. He also grew up in Harlem during the jazz era. He studied with Alberto Ginastera and went to Paris to study with Nadia Boulanger. Piazzolla is a complex prism of music, and Lark is the same. “She not only plays classical, but she also plays bluegrass and jazz. Her loose and comfortable approach to playing Piazzolla made it really swing. “The composer said the tango is a sad feeling disguised as a dance. He knew it was the music of immigrants and poor people who knew they would never go home again. But in the tango, they found their soul. They found a way of understanding themselves. Piazzolla knew the sad core of the tango, and Lark was able to bring that to life.” 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 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 JoAnn Falletta & the Buffalo Philharmonic Orchestra — The Four Seasons / The Four Seasons of Buenos Aires (BPO Store) JoAnn Falletta (official site)

We are joined today by internationally renowned pianist Shuai Wang. She performs extensively as both a soloist and chamber musician, including an appearance with the Canton Symphony Orchestra. She is currently on faculty at the Cleveland Institute of Music, and spends her summers teaching at Interlochen in Michigan. She is an alumna of both institutions, having received her high school diploma at the Interlochen Arts Academy and all of her post-secondary training up to and including her Doctor of Musical Arts degree at CIM. Chinese-American pianist Shuai Wang is recognized internationally as an accomplished soloist, recitalist and chamber musician. She has performed extensively in major venues such as Lincoln Center, Merkin Hall, and Symphony Space in New York, the Kennedy Center and Phillips Collection in Washington D.C., the Dame Myra Hess Concert Series in Chicago, the Gardner Museum in Boston and the Buffalo Chamber Music Series. Wang has appeared as soloist with the Cleveland Philharmonic Orchestra, Canton Symphony Orchestra, Tianjin Symphony Orchestra, Cleveland Institute of Music Orchestra, Heights Chamber Symphony, Suburban Symphony Orchestra, and the Cleveland State University Symphony Orchestra. She performed under the batons of Ton Koopman, JoAnn Falletta, Gerhardt Zimmermann, Robert Moody, Renchang Fu and Muhai Tang. Orchestrating Change is available wherever you get your podcasts. Go to www.cantonsymphony.org/orchestrating-change/ to sign-up for email reminders, view past episodes, and see the various channels where you can view our content. For more information about everything else we are offering at this time, please visit www.cantonsymphony.org.

JoAnn Falletta and the Buffalo Philharmonic Orchestra — Florent Schmitt: La Tragedie de Salome/Musique sur l'eau/Oriane et le Prince d'Amour/Légende (Naxos) Jump to CD giveaway form “It was like a treasure box of music that I didn't know at all,” said conductor JoAnn Falletta after scholar Phillip Nones introduced her to the musical scores of Florent Schmitt. “A true colorist, but with more vivid colors, perhaps, than Debussy and Ravel. He's red blooded and he's French, but he's borrowing every way of making music from the German and Russian masters. It just has to be heard to be believed.” Faletta's new album, Florent Schmitt, celebrates the composers 150-year birth anniversary, which was in 2020. Luckily, the Buffalo Philharmonic Orchestra had just performed Florent Schmitt's music in concert before the pandemic started and that performance became this new album. Could you talk about his ballet that was influenced by Salome and how he approached it?  “It is a tragic tale, and he was inspired by Richard Strauss's opera. There's no question that might have been the genesis for it, but his Salome is quite different. It's more French and less brutal. “Salome sings a wordless song in Schmitt's version. We had a beautiful mezzo soprano, Susan Platts, sing that with a chorus of young handmaidens. We used our Buffalo Girls Choir for that. There still is a tragic end, but it's very sensuous music.” Can you talk about how the music reflects the storyline of Oriane et le Prince d'Amour? “Oriane is an incredibly beautiful woman or maybe the most beautiful woman in the world. Men are drawn to her, but she herself never falls in love. She never gives her heart to anyone. She feels nothing for them. At one point, the prince of love arrives at the palace, and she falls in love with him. But he does not give his heart to her, and she is destroyed by that. “He clothed these wonderful, seductive scenes and wild dancing. I've never seen the ballet. I can only imagine what it was like because the music is so powerful. It's about this woman who was dancing with one man after the next and then it's finally undone by love itself.” Do you know the story behind Légende? “I know that there was this woman who asked for the work to be made. She also commissioned Debussy to write his famous piece for saxophone. The original version is beautifully written for saxophone. The French have a special feeling for the saxophone, but then he rewrote it for viola and finally for violin. “He is the most important French composer that you have never heard of. People are intrigued by that because we know so many French composers. We've never heard of him. He is so important and wonderful.”   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. Giveaways Giveaways Resources JoAnn Falletta and the Buffalo Philharmonic Orchestra — Florent Schmitt: La Tragedie de Salome/Musique sur l'eau/Oriane et le Prince d'Amour/Légende (Amazon) JoAnn Falletta and the Buffalo Philharmonic Orchestra — Florent Schmitt: La Tragedie de Salome/Musique sur l'eau/Oriane et le Prince d'Amour/Légende (Naxos) JoAnn Falletta (Official site)

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

Raising the Bar. Getting the most out of your singers by setting the bar high, giving them the right tools, and leading with empathy. Dr. Adam Luebke was appointed Music Director of Buffalo Philharmonic Chorus in 2015. Since that time, the chorus has been hailed as “splendid,” “articulate,” “soaring,” and “virtuosic.” He and the chorus were awarded a 2021 GRAMMY for Best Choral Performance for their recording Richard Danielpour: The Passion of Yeshua with the Buffalo Philharmonic Orchestra and conductor JoAnn Falletta. In this episode, Dr. Luebke shares how we can all “raise the bar” like he raised his amateur choir to attain a GRAMMY nomination and then the GRAMMY. What are your dreams and how can “raising the bar” help you get there? We want to hear! Join the convo at Patreon.com/MusicEdMatter. Want to be a part of a dynamite community and gain some fabulous PD? Details for Teacher PD Weekend 2021 available at Patreon as well, or reach out to your host, EmilyBurch.org/contact. Read more about Dr. Luebke: www.adamluebke.com Watch the episode here: https://youtu.be/WpANEM7UO1s. **Our show sponsor, Kinnison Choral Company wants to help you find more time for sight-reading by giving you the tools you need to make your rehearsal space productive, fun, and inspiring! Head to EmilyBurch.org/Sponsors to grab the free calculator today! **Show music originally written by Mr. Todd Monsell **Show photography provided by Dr. Dan Biggerstaff

The ‘Pines of Rome' by Ottorino Respighi is a favourite piece of mine, featuring a huge orchestra building from nothing to one of the most climactic endings in all music! It's a spectacular celebration of the sound of an orchestra! In this episode I share insights into this piece and I discuss ‘What is music?' and ‘What led to the invention of the orchestra?' This episode features the fourth movement from ‘The Pines of Rome' by the composer Ottorino Respighi. I recommend the recording by the Buffalo Philharmonic Orchestra conducted by JoAnn Falletta. Further information: www.athousandpictures.com/episode1   I hope you enjoy the show! Please subscribe and help us grow by leaving a rating and a review. And please share the podcast with others! Feel free to contact Scott Wilson via:  EMAIL: feedback@athousandpictures.com  FACEBOOK: facebook.com/1000PicturesPod INSTAGRAM: @1000picturespod TWITTER: @1000PicturesPod WEBSITE: www.athousandpictures.com

Today on Orchestrating Change, GRAMMY award-winning conductor, JoAnn Falletta, spoke with us about her journey to become one of the first female music directors of a major American orchestra and where she sees the future of orchestral music going. Her passion for the orchestra flowed through this conversation and made it very clear to us why she was able to shatter the glass ceiling of conducting.  JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra, Music Director Laureate of the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and Artistic Adviser of the Hawaii Symphony Orchestra and the Cleveland Institute of Music Orchestra. Hailed for having ‘Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein’, she is a leading force for the music of our time. Canton Symphony Orchestra knows the need for change within the orchestral community. The tradition of classical music has ignored many communities that have contributed to the development and canon of repertoire played in the concert hall. While Canton Symphony is a regional orchestral, change starts at the smallest level. With “Orchestrating Change”, the Canton Symphony Orchestra hopes to facilitate conversations that will make the concert hall a more welcoming place for previously ignored communities as well as create more acceptance and diversity on the stage. In addition to orchestrating change internally, educating audiences to issues surrounding diversity and inclusion will be a priority. Music by Black, Latinx, female, Asian, and LGBTQAI+ musicians and composers has been noticeably absent in the programming produced by established institutions in comparison to those who are white and male. Canton Symphony Orchestra hopes to be a more welcoming community that is reflective of the demographics in Canton, Ohio and the surrounding major metropolitan areas. Patrons who wish to sign-up for email reminders may do so at www.cantonsymphony.org/orchestrating-change. More information, including additional episodes, will be released in our weekly newsletter and social media accounts. https://www.cantonsymphony.org/episode-6-joann-falletta/

  Chatting with JoAnn Falletta was a real joy - very warm, friendly and open. We discussed how rewarding it can be working with amateur musicians, how inspirational Leonard Bernstein was as a teacher and how working in Hawaii introduced her to one of her favourite pastimes! 

Interview with Grammy Award Winning Conductor JoAnn Falletta!Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Introducing the American Muse Podcast!Hello! My name is Grant Gilman. I am a conductor, violinist, and author, based in Atlanta, Georgia. I grew up the son of 2 violinists, who both went to Eastman and became professionals. Beyond that, I have a pretty typical musician story. I was bitten by the music bug very young, and despite everyone, including my parents, constantly reminding me there is no money in classical music, I couldn't do anything else.I remember playing in youth orchestra and constantly breaking my bow hair. It is not unusual to break a hair every once in a while, but I did it regularly. I realized that I wanted to play my part AND the winds AND the percussion all at once, that's why I was pressing so hard. I knew, even then, that my place was on the podium. That's where I could be a part of all the sounds at once. Then my high school orchestra director let me conduct both my own composition and Elgar's famous Enigma Variations, both in concert. Well, that was it, no going back. I was going to be a conductor, for better or worse.So, I went to the Peabody Conservatory of Music, studied violin with Martin Beaver, former 1st violin of the Tokyo String Quartet, Misha Rosenker, and Pamela Frank, world renowned soloist and chamber player. It just so happened that one of the best conducting programs in the world is ALSO at Peabody, so I stayed for my Masters degree, and got to study with Gustav Meier (rest in peace, my friend) and Markand Thakar.After playing and conducting in various positions all over the country, I decided to get my doctorate. That took me to the University of Cincinnati College-Conservatory of Music, or CCM as we call it, and I studied under Mark Gibson.Now, it just so happens I married up! My wife, Kim, is a fantastic horn player. After 10 years playing under JoAnn Falletta in the Virginia Symphony, she won 2nd horn with the Atlanta Symphony, under the baton of Robert Spano. So, after having grown up in south Texas, I now live in another very hot and humid area of the country. But, Atlanta is great!When I was still quite young, I would actually listen to my mother's collection of vinyl records. No, this is not a joke. She had tons of them! One that I found was so striking because I had never heard of the composer, and certainly not the piece, but the music blew me away EVERY time I listened to it. The conductor was Leonard Bernstein, leading the strings of the New York Philharmonic. The piece was Symphony No. 5 by William Schuman. And that is where my journey began.I never lost that sound from my mind, the optimism, boldness, complex, driving rhythmic movement, dense and engaging harmonic support. Until that moment I knew only the most prevailing composers of history. Now I had another world to discover.So I'm starting a podcast! The title is “American Muse”, in honor of William Schuman, which is what he titled his 10th and final symphony. This podcast is for all of those people, like my young self, that have never heard of these American orchestral composers from the 19th and 20th centuries. I want to find and share hidden and lesser-known gems that will brighten your day and bring depth to your world, as only art and music can do.Now of course our team will need help! You can expect to hear a collection of extraordinary guests that are experts in this field. I will be interviewing them, asking them some pointed questions that we think you will find not only entertaining but also very educational. And the first guest will be none other than JoAnn Falletta!Beyond that, we want you to be as involved as possible. We want to know if you have a composer or piece you would like us to feature. We love finding new pieces!Also, we want to know if you have a guest to propose I interview. Like the composers themselves, the experts in this niche can be just quite elusive.Furthermore, If you are an educator and have an idea, something that would tie in with your curriculum that would be of benefit to you, please reach out to us. We plan to dedicate an episode each season toward educating young musicians and students.Thanks for listening to my short introduction, and I hope you are as excited as we are! The show will be available anywhere you get your podcasts already, a video version will be on YouTube, and you can also find links and show notes on my website grantgilman.com/americanmusepodcast. Feel free to contact us with thoughts or ideas at americanmusepodcast@grantgilman.com.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy