Podcast appearances and mentions of joshua weilerstein

Conductor Joshua Weilerstein catapulted to international attention at a young age when he won first prize of the world-famous Malko Competition for Young Conductors with hardly any formal training. He discusses growing up in a musical family, how performing for thousands of youth who had never heard a live concert profoundly influenced his career, earning the trust and respect of musicians, and paying homage with his popular classical music podcast "Sticky Notes" to the late Leonard Bernstein.Check out Joshua Weilerstein on Instagram, Facebook, Twitter, YouTube, or the web and the Sticky Notes Podcast.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Joshua Weilerstein by Paul Marc Mitchell.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview originally aired on November, 8, 2022. It has been edited and condensed to fit the time format.Episode copyright © 2022 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Joshua Weilerstein enjoys a flourishing orchestral conducting career across the globe and has forged close relationships with many of the world's finest orchestras and soloists. He is also the host of the popular classical music podcast, Sticky Notes. He lives in London with his wife Bernice and their two rabbits, Abby and Benji.

It's time to face the music this week when conductor Joshua Weilerstein (“Sticky Notes” Podcast) pulls out all the stops and prosecutes the historically inaccurate Beethoven biopic, 1994's “Immortal Beloved.”  *** Prosecutor: Joshua Weilerstein. Defense: Big Ben Haslar. Judge: The Honorable Maynard Bangs. Jurors: Ryan Luis Rodriguez, Maynard Bangs, Dylan J. Schlender. *** Advisory: Silvana Carranza. Prologue: Kirk R. Thatcher. Original Theme: WT Golden.

Joshua Weilerstein ist Dirigent, leidenschaftlicher Musikvermittler und Podcaster. Diese Woche steht der 35-jährige US-Amerikaner am Pult des SWR Symphonieorchesters und dirigiert Werke von Ludwig van Beethoven und Gideon Klein. Im Gespräch erzählt er von der Probenarbeit und seiner Leidenschaft, auch Anfänger für klassische Musik zu begeistern.

Conductor Joshua Weilerstein catapulted to international attention at a young age when he won first prize of the world-famous Malko Competition for Young Conductors with hardly any formal training. He discusses growing up in a musical family, how performing for thousands of youth who had never heard a live concert before profoundly influenced his career, earning the trust and respect of musicians, and paying homage with his popular classical music podcast "Sticky Notes" to the late Leonard Bernstein.Check out Joshua Weilerstein on Instagram, Facebook, Twitter, YouTube, or the web and the Sticky Notes Podcast.Follow Speaking Soundly on Instagram, Facebook, Twitter, and TikTok.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram, Facebook, TikTok, or the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2022 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

 P comme peinture et patrimoine, passion et Passion, Pergolèse, un génie mort bien trop tôt à 26 ans juste avant d'avoir écrit son Stabat Mater, passacaille et Purcell. Vous saurez enfin qui a composé la musique de ce générique et quel est le lien avec la musique baroque. Alors fermez les yeux, ouvrez grand les oreilles et en route avec Pauline Lambert et Christophe Rousset dans Baroque en stock ! Baroque en stock, un podcast de Radio Classique et des Talens Lyriques. Retrouvez tous les épisodes sur radioclassique.fr ou sur vos plateformes habituelles.   Références musicales : Vivaldi, Concerto pour flûte et cordes “Il Gardellino” (le chardonneret), 1er mouvement, François Lazarevitch (flûte et dir.), Les Musiciens de Saint-Julien  Porpora, Salve Regina pour soprano et orchestre, air d'entrée, Sandrine Piau, Les Talens Lyriques, Christophe Rousset (dir.)  Bach, Passion selon Saint Matthieu, chœur final, Pygmalion, Raphaël Pichon (dir.)  Gabrieli, Sacrae Symphoniae, “Deus qui beatum Marcum”, Gesualdo Consort Amsterdam, Oltremontano, Wim Becu (dir.)  Pergolèse, L'Olimpiade, ouverture, Orchestre de l'Académie Sainte-Cécile de Rome, Myung-Wung Chung (dir.)  Pergolèse, Stabat Mater, « Stabat Mater dolorosa », Barbara Bonney et Andreas Scholl, Les Talens Lyriques, Christophe Rousset (dir.)  Stravinsky, Pulcinella, Gavotte, Orchestre de chambre de Lausanne, Joshua Weilerstein (dir.)  Lully, Armide, Passacaille, Les Talens Lyriques, Christophe Rousset (dir.)  Nyman, Meurtre dans un jardin anglais, bande originale du film de Peter Greenaway, Michael Nyman Band  Purcell, Le Roi Arthur, acte III scène 2, English Baroque Soloists, Sir John Eliot Gardiner (dir.)  Purcell, Song « Music for a while », Jill Feldman (soprano), Nigel North (archiluth), Sarah Cunningham (viole de gambe)   Réalisation : Lucile Metz Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

It seems simple on the surface, but there is a lot to discover in Ravel's most famous work (much to his dismay!). Joshua Weilerstein, one of today's in-demand conductors, joins John Banther to offer his perspective on the music and all the details that need to be addressed to pull it off in performance. Support Classical Breakdown: https://weta.org/donatefm See omnystudio.com/listener for privacy information.

This week, conductor Joshua Weilerstein (“Sticky Notes” Podcast) beams into the courtroom and sets his phasers to fun when he prosecutes the 1998 sci-fi film, “Star Trek: Insurrection.” *** Prosecutor: Joshua Weilerstein. Defense: Dylan J. Schlender. Judge: The Honorable Big Ben Haslar. Jurors: Big Ben Haslar, Ryan Luis Rodriguez, Robb Maynard. *** Advisory: Silvana Carranza. Prologue: Kirk R. Thatcher. Original Theme: WT Golden.

Image: © Simon Fowler The Italian pianist Beatrice Rana joins Tom Service to discuss her immersion in Beethoven's late piano sonatas during Italy's lockdown, and her relationship with one of the most famous works in the canon – the composer's ‘Emperor' concerto. She reflects on how the circumstances of Chopin's life are articulated in his Scherzi, and on thanking audiences for being part of performances. With Robert Nathaniel Dett's Oratorio, The Ordering of Moses, receiving its first outing in the UK with the City of Birmingham Symphony Orchestra and Chorus on Wednesday, some 85 years after the live broadcast of its premiere at Carnegie Hall, Music Matters is joined by the conductor Joshua Weilerstein, soprano Nadine Benjamin and researcher, horn player, and conductor Dwight Pile-Gray to explore what Dett's music can tell us today. As Lindisfarne Castle welcomes back visitors after its winter recess, we speak to the sound artist Paul Rooney and cellist Gyða Valtýsdóttir about their collaboration on a new project, Song (After Nature) – a contemporary soundscape installation which will be heard throughout parts of the 16th-century stronghold. They reveal how the calls of Lindisfarne's resident grey seals provide the creative impetus for their work. We hear, too, from the scholar Hannah E. Collins about a frequent guest at the castle, Guilhermina Suggia, and the role the cellist played as a trailblazer for female performers in the early 20th century as well as the legacy she left. And, we speak to the pianist Lucy Parham and author Gillian Opstad, ahead of the launch of her new book Emma and Claude Debussy – The Biography of a Relationship, and learn more about the composer's marriage to one of the titans of early 20th-century Parisian life, Emma Bardac, and the role she played in supporting his creative output.

Ever wonder what's going through the mind of a conductor, in rehearsal or in a performance? Conductor Joshua Weilerstein shares his own journey from violinist to conductor, and sheds some light on what a conductor is thinking about in the practice room, in rehearsal, and in performance. And why it might be kind of awesome if every musician had a chance to conduct for a day. Joshua Weilerstein: On a Conductor's Journey, and Why It Might Be Awesome if Every Musician Spent a Day in a Conductor's Shoes

Welcome to Season Five of Beethoven Walks into a Bar! We kick off the season and 2022 with Maestro Joshua Weilerstein. A podcaster in his own right, Joshua explains how his own show, Sticky Notes, came to be. He also chats about his upcoming visit to KC conducting Shostakovich Symphony No. 5, Gershwin's Piano Concerto in F and William Grant Still's Poem. We also take on another Top 5 challenge exploring the Top 5 Most Influential Classical Music Families (excluding the Sterns and the Weilersteins, of course). All that and more this week on Beethoven Walks into a Bar. https://open.spotify.com/playlist/6dw39FGW8sBlFYN66bD4bk?si=39614356b2274bf2 (Episode 501 Playlist)

Joshua Weilerstein (Artistic Director of the Orchestre de Chambre de Lausanne) brings a touch of class to the court this week, as he defends Lars von Trier's 2011 sci-fi drama, “Melancholia.” *** Prosecutor: Dylan J. Schlender. Defense: Joshua Weilerstein. Presiding: The Honorable Ben Haslar. Jurors: Ryan Luis Rodriguez, Robb Maynard, Big Ben Haslar.*** Advisory: Silvana Carranza. Prologue: Kirk R. Thatcher. Original Theme: WT Golden.

This was a chat I really enjoyed with a fellow conductor and podcaster! Joshua Weilerstein is a joy to interview and we had a lot to chat about. We discussed his amazing lockdown project, how he started his podcast, 'Sticky Notes', and what he didn't even bother to pack in his suitcase when he entered the Malko Conducting Competition in 2009! If you would like to know more about conductors and conducting, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. Alternatively, if you would prefer to make a one-off donation to financially support this podcast, then go to https://www.justgiving.com/crowdfunding/a-mic-on-the-podium and any donation you make will be greatly appreciated and help the podcast live on into the future. This interview was recorded on 13th July 2020 via Zoom.

Chaque jour Nicolas Blanmont met en avant une nouveauté parmi les sorties discographiques classiques.

"I'm not a marketer, but I don't think it's very hard to have a 35 year old person in a sweater and jeans in a picture going into a concert, just to show people that that's fine." - Joshua Weilerstein.In this talk with Joshua Weilerstein we discussed about the classical music world and how as musicians we could make it more accessible for wider audiences. Joshua produces and is a host of his own classical music podcast "The sticky notes" where he uncovers brilliant stories about composers and their remarkable music. Join our conversation to find out why concert critics often miss "the forest for the trees", how Joshua connects to audiences while leading the orchestra  and finally why making generous and kind connections between the listeners and musicians can be a key to a thriving classical music industry.   Support openARTed monetarily  - https://www.patreon.com/monikamasanauskaiteEpisode music - J. Haydn - The C-major Trio, Hob. XV: 27, mov. II performed by Michelle Dierx, Shannon Merciel and M.MašanauskaitėL. van Beethoven - The C minor Trio, Op.1 No.3, mov. I performed by Michelle Dierx, Shannon Merciel and M.MašanauskaitėJ. Hoffman Ei jauga jauga - II. Motula Mano, Sirdela performed by Žilvinas Brazauskas (clarinet), Natania Hoffman (cello), and Robertas Lozinskis (piano) TRIO AGORA L. van Beethoven - The Violin Sonata No. 9, Op. 47 in A major, mov. II performed by Monika Mašanauskaitė and Maria Vila Ariza Check out more info about the host Monika Mašanauskaitėwww.monikapianiste.com/https://www.instagram.com/masanauskaitemonika/https://www.facebook.com/MonikaPianiste/If you have any comments or enquiries, drop me a line at openartedpodcast@gmail.com or monikapianiste@gmail.com 

À l’occasion du 250ème anniversaire de la naissance de Beethoven, l’Orchestre de Chambre de Lausanne et Joshua Weilerstein interprètent l’intégrale des symphonies.De l’hymne européen au film Orange mécanique ou Fantasia, les symphonies ont marqué tous les publics. Cet ensemble monumental de 9 œuvres aux caractéristiques très variées représente l’une des plus grandes réalisations de l’histoire de la musique.DVD 1 :Symphonie n° 1 en do majeur, op. 21 - Symphonie n° 2 en ré majeur, op. 36 - Symphonie n° 3 en mi bémol majeur, op. 55 « Eroica » - Symphonie n° 4 en si bémol majeur, op. 60 - Symphonie n° 5 en do mineur, op. 67DVD 2 :Symphonie n° 6 en fa majeur, op. 68 « Pastorale » - Symphonie n° 7 en la majeur, op. 92 - Symphonie n° 8 en fa majeur, op. 93 - Symphonie n° 9 en ré mineur, op. 125Avec le Choeur suisse des jeunes sous la direction de Nicolas FinkOlesya Golovneva (Soprano), Stella Grigorian (Mezzo), Stefan Rügamer (Ténor), Daniel Schmutzhard (Baryton).Bonus (23 minutes) :Présentation par Joshua WeilersteinCoffret 2DVD Pal Zone 2

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Conductor Joshua Weilerstein chats about Beethoven’s Eroica Symphony, nerdy piano improvisation duels, and how cultural identity shapes our way of listening to music.  Useful links:Spotify playlist for Joshua’s pieces Spotify playlist for main pieces Spotify playlist for final question pieces  Other useful links:Ludwig van Beethoven Lausanne Chamber Orchestra performs all of Beethoven’s symphonies Article explaining Beethoven’s challenging of Steibelt to a piano improvisation duel Reenactment of a piano improvisation duel of Beethoven vs Steibelt in Vienna at the turn of the 19th century Beethoven’s Eroica Symphony NPR article about the Eroica Symphony The riot in the audience at the premier of Igor Stravinksy’s Rite of Spring Mahler’s Symphony No. 6 Jan Swafford’s book on Beethoven Mozart’s Symphony No. 40 conducted by Leonard Bernstein  Support Joshua:Website: https://joshuaweilerstein.com/Facebook: @joshuaweilerstein Instagram: @joshuaweilerstein Twitter: @joshweilerstein Sticky Notes podcast hosted by Joshua Sticky Notes Patreon page  Get in touch with us!DONATE: PayPal.me/MusicBoxConcerts Facebook: @OutsidetheMusicBox Instagram: @outsidethemusicbox Twitter: @OutsideMusicBox Email: concerts.musicbox@gmail.comWebsite: www.musicboxconcerts.com

Joshua Weilerstein has two pet rabbits. Joshua and Kai talk about how carrots are like donuts for rabbits (4:48), growing up with superstar cellist Alisa Weilerstein (12:18), and balancing respect with collaboration as a conductor (18:50). They also discuss managing competition with colleagues (34:07) and his podcast, "Sticky Notes" (37:35). 

Today we talk with Joshua Weilerstein about the surprising things he’s learned from hosting a Classical Music Podcast, why a chamber orchestra may be ideal for a Brahms Symphony, and how a teacher can identify what’s behind your bad habits.Find this and all other episodes at PodiumTimePod.Wordpress.com. Subscribe and download Podium Time on your favorite podcast player and connect with us on Facebook, Twitter, and Instagram at @PodiumTimePod. You can also join our Facebook Group, the Podium Time Inner Circle to ask questions and continue the conversation after every episode. If you’d like to support the podcast and get bonus content, consider joining our Patreon community at Patreon.com/PodiumTimePod. Support the show (https://patreon.com/podiumtimepod)

Episode 05 Show Notes 0:00 - Intro Thanks for listening!  We’ve enjoyed your feedback and would welcome more! 1:18 - Introducing a New Format Our typical format is to:  Define a musical term Make listening recommendations based on that term Answer a question from a listener Every 5th episode, we’ll take a slightly deeper dive into just one piece of music This could be an album, a musical, the score of a film, etc. Today’s piece is a symphony Our goal is to give you a few things to listen for in each movement of this symphony focusing on principles from our first four episodes: Melody Harmony Rhythm & Meter Timbre 2:37 - Introducing Dvorak’s 9th Symphony: From the New World Written by Antonin Dvorak (1841-1904), a Bohemian (Czech) orchestral composer Premiered by the New York Philharmonic in 1893 Dvorak traveled to America to be the director of the National Conservatory of Music in New York Wrote some of his most famous works while in the states (American String Quartet, his cello concerto, and this symphony) Dvorak opened the conservatory to African American students Dvorak believed that composers interested in capturing the American sound should study the music of Native Americans and African Americans Not very many people agreed with him at the time Dvorak wrote original themes inspired by Native American and African American traditions, not exact replications of themes from these cultures With the exception of Swing Low, Sweet Chariot Garrett compares Dvorak’s goal to the Foo Fighters’ concept behind their album/documentary “Sonic Highways” 7:31 - What is a symphony? A multi-movement work for the symphony orchestra Movements are sort of like small pieces of music that make up a bigger piece of music Garrett asks if movements are like chewing bites of a cake instead of shoving an entire cake into your mouth Amanda responds that it’s more like four cupcakes decorated slightly differently but all part of the same batch or set Garrett compares movements to chapters in a book Amanda compares them to books in a series of books because movements are usually pretty complete unto themselves Symphonies typically have 3 movements (early classical) or 4 movements (standard in the Romantic period), and they have a typical order: Fast Slow Dance Fast A note about when to applaud: If the work has multiple movements, try to follow along with the order of them and wait until the end of the last movement to clap If nothing else, wait until the conductor puts his arms all the way down and keeps them down… that’s usually the big ending! People used to clap whenever they wanted, but now we’re snobs about it 12:08 - Movement I. “Adagio - Allegro molto" Melody: Three important themes: A bold, fanfare-like theme (with a statement and a response) that is often played in the brass A minor melody with a simple accompaniment that is first played in the flute We’re not sure why, but Dvorak pointed to this theme as being influenced by indigenous music traditions. He may have thought the minor mode made it sound indigenous A theme that seems to be a pretty direct quotation and development of “Swing Low, Sweet Chariot” (an important African American spiritual) Rhythm: the 1st and 3rd theme have very similar rhythms… almost identical! Sidenote: Dvorak will introduce great themes during each movement of the piece, but he’ll also bring back previous movements’ themes (especially the opening theme and the Swing Low theme) Perhaps a drinking game could be played???  (Please drink responsibly.) One word description of Movement I: Amanda: Exploration Garrett: Outset 17:49 - Movement II. “Largo” The most famous movement from this piece Melody: Several years after it was written and premiered, a student of Dvorak, William Arms Fisher, added lyrics to the theme from this movement (“Goin’ Home”) Timbre: The Goin’ Home theme was originally written for clarinet! Dvorak changed it to English Horn because he thought it better matched the vocal timbre of Harry T. Burleigh, the student who exposed Dvorak to many African spirituals Amanda also points out that the timpani notes in this movement are another great timbre Harmony: A passage of big, open chords played by the brass section multiple times throughout this movement Michael Beckerman called this the “Once Upon a Time” figure One word description: Garrett: Nostalgia Dvorak was very homesick while in America Amanda: Yearning 24:32 - Movement III. "Scherzo. Molto Vivace" Rhythm & Meter: The meter is very obvious in this movement, and this is the only movement in triple meter (3 beats per measure) Melody: 3 more great melodies introduced in this movement Sidenote: The opening of this scherzo matches the opening of Beethoven’s 9th symphony’s scherzo!  They sound musically very similar. Dvorak did likely did this on purpose as a nod to Beethoven Even Sider Note: Amanda got the movement number wrong in the episode (womp, womp).  Beethoven mixes things up, so his scherzo is Movement II, not Movement III.  Idea still applies though! One word description: Garrett: Chase Amanda: Tension 28:26 - Movement IV. "Allegro con fuoco” Melody: One last big, bold theme Dominates the movement and later signals the end of the piece Melody: Garrett feels that this movement is a battle of all the themes!  See his list of theme battles below! Harmony/Timbre: The last chord of the piece Unique because the entire orchestra hits a chord together, but suddenly everyone cuts out and only the very soft woodwind section sustains Sidenote: The opening of this movement is… Jaws! John Williams borrowed this figure for his shark movie soundtrack On a case by case basis, as long as you properly attribute the material you’ve borrowed, most people in classical music don’t care about this type of borrowing... Just don’t try to pass anything off as your own work if it’s isn’t actually your own work! If Dvorak were alive at the time of Jaws, maybe he’d have wanted a writer’s credit? “You’re only as good as who you steal from.” - A tongue in cheek quote from a professor Garrett and Amanda both know One word descriptions: Garrett: Argument Amanda: Territorial Bonus: Garrett makes a claim for “Three Blind Mice” as another quotation Amanda believes this is purely coincidence 35:40 - How to Enjoy a Symphony (35:53) If you sit down at a concert and see a symphony on the program that comes from 1815 on, get ready for a long ride During the romantic period, symphonies were expanded and got longer and longer Dvorak's 9th symphony is around 42 minutes long! Amanda says that if people will go to a movie theater to watch three hours of Avengers, then they definitely have the capacity to enjoy 40 minutes of great music Garrett says it’s one crime show episode Amanda says it’s three Spongebobs (37:42) Expect thematic development! When you hear a melody, try to hold onto it because it will likely come back again Expect the composer to transform and expand on the themes you hear (38:29) Don’t expect to stay completely engaged and focused for 40 minutes straight Amanda points out that not even the members of the orchestra are fully, completely focused for the entire length of the piece Tuba player is a great example because that person only plays the 2nd movement (and plays less than 20 notes) Dvorak wrote highs and lows, so it’s okay to let your attention ebb and flow a little bit Garrett compares some parts to background info/setting in a novel Amanda compares it to description in a novel It’s all important, but it doesn’t all require the same level of engagement If someone falls asleep, only wake them up if they start snoring Even trained pros want to be whisked away by the music This is musical storytelling!  Let it take you where it wants to go (41:20) Expect repetition Composers have to walk a fine line between variety and repetition Repetition can ground you, but too much can bore you Variety is the spice of life, but too much spice ruins dinner There are two types of repetition: exact and non exact Exact repetition:  “This piece of music worked once… it’ll work again!” Tension and release (repetition can add to either) The composer is saying, “I want you to remember this.” Non-exact repetition: A timbral change: maybe the same melodies and harmonies but played by different instruments or different groups of instrument Accompaniment changes: Rhythms used might change, additional parts might come in If you hear the same melody, something might have changed elsewhere in the orchestra Ask yourself if it's different and try to figure out what changed (44:10) Nothing beats seeing a symphony live Amanda: the best sound system in the world can’t compete with the weakest concert hall Amanda: I can’t appreciate the difference between 20 vs 50 vs 100 in an orchestra on youtube If the music isn’t thrilling you too much at home, it may be that you need to go see it live Think of it as not just the music but the entire experience Experience it in the right context A comparison to movies You wouldn’t judge a movie based off the one time you saw it using a portable DVD player and broken earbuds during a car ride If you’ve heard someone say, “Oh, that’s a movie you have to see in theaters,” that’s how Amanda feels about symphonies Garrett points out that Twister goes from epic to cheesy real fast when you watch it at home instead of in theaters There’s music that’s meant to be in the studio and is hard to replicate live, but the symphony is the opposite. Witness the team effort! If it’s an educational group, remember that they’re still acquiring the skills they need in order to become the pros If you’re under 80, people will be so excited to see you at a symphony concert! (47:33) You can enjoy this! The music still has value It’s up to the musicians and people involved to show you the value Once you see it, there’s nothing stopping you from enjoying this music Don’t worry that other people are understanding the music more than you are You know a lot about the music you love, and you can appreciate cool experiences!  Seek them out! Garrett advises you to ask us about concert etiquette and to seek out casual concerts More and more pro orchestras are putting on less formal concerts 49:04 - Sign Off A reminder that we’ll keep this format reserved for every 5th episode Feel free to recommend a piece you’d like us to dive into Leave us a review if you’d like! Shoot any questions towards our social media or gmail Share the podcast with a friend!  We bet you know someone who loves music and would like to know a little more about it. Help make Garrett famous.   Spotify Playlist Special thanks to OpenMusicRevolution.com for our intro and outro music and to the guys at Better Podcasting for being such great guides to us.  Special thanks to you, our listeners, too! Visit our Website! Follow us on social media! Instagram: @uptoyourearspodcast  Twitter @uptoyourears  Email us! uptoyourearspodcast@gmail.com Additional Resources: James, Jonathan.  “Dvorak Symphony No 9 - From The New World: Inside the Music”. YouTube video, 3:35. Posted October 2016. https://youtu.be/rjeskgwj78s. Roitstein, Andrew, and Nichole Veach. “Antonin Dvorak's New World Symphony: In Search of an American Voice.” Antonin Dvorak's New World Symphony: In Search of an American Voice. New York, NY: New York Philharmonic, 2017. https://nyphil.org/~/media/pdfs/education/1617/curriculum-guide-mshs-final.pdf?la=en Supka, Ondrej. “Symphony No. 9 ‘from the New World.’” Antonin Dvorak. Accessed November 1, 2019. http://www.antonin-dvorak.cz/en/symphony9. Weilerstein, Joshua. “Sticky Notes: The Classical Music Podcast.” Season 4 Premiere - Dvorak Symphony No. 9 "From the New World", Joshua Weilerstein, 30 Aug. 2018, http://stickynotespodcast.libsyn.com/podcast/season-4-premiere-dvorak-symphony-no-9-from-the-new-world

Emily Feng is one of the rising stars among China reporters. She’s about to take up her post in Beijing as National Public Radio’s correspondent after an illustrious run with the Financial Times. In a show taped a few months ago, Emily speaks with Kaiser and Jeremy about her most recent reporting for the FT, covering important topics related to Xinjiang and technology. She also reflects on why, as a Chinese American, she feels like she’s under added pressure to present accurate and balanced reporting on China. What to listen for on this week’s Sinica Podcast: 14:02: Emily discusses the changing scope of topics that have garnered media coverage recently: “This year, rather than having conversations about #MeToo or Black Lives Matter, which, I think, really dominated discussions in the past two years, it's been about Chinese students [and] Chinese identity.” She also discusses a scandal at Duke University — Emily’s alma mater — in which an assistant professor at Duke University urged Chinese students via email to “commit to speaking English 100 percent of the time.” “Chinese Americans have always been very politically quiet. And I come from a Chinese-American family, [so] this is what has been taught to me: Don’t stick your head up. But I think that with what’s happening in the U.S.-China relationship, Chinese Americans are going to have to figure out what their stance is to partake more in political discussions happening on campuses [and] at the local government level.” 18:49: Emily, who has reported extensively on Xinjiang, reflects on her trips there in 2017 and 2018, and the rapidly deteriorating conditions for Uyghur Muslims in the region. “It was very, very evident that things were different. People [in 2017] could still talk freely about what was happening. You would talk to people in taxis, in restaurants — I met up with a number of Uyghur friends and they talked quite comfortably, but fearfully, about how their phones were being hacked and people were going to jail because of content they had shared that was vaguely Muslim from four or five years ago.” Outside of the capital of Urumqi, things were different, she explains. “I went to Hotan and Kashgar in October 2017, and Hotan was just another level. It was a police state. There were tanks and cars on the streets. There were checkpoints maybe every three or four blocks within the city. It was incredibly segregated.” 38:34: Emily wrote a deep-dive story on Hikvision, a Chinese CCTV company, which touches on the moral entanglement that U.S. companies face in supplying authoritarian governments with the nuts and bolts needed to monitor and sometimes oppress or imprison individuals abroad: “There are only a handful of companies out there that can make the type of commercially competitive semiconductors, components, [and] memory hard drives that go into the electronics we use every day — including the type of surveillance technology that China uses. So, that gives American companies a huge amount of power in saying, ‘This is whom we will sell to and this is whom we will not.’ But they’re understandably reluctant in making that distinction and making what they see as political decisions because their focus is the bottom line.” Recommendations: Jeremy: Sticky Notes: The Classical Music Podcast, by Joshua Weilerstein. Emily: The show Schitt’s Creek, available with a Netflix subscription. Kaiser: Another Netflix show, Russian Doll.

Nous avons eu la chance de nous entretenir avec Joshua Weilerstein, directeur artistique de l'orchestre de chambre de Lausanne,anch à l'occasion du concert classique au Paléo Festival 2019.

Katie Derham presents the In Tune Highlights, bringing you a top selection from the best musicians on the show this week. This week Alice Coote performs live with Julius Drake ahead of their appearance at Machynlleth Festival, conductor Joshua Weilerstein and composer Gerard McBurney who are collaborating along with the Royal Philharmonic Orchestra for a special BBC Prom exploring the sound of an orchestra, and a group of musicians from The Bhavan enter the studio ahead of their performance at the National Theatre's community production of Shakespeare's Pericles.

Tom Service travels to New York City to discover if Bernstein's musical and social legacy continues to echo through the streets of the Big Apple and the lives of New Yorkers. Visiting key places where Bernstein lived and worked, Tom meets the musicians, institutions and ensembles of today who are working towards goals Bernstein championed as a musician, communicator and humanitarian. Tom visits Jamie Bernstein at the flat where the Bernstein family archives resides, while at the archives of the New York Philharmonic, Tom finds a musical score which reveals a fascinating self-insight by the maestro himself, and with the orchestra's archivist Barbara Haws remembers her time working with Bernstein, how he changed orchestral relations, and how his conducting traditions are still in place today. Historian Julia Foulkes explains how resonances of West Side Story are found in the hit Broadway musicals of the 21st century, and with Deborah Borda, CEO of the New York Philharmonic and conductors Michael Tilson Thomas and Joshua Weilerstein, Tom discovers initiatives aimed at bringing the joy of classical music to new audiences today, as Bernstein did. Tom visits National Sawdust in Brooklyn, which carries on Bernstein's ideas on social and musical collaboration, and Humphrey Burton, Bernstein biographer, offers his views on where Bernstein's legacy can be found today.

Imagine a beautiful painting of the sea.  Now imagine that painting transformed into 23 minutes of whirling, exciting, fantastical, and thrilling music.  That's what you get when you hear Debussy's Masterpiece, La Mer(the sea).  Join conductor and host Joshua Weilerstein as we go through nearly every minute of this amazing piece of music, talking about Debussy's brilliant orchestration and his incredible depictions of the sea itself.  Thanks so much for listening, and I hope you enjoy it!

Join conductor and host Joshua Weilerstein as we return to Shostakovich for a look at his 4th String Quartet, one of his less well-known pieces, but one that is as profound and meaningful as it gets.  We'll explore the historical background of the piece, including Shostakovich's relationship with the Soviet Government and Joseph Stalin.  We'll also explore the Jewish themes of the quartet, as Shostakovich was acutely aware and sympathetic to Jews who were living in the USSR during the terror of 1948-1953.  But of course, the main focus will be the music.  How did Shostakovich write politically resistant music at a time when this was highly dangerous?   What were his secrets that are only being uncovered today, almost 70 years after the piece was written?  

Imagine a beautiful painting of the sea, with all of its glory and majesty.  Now imagine that painting transformed into 23 minutes of whirling, exciting, fantastical, and thrilling music.  That's what you get when you hear Debussy's masterpiece, La Mer(the sea).  Join conductor and host Joshua Weilerstein as we go through nearly every minute of this amazing piece of music, talking about Debussy's brilliant orchestration, his use of motivic connections, and his incredible depictions of the sea itself.  Thanks so much for listening, and I hope you enjoy it!  

Join conductor and host Joshua Weilerstein as we explore 11 composers who were suppressed by the Third Reich.  These are amazing stories of composers who either continued writing throughout the Holocaust until their deaths, or were suppressed or banned by the Nazi regime.  We explore the music of Ullman, Krasa, Schreker, Zemlinsky, Weinberg, Korngold, Weill, and more, learning their stories and hearing some of their amazing and wildly underplayed music.  At the end of the show, I'm thrilled to welcome James Conlon, the music director of the Los Angeles Opera and the founder of the Orel Foundation, a foundation devoted to Suppressed Composers of the Third Reich.  It was an amazing experience getting to know the music of these masters, and I hope you enjoy it!  Thanks for listening!  

Join conductor and host Joshua Weilerstein as we take a deep dive into Brahms' massive final symphony.  We'll explore the secret messages possibly encoded into the symphony, the battle between conservatism and progressivism that marked Brahms' whole compositional life, the way Brahms was both a visionary and a traditionalist, and much much more.  Thanks so much for listening!  

Welcome to the Week of the Voice!  Join conductor and host Joshua Weilerstein, back from a brief illness-inspired hiatus(!), as he welcomes in the amazing Mezzo-Soprano Sasha Cooke for a chat about Mahler, about singing opera versus recitals, preparation, text, traveling, contemporary music, and improv comedy!  This is the first of TWO interviews this week, so please stay tuned for an interview with the incredible bass-baritone Eric Owens, coming out on Thursday!  Thanks for listening!  

Join conductor and host Joshua Weilerstein as we dive into the incredible stories of 10 female composers of the past, from Clara Schumann and Fanny Mendelssohn, to Dame Ethel Smyth and Rebecca Clarke.  The stories of what these women often had to overcome in order to write the wonderful music that they did is truly remarkable!  We'll talk all about their lives, and of course, their music.  I hope you enjoy it!  

Ever wanted to write music to describe your friends?  Well, the English composer Edward Elgar did just that with his Enigma Variations, one of the most beloved and popular pieces of the Western Classical Repertoire.  Take a deep dive with conductor and host Joshua Weilerstein as we explore all of Elgar's friendships, the brilliant way he describes them, and the famous "Enigma" theme.  By the end of the show, we'll all be friends with Elgar and his merry band.  Thanks for listening!  

Join conductor and host Joshua Weilerstein as he welcomes the legendary cellist and humanitarian Yo-Yo Ma for a full-length interview!  In the interview, we discuss what it means to be a musical citizen, how to create change through music, why Yo-Yo went down this path, how he discovered so many different styles of music, and much much more.  I really hope you enjoy this interview of such an amazing artist - thanks for listening!  

Join conductor and host Joshua Weilerstein as we dive into one of the most famous pieces of music ever written, Mozart's dramatic and stormy 40th symphony in G minor.  Mozart 40 is not just a ringtone! It's a powerful, urgent, and dramatic work, but we know very little about why Mozart wrote it or what it means.  We explore all of that and of course, take an in-depth look into the incredible structures that Mozart creates with this incredible masterpiece.  Thanks so much for listening and I hope you enjoy it!  

Join conductor and host Joshua Weilerstein as we end Season 1 with a look back at one of our most popular episodes, a deep dive into Beethoven's monumental 3rd symphony.  We're talking about why the piece was written, Beethoven's life story, and of course, all about the music itself.  Stay tuned for the debut of Season 2, NEXT WEEK!!! 

Join conductor and host Joshua Weilerstein as we take a deep dive into the Ultimate Symphonic Thrill Ride, Berlioz's hallucinogenic Symphonie Fantastique.  We're talking opium habits of the 1830's, Berlioz's passionate love affairs, and of course, all about the music that nearly caused a riot at its first performance.  This is the second to last re-broadcast before the debut of Season 2 in just TWO WEEKS!  Thanks so much for listening!  

This week we're talking about the Art of Interpretation - join conductor and host Joshua Weilerstein as we compare 9 different recordings of Beethoven's 5th Symphony!  Listening to these different renditions of the first movement of the symphony gives us a chance to look at this music through the lens of 9 different conductors and orchestras and it opens our eyes to the interpretive and musical challenges musicians face on a daily basis.  Thanks for listening and I hope you enjoy it!  

Join conductor and host Joshua Weilerstein as he welcomes two of his best friends, the conductors Aram Demirjian(Music Director, Knoxville Symphony) and Matt Szymanski(Founder and Music Director, Phoenix) for a discussion of the controversial article, http://www.baldur.info/blog/10-things-that-we-should-change-in-classical-concerts/ by Baldur Bronnimann.  We cover each point in great detail and have a lot of fun all along the way!  Thanks for listening and I hope you enjoy it!

Join conductor and host Joshua Weilerstein as he takes you through each era of classical music(Medieval, Renaissance, Baroque, Classical, Romantic, and Contemporary).  We're going to cover approximately 1170 years of music in 60 minutes, from Hildegard to Bach to Beethoven to Brahms to Tchaikovsky to Stravinsky to Shostakovich to the music of Today!  Thanks for listening and I hope you enjoy it!

Join conductor and host Joshua Weilerstein as he interviews his sister, the beloved cellist, Alisa Weilerstein!  We're talking growing up in a musical family together, new music, Russian literature, history, and music, reviews, dealing with criticism, traveling, and diabetes advocacy, plus much more.  This was a really fun show as always - I hope you enjoy it!

Picks from across the week, including Joshua Weilerstein, Amy Harman and Gaurav Mazumdar.

Join conductor and host Joshua Weilerstein as we take a deep dive into Dvorak's spectacular but under-appreciated 6th Symphony in D Major!  We'll be looking at Dvorak's ties to Brahms, his Czech pride, social trends of the 1880's, and much, much more, plus a detailed analysis of the music itself.  Thanks for listening and I hope you enjoy it!  

Ever been intimidated by contemporary music?  Well, this is the show for you!  Join conductor and host Joshua Weilerstein as he takes a look at 10 of the most brilliant living composers in the world today.  These are composers writing the music of the future, proving classical music is a living, breathing, and inspiring institution. We'll talk about composers from Rouse to Shaw, from Widmann to Chin, and much more, including clips of all of their wonderful music!  Thanks for listening and hope you enjoy it!  

Join conductor and host Joshua Weilerstein as he tackles Beethoven's monumental and revolutionary 3rd Symphony, the Eroica(Heroic).  We'll talk all about the music, investigating every nook and cranny of this amazing piece, while discussing all of the extramusical and philosophical elements that have or have not been imposed on the piece.  This is one of the greatest works of art ever created, so let's get into it, and discover Beethoven's 3rd.  Thanks for listening!

Join your host, conductor Joshua Weilerstein, as he lays out a 6 point "manifesto" for the future of classical music.  We'll cover repertoire, programming, diversity, outreach, education, elitism, cellphones, whether you should be able to clap between movements or not, tail suits, community organizing, and much much more!  Please subscribe on iTunes and leave feedback on the Facebook page @stickynotespodcast!  

Join conductor and host Joshua Weilerstein for a conversation with the world-renowned pianist Emanuel Ax!  We cover crossword puzzles, growing up in the Soviet Union, moving to Canada, and then to New York, selling baloney sandwiches, his first big break, the value and the drawbacks of competitions, his reputation as the nicest guy in classical music, the evolution of conductors, his timpani debut(!), and a lightning round!  I hope you enjoy it!  

Join conductor and host Joshua Weilerstein as he delves into one of the greatest works of the 20th century, Bartok's Music for Strings, Percussion, and Celeste.  This masterpiece is a perfect encapsulation of Bartok's whole output.  We will explore fugues, folk music from Hungary and Bulgaria, night music, and much much more. There's even a cameo from Stanley Kubrick!  Please subscribe, rate, and review if you like what you hear and THANK YOU for listening!  

Concluding a week-long focus on Composers of Color, join host Joshua Weilerstein as he welcomes Eun Lee, the founder of The Dream Unfinished, an activist orchestra using classical music as a platform to address issues of racial and social justice.  We talk about how that works, and how and why the project started.   Their concert is this Sunday, June 11th at Cooper Union University, and it's an event you shouldn't miss!  

Join conductor and host Joshua Weilerstein as he begins a special week long project exploring composers of color, welcoming guests William Zick, founder of afri-classical.com, and the composer Courtney Bryan.  We will also take an in-depth look at the music of Florence Price, William Grant Still, Samuel-Coleridge Taylor, and Le Chevalier de Saint-Georges.  

Join conductor and host Joshua Weilerstein as he welcomes violinist, composer, comedian, actor, and renaissance man Aleksey Igudesman of the classical music comedy duo Igudesman and Joo, for a discussion of modern classical music, programming, audiences, comedy, plus his new app, Music Traveler!  This was a really fun 50 minutes and I hope you enjoy it!  

Join your host, conductor Joshua Weilerstein, as he welcomes Aram Demirjian, the Music Director of the Knoxville Symphony, and Matt Szymanski, the Founder and Music Director of Phoenix, to discuss an article that roiled the classical music scene just a few years ago: Baldur Bronnimann's "10 things to change about classical concerts."  The article caused a firestorm of criticism and comment when it was released, and we're here to discuss, mull over, turn inside out, and evaluate each idea, from whether the audience should be allowed to clap between movements, to whether you should be allowed to Tweet during performances.  This was a fascinating discussion and I hope you enjoy it!  Please consider going to Baldur's site to follow along as we discuss each idea: http://www.baldur.info/blog/10-things-that-we-should-change-in-classical-concerts/

Join conductor and host Joshua Weilerstein as he takes you through Rachmaninoff's last work and his greatest masterpiece, the Symphonic Dances.  Written in 1940, the music reflects a world at war and marks a completely stylistic change for the famously romantic composer.  We will dig inside the music, exploring the story behind the music, and of course, the music itself.  Enjoy!  

Join conductor and host Joshua Weilerstein as he takes you through each era of classical music(Medieval, Renaissance, Baroque, Classical, Romantic, and Contemporary).  We're going to cover approximately 1170 years of music in 60 minutes, from Kassiani and Hildegard, to Bach and Beethoven, to Brahms and Tchaikovsky, to Stravinsky and the music of today.  This podcast is designed primarily for beginners, but I certainly learned something researching it, so it's good for aficionados as well!  This episode includes bonus content - suggestions for a first piece to listen to for each composer mentioned!  

Musikelskerne og radioværterne Frederik Cilius og Mathias Hammer er vilde med Rachmaninovs musik. I samtale foran et livepublikum fortæller de den saftige historie om Rachmaninovs liv og introducerer hans gådefulde storværk, Symfoniske Danse. Værket spilles efterfølgende af DR SymfoniOrkestret og dirigenten Joshua Weilerstein.

Join conductor and host Joshua Weilerstein as he welcomes the brilliant pianist and teacher, Jonathan Biss for a fascinating interview.  They discuss growing up in musical families, concert routines, teaching, performing, and then at the end of the show(27:00), their role as artists in challenging political times.  Enjoy!  

Join conductor and host Joshua Weilerstein as he discusses how musicians interpret the music in front of them, and then compares 9 different recordings of Beethoven's 5th symphony!  This is a fascinating look deep inside of the score and the interpretive decisions musicians struggle with on a daily basis.  Check it out!  

Join conductor and host Joshua Weilerstein as he takes a deep dive into Brahms' Piano Quartet in G minor, with a surprise appearance by Arnold Schoenberg and his brilliant arrangement of the quartet for orchestra!  This podcast is appropriate for beginners all the way to experts and for ages 10-110.  

Join conductor Joshua Weilerstein as he takes a deep dive into Shostakovich's monumental 10th symphony.  We'll analyze the music, the history behind the music, and much more, all in an easily digestible and accessible way.  This podcast is for beginners all the way to experts.

Join conductor Joshua Weilerstein and his parents(!), the esteemed performers and teachers, Donald and Vivian Weilerstein, as they discuss how they met, their first time playing music together, teaching philosophies, parenting philosophies, and much much more!

Shakespeare’s Hamlet has been realised in thousands of versions. The story of the Danish Prince whose father is murdered by his uncle, who then marries Hamlet’s mother, is perhaps the most fascinating of all Shakespeare’s tragedies. In this podcast, composer Brett Dean and librettist Matthew Jocelyn discuss the creation of their new operatic version of the tale. British tenor Allan Clayton looks forward to playing the title role and Shakespeare scholar Ann Thompson reveals how Hamlet passed into popular culture. Presenter: Katie Derham ​​Produced by Katherine Godfrey for Whistledown Productions for Glyndebourne Festival 2017 Musical extracts are from Brett Dean’s From Melodious Lay, commissioned and recorded by BBC Radio 3 and given its world premiere by the BBC Symphony Orchestra conducted by Joshua Weilerstein at the Barbican on Tuesday 1 November 2016. With thanks to the Barbican Centre and the Corporation of London. Music is courtesy of Boosey & Hawkes Music Publishers Limited. Image: Matthew Jocelyn and Brett Dean in a Hamlet workshop at Glyndebourne. Photographer: Sam Stephenson

Composer Brett Dean and librettist Matthew Jocelyn are retelling Shakespeare’s Hamlet as an opera. In this bonus podcast episode, we’re eavesdropping on a specially recorded conversation between actor Samuel West, who has played Hamlet to great acclaim at the Royal Shakespeare Company, and British tenor Allan Clayton who is about to take up the role of the Danish Prince in this new opera version. Recorded February 2017. Presenter: Katie Derham ​​Produced by Katherine Godfrey for Whistledown Productions for Glyndebourne Festival 2017 Musical extracts are from Brett Dean’s From Melodious Lay, commissioned and recorded by BBC Radio 3 and given its world premiere by the BBC Symphony Orchestra conducted by Joshua Weilerstein at the Barbican on Tuesday 1 November 2016. With thanks to the Barbican Centre and the Corporation of London. Music is courtesy of Boosey & Hawkes Music Publishers Limited. Image: Allan Clayton (Hamlet) Photographer: Richard Hubert Smith