Podcast appearances and mentions of Kevin Puts

Met Chorus Artists will perform on May 4 A few photos on the Met Chorus Artists website show five singers and an accompanist performing at the Howland Cultural Center in 2018. On Sunday (May 4), the group will return with a pianist and narrator along with two tenors, three sopranos, a mezzo-soprano and a bass-baritone to present History of Opera: Up Close. There's a long tradition of classical chamber settings featuring vocalists, usually paired with a piano or small ensemble. The repertoire is known as lieder in Germany, melodie in France and art songs elsewhere, says Sara Heaton, a soprano who will be performing. But selling tickets for stripped-down vocal concerts can be a challenge, says Akiko Sasaki, music director at the Howland Chamber Music Circle. In 2017, Sasaki introduced a Classics for Kids series and eight years ago, Met Chorus Artists performed a show for the wee ones. On May 4, they will present a young person's concert in the afternoon that pulls examples from The Magic Flute to punctuate points. The 4 p.m. adult-oriented retrospective is being performed for the first time ever. Selections range from the Baroque era, represented by Claudio Monteverdi (born 1567) and George Friedrich Handel, to contemporary opera, including works by Igor Stravinsky and Kevin Puts (born 1972). Excerpts by the genre's one-name stars - Mozart, Verdi, Wagner and Puccini - will also air. Heaton and Sasaki's friendship spawned the 2018 visit from Met Chorus Artists, a nonprofit outreach for members of the Metropolitan Opera chorus. "We started it a few years ago with the goal of bringing the music to other spaces outside the opera house and to work on a smaller scale than the grand opera that we do at the Met," says Heaton. Sasaki also takes chamber music beyond the concert hall by programming pop-ups in libraries, art galleries and Beacon Music Factory (on May 3). But the Howland Cultural Center, with its renowned acoustics for unplugged instruments, is a special place to see such a performance, she says. "A program like this fits well in a chamber setting," she says. "It's exciting because opera is usually performed in a big house with 4,000 people in the audience. Here, the singing fills up the room and you can feel their vibrato." The narrator, Whitney Young, a composer and conductor who shatters the stereotype with sleeves, neck tattoos and attitude, inspired the format after several singers in the Met Chorus attended Young's lecture on the history of the string quartet at the Strand Bookstore in Manhattan. The lecture was augmented with a cellist, violist and two violinists who provided live examples on the spot, says Heaton, who lived in Beacon for seven years but moved in 2022 to Westchester to shorten her commute to Lincoln Center. Bringing an expansive ensemble from New York City that provides flexibility to mix and match presents a more varied performance than a soloist singing lieder and art songs. "This is such a great format," she says. "We worked hard putting together a taste of Opera 101." The Howland Cultural Center is located at 477 Main St. in Beacon. Opera for Kids will be performed at 1 p.m. on May 4. Tickets are $15 for adults and free for children. All ages are welcome, but it is recommended for ages 6 and older. The Met Chorus Artists concert is scheduled for 4 p.m. on May 4. Tickets are $35, or $10 for students ages 25 and younger. See howlandmusic.org/tickets for both shows.

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

For the Founders Day edition of our True and Constant Podcast, hosts Emma Oremus (St. Louis) and Lex Stewart (Ohio) welcome star of stage and screen Kelli O'Hara (Oklahoma City)!   Kelli has earned her place as one of Broadway's leading ladies, with a career that includes 12 Broadway productions and eight Tony Award nominations. She won the 2015 Tony Award for best leading actress in a musical for her role as Anna Leonowens in “The King and I.” Beyond Broadway, Kelli is also an Emmy, SAG, Olivier and Grammy-nominated actress.   When she's not on stage, you can catch Kelli's Emmy-nominated performance in the acclaimed web series “The Accidental Wolf” on Topic or see her in her current role as Aurora Fane in HBO's hit series “The Gilded Age,” for which she received a SAG Ensemble Award nomination. Kelli has also appeared in several recurring television roles, including Showtime's “Masters of Sex,” “13 Reasons Why,” “Blue Bloods” and “All My Children.” Her additional film and television credits include “All the Bright Places,” “Peter Pan Live!,” “Sex & the City 2,” Martin Scorsese's “The Key to Reserva,” “The Good Fight,” “Numb3rs” and “The Independents.”   In 2015, Kelli made history as the first artist to successfully transition from Broadway to opera with her Metropolitan Opera debut in Lehár's “The Merry Widow” alongside Renée Fleming. She returned in 2018 as Despina in Mozart's “Così Fan Tutte” and was last seen at The Metropolitan Opera in the world premiere of Kevin Puts' “The Hours,” performing as Laura Brown. Her concerts have earned international acclaim, from Carnegie Hall to Tokyo, and she frequently appears on PBS live telecasts, The Kennedy Center Honors, and in performances with The New York Philharmonic and The New York Pops. Her solo albums, “Always” and “Wonder in the World,” are available on Ghostlight Records.   We're thrilled to celebrate our sister Kelli's achievements on this special Founders Day edition of The True and Constant Podcast — don't miss it!

Gerardo Edelstein, Music Director & Conductor of the Williamsport Symphony Orchestra, speaking about the opening concert of the 2024-25 season titled, "Fate and Destiny," Tuesday, October 22 at 7:30 pm at the Community Arts Center, 220 W. 4th Street in downtown Williamsport. The concert will feature music by Beethoven, Tchaikovsky and Kevin Puts. www.williamsportsymphony.org/ www.CAClive.com/

In einem gerade mal zwei Jahre alten Bühnenwerk begeistern zwei berühmte Opernsängerinnen an der New Yorker Met. Renée Fleming und Joyce DiDonato sind nach wie vor toll bei Stimme und machen "The Hours / Die Stunden" von Kevin Puts zum Groß-Event.

durée : 00:59:08 - En pistes, contemporains ! du dimanche 17 mars 2024 - par : Emilie Munera - Au programme : Luciano Berio, Kevin Puts, Maciej Zimka, Zanési et Jean-Marie Rens. - réalisé par : Céline Parfenoff

See omnystudio.com/listener for privacy information.

Tom Service speaks to the conductor Yannick Nézet-Séguin, Music Director of the Montreal Philharmonic, the Philadelphia Orchestra, and the Metropolitan Opera in New York. He is one of the starriest and most sought-after conductors in the world. also one of the most loved by the musicians who work with him. Nézet-Séguin is guest conductor to some of the world's top orchestras, like the Vienna Philharmonic, the Chamber Orchestra of Europe and the Berlin Philharmonic, and he has recorded cycles of symphonies by Brahms, Beethoven and Bruckner, plus operas by Mozart, Gounod and Wagner. Alongside the core repertoire, he's on a mission to perform new works that represent all of society and thereby draw new audiences to the orchestras that he leads and the Metropolitan Opera in New York. He tells Tom about the richly fulfilling experiences of putting on Terence Blanchard's Fire Shut up in My bones and Kevin Puts' The Hours, and how these two new operas are both bringing in audiences who have never been to the MET before, whilst also refreshing the cherished classics traditionally staged there. 2024: what does the new year hold for the musical scene? What's the impact of cuts across classical music, from education in schools to opera companies, and what are the opportunities of the moment for those who run our orchestras and lead music education? Tom Service convenes a Music Matters counsel of musical sages to discuss their thoughts of the state of music as we step into 2024: Sophie Lewis, Chief Executive of the National Children's Orchestras and Chair of the Association of British Orchestras; Gillian Moore, Artistic Associate of the South Bank Centre in London, writer and consultant; and Phil Castang, Chief Executive of Music for Youth.

On today's episode of The Metropolitan Opera Guild Podcast, we have the first of three episodes exploring how the operatic canon is being expanded, featuring Guild lecturer Matthew Timmermans. In this first episode, he will dive into two new productions that have pushed the boundaries of the canon—Terence Blanchard's Champion and Kevin Puts's The Hours.

Do you want to be extremely emotionally wrecked? Anna and Krista point you toward Kevin Puts' The Hours, based on the novel and movie. From the libretto and music to the acting, it takes hold and doesn't let go till the end. And you thought Terrence Blanchard had that market cornered...

Composer Kevin Puts takes pride in keeping secrets, both by being understated in his interactions with people and by never initially giving away all the goods in his music, preferring, as he tells Frank J. Oteri, "to keep something in reserve so that there's a payoff for the attentive listener." But in their hour-long conversation, he'll reveal some of the secrets behind The Hours (his Metropolitan Opera debut), and Contact (his triple concerto for Time for Three which just won the 2023 Grammy Award for Best Contemporary Classical Composition), and much more. Read more at NewMusicBox: newmusicusa.org/nmbx/kevin-puts-keeping-secrets/

Description 1: This week, co host Joshua has to get flowers while Dan tries to bake a cake. Will either be successful? Tune in and find out! Description 2: Renee, Kelli, and Joyce. Oh my! How did the three divas of our hearts fare in Kevin Puts and Greg Pierce's The Hours? Tune in and find out! Description 3: The Unauthorized Critics Circle goes to the opera. Some are in town and went in person, while others are locked away in the country and went to see the Live in HD. What will our critics make of the opera? Tune in and find out! intermix 3 descriptions at once for best possible results. Also, get away from that damn window. We see you. Get down from there. Tune in next time when we discuss the brand new motion picture adaptation of Matilda the Musical, on Netflix starting December 25th 2021. Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast

Na začátku byl oceňovaný román Michaela Cunnighama, který se inspiroval knihou Paní Dallowayová od Virginie Woolfové. Další život mu vdechl Oscary oceněný film s Meryl Streep, Julienne Moore a Nicole Kidman. Nyní se Hodiny, příběh tří žen žijících v rozdílných epochách, staly předlohou pro operu. Napsal ji Kevin Puts, z podnětu proslulé sopranistky Renée Fleming. Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Na začátku byl oceňovaný román Michaela Cunnighama, který se inspiroval knihou Paní Dallowayová od Virginie Woolfové. Další život mu vdechl Oscary oceněný film s Meryl Streep, Julienne Moore a Nicole Kidman. Nyní se Hodiny, příběh tří žen žijících v rozdílných epochách, staly předlohou pro operu. Napsal ji Kevin Puts, z podnětu proslulé sopranistky Renée Fleming.

The modern classic novel, The Hours, has been adapted for the big screen, and now it has been adapted into an opera. Kevin Puts, the composer, and Kelli O'Hara, who stars as troubled 1950s housewife Laura Brown, join us to discuss the adaptation, showing now at the Metropolitan Opera.

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

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

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

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

This episode is part of our series in collaboration with the hosts of the Classical Gabfest Podcast - conductors Tiffany Lu, William White, and Kensho Watanabe. Please go check out their show, and their episode featuring us! -- Emerging onto the international stage, Kensho Watanabe is fast becoming one of the most exciting and versatile young conductors to come out of the United States. Recently recognized as a recipient of a Career Assistance Award by the Solti Foundation U.S, Kensho will make his Metropolitan Opera debut next season, conducting Kevin Puts' The Hours. Assistant Conductor of The Philadelphia Orchestra from 2016 to 2019, Kensho made his critically acclaimed subscription debut with the Orchestra and pianist, Daniil Trifonov, taking over from his mentor Yannick Nézet-Séguin. He would continue on to conduct four subscription concerts with the Philadelphia Orchestra in 2019, in addition to debuts at the Bravo! Vail Festival and numerous concerts at the Mann and Saratoga Performing Arts Centres. Recent highlights include Kensho's debuts with the London Philharmonic and Tokyo Philharmonic Orchestras, Orchestre National du Capitole de Toulouse, Rhode Island Philharmonic as well as his Finnish debut with the Jyväskylä Sinfonia. Kensho has also enjoyed collaborations with the Houston Symphony, Royal Scottish National Orchestra, Detroit Symphony, Brussels Philharmonic and the BBC National Orchestra of Wales, the Seiji Ozawa Matsumoto Festival, and the Orchestre Metropolitain in Montreal. Equally at home in both symphonic and operatic repertoire, Watanabe has led numerous operas with the Curtis Opera Theatre, most recently Puccini's La rondine in 2017 and La bohème in 2015. Additionally, he served as assistant conductor to Yannick Nézet-Séguin on a new production of Strauss' Elektra at Montréal Opera. This season, Watanabe will conduct Mozart's Le Nozze di Figaro at the Seiji Ozawa Music Academy. Watanabe has previously been the inaugural conducting fellow of the Curtis Institute of Music from 2013 to 2015, under the mentorship of Nézet-Séguin. An accomplished violinist, Watanabe received his master of music degree from the Yale School of Music and served as a substitute violinist in The Philadelphia Orchestra from 2012 to 2016. -- We're super excited to announce that we're piloting a database of opportunities for creatives like you! The database features scholarships, grants, internships, & more. It will be updated monthly with new links, opportunities, and deadlines. All you have to do to access the database is sign up for our newsletter at creativebaggagepodcast.com --- Support this podcast: https://anchor.fm/creative-baggage/support

durée : 00:59:48 - En pistes, contemporains ! du dimanche 26 décembre 2021 - par : Emilie Munera - Aujourd'hui et pour cette dernière de l'année, on vous parle du premier disque du nouveau label Scala Music et du Quatuor face à face. On écoutera aussi Kalevi Aho et Kevin Puts entre autres ! - réalisé par : Claire Lagarde

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

In this SLSO Stories Podcast episode, Music Director Stéphane Denève talks about the music of today. Moderated by Tim Munro, SLSO Creative Partner, the discussion centers on how composers with close ties to the St. Louis Symphony Orchestra are telling the stories of today. Joining Stéphane are two composers who have relationships with the orchestra: Kevin Puts and Nathalie Joachim. This episode was originally a Lunch & Learn virtual event in October 2020.

Keturah begins this episode speaking with conductor, Karen Kamensek, who talks to her about a moment in Verdi and Boito’s Otello that moves her.  They also talk about Falstaff, and the frustrations of being an artist during Covid.Keturah’s second interview is with librettist and playwright, Greg Pierce, who collaborated with Gregory Spears on Fellow Travelers, Nico Muhly on The Glitch, and is in the process of collaborating with Kevin Puts on The Hours, which will premiere at the Met.  They discuss adaptation, as well as the differences between writing plays and writing libretti.Karen Kamensek: https://www.karenkamensek.com/Arrigo Boito: https://www.britannica.com/biography/Arrigo-BoitoGreg Pierce: https://www.lyricopera.org/about/company/artists-musicians/composers-librettists/greg-pierce/Gregory Spears: http://www.gregoryspears.com/Nico Muhly: http://nicomuhly.com/Kevin Puts: http://www.kevinputs.com/

Sometimes inspiration comes like a bolt from the blue. On this edition of Watching America, we hear the story of “acquired savant” Tony Cicoria, who became musically inspired after being struck by lightning. His story was was brought to public attention in the book, “Musicophilia: Tales of Music and the Brain,” by Oliver Sacks. We hear another inspirational musical tale from brothers James and Robert Freeman. They are musicians who come from a notably musical family. To honor their parents, the Freeman brothers commissioned 3 compositions to honor their parents, Henry and Florence Knope Freeman. The CD is titled “Three Tributes,” and the music is composed by Kevin Puts, Andrea Clearfield, and Gunther Schuller. You can find Cicoria’s “Notes From an Accidental Pianist,” which includes “Fantasia, the Lightning Sonata,” at https://music.apple.com/us/album/notes-from-an-accidental-pianist-and-composer/295902083 You can find “Three Tributes” at https://www.innova.mu/albums/james-and-robert-freeman/three-tributes

Acclaimed contemporary classical composer talks his career and his cinematic music for the concert hall, including the Pulitzer Prize-winning opera Silent Night, his approach to composition and how much John Williams' music touched him since childhood and inspired him to become a composer Few contemporary classical composers have such a wide-ranging, colorful and personal style like Kevin Puts. Winner of the coveted Pulitzer Prize in 2012 for his debut opera Silent Night, he has become one of the leading American composers of his generation. Critically acclaimed for a richly colored, harmonic, and freshly melodic musical voice that has also been described as “emotional, compelling, and relevant,” his works, which include two operas, four symphonies, and several concertos, have been commissioned, performed, and recorded by leading orchestras, ensembles and soloists throughout the world. A native of St. Louis, Missouri, Kevin Puts started to study piano during childhood. His love for music was ignited by the John Williams' scores for such films as Star Wars, The Empire Strikes Back and E.T. The Extra-Terrestrial, which made a lasting effect on him and were among the main inspirations to pursue a career as a composer. His love for movie music, and specifically John Williams, led him to a musical style characterized by a strong storytelling element. His compositions have been often described as “cinematic” and “film-like” by music critics and commentators, an observation that Puts always took as a compliment. Puts' catalogue is truly impressive and includes major orchestral, symphonic and operatic works and a great deal of chamber music as well. His Pulitzer Prize-winning opera Silent Night is probably his most important and successful work so far. It was premiered by Minnesota Opera in November 2011, and marked his debut in the genre of opera and vocal works. Describing his work, Puts said he was “going for a cinematic quality, commenting on the action and the emotions of a scene as it unfolds as a great film composer like John Williams might do it”. In this conversation, Kevin talks about his career as a contemporary classical composer, his approach to composition as storytelling, and how much the music of John Williams inspired him since childhood, particulary the score of E.T. The Extra-Terrestrial. For more information and the list of musical excerpts featured in the episode, visit https://thelegacyofjohnwilliams.com/2021/03/22/legacy-conversations-kevin-puts/

Rod Gilfry is a two-time Grammy nominee, singer and actor, and has performed in all the world's music capitals, and appears on over 30 commercial recordings. He was born and raised in Southern California, and earned degrees from California State University Fullerton, and the University of Southern California. From 1987 to 1989 he was a member of the Frankfurt Opera ensemble, and from 1989 to 1994 he was a member of the Zurich Opera ensemble. Rod is acclaimed world-wide in opera, musicals, recitals and cabaret. An important part of his 75-role repertoire are the 12 leading roles he has created in new operas. Recent performances include the Los Angeles Opera productions of David Lang's solo opera the loser, Matthew Aucoin's Crossing, and Eurydice; and Jake Heggie's It's a Wonderful Life at the San Francisco Opera. He was recently Claudius in Brett Dean's Hamlet at the Glyndebourne and Adelaide Festivals, a role he will reprise at the Metropolitan Opera next year. His tour with Renée Fleming in Kevin Puts’s The Brightness of Light began with concerts at the Tanglewood Festival, Colorado Symphony and the Kennedy Center, and will resume with the Dallas Symphony, Los Angeles Opera and Chicago Lyric Opera. Mr. Gilfry is in his 12th year as a Professor of Vocal Arts at the University of Southern California Thornton School of Music in Los Angeles.

Mark Spede is the band director at Clemson University and the current president of the College Band Directors National Association. In this episode he shares his story and talks about CBDNA’s role in funding the aerosol study at the University of Colorado. Topics: Mark’s background and musical origin story. His journey from marching band novice to the director of the Clemson University band. Mark’s path to becoming president of CBDNA and the work that the organization has done with the COVID-19 pandemic. The backstory behind the aerosol study conducted during the summer of 2020.  Links: Mark Spede Clemson Tiger Band Maslanka: Symphony no. 4 Biography: Dr. Mark J. Spede is Professor, Director of Bands, Director of Tiger Band, and Conductor of the Symphonic Band at Clemson University, where he administrates the band program (symphonic, athletic, and jazz bands). Dr. Spede is the recipient of the Clemson University 2009 Dean’s Award for Excellence in Teaching (College of Architecture, Arts and Humanities), and three Clemson University Board of Trustees Awards for Faculty Excellence (2008, 2009, and 2012). He teaches a number of courses, including two for the Calhoun Honors College: aesthetics of music and science of music. In 2012, Dr. Spede conducted the Clemson University Symphonic Band at venues in London, England, for the Summer Olympic Games. Also in 2012, he founded the Clemson Faculty Jazz Quintet, for which he plays drums. Dr. Spede earned a Bachelor of Music from the University of Michigan (1984), a Master of Music from Ball State University (1988), and a Doctor of Musical Arts from The University of Texas at Austin (1998). He has served the College Band Directors National Association (CBDNA) in a number of capacities. From 2003 to 2005, Dr. Spede served as state chair for South Carolina. He also served on the CBDNA “New Era Think Tank” from 2005 to 2007, and served as chair of the “Athletic Band Task Force” from 2005 to 2009. He served as President of the Southern Division of CBDNA (encompassing eleven southern states) and is currently serving as National President. In addition, he has served as president of the Atlantic Coast Conference (ACC) Band Directors Association. Dr. Spede previously served on the faculties at The University of Texas at Austin (1998-1999) and the University of Florida in Gainesville (1989-1995) as Assistant Director of Bands. At Florida, he also taught studio percussion. As a freelance arranger, Dr. Spede has written extensively for high school and college marching bands (over 200 arrangements). His wind band arrangements and transcriptions are published by Peer Music, Schirmer, Boosey and Hawkes, and Carl Fischer, including “D.C. Fanfare” by John Corigliano, “Red Cape Tango” by Michael Daugherty, “Wedding Dances from Bandanna” by Daron Hagen, “Acrostic Song” by David Del Tredici, and “Millennium Canons” by Kevin Puts. He served as Assistant Conductor of the Dallas Wind Symphony, where he also helped produce two of their recordings. His professional performing experience includes orchestra (principal percussion in the Gainesville Chamber Orchestra, Muncie Symphony Orchestra, Ann Arbor Symphony Orchestra, Flint Symphony Orchestra), jazz (performing with such artists as Randy Brecker, Ray Brown, Pete Christlieb, Dennis DiBlasio, Duffy Jackson, Dave Pell, Bobby Shew, Marvin Stamm, Bill Watrous, Ernie Watts and Phil Wilson), as well as at Walt Disney World.

Ep. 125: Donato Cabrera, conductor. Let's Talk Off The Podium with Tigran Arakelyan. Donato Cabrera is the Music Director of the California Symphony and the Las Vegas Philharmonic. He served as the Resident Conductor of the San Francisco Symphony and the Wattis Foundation Music Director of the San Francisco Symphony Youth Orchestra from 2009-2016. Cabrera is one of only a handful of conductors in history who has conducted performances with the San Francisco Symphony, San Francisco Opera, and the San Francisco Ballet. Since Cabrera's appointment as Music Director in 2013 of the California Symphony, the organization has redefined what it means to be an orchestra in the 21st Century. Under Cabrera’s baton, the California Symphony has reached new artistic heights by implementing innovative programming that emphasizes welcoming newcomers and loyalists alike, building on its reputation for championing music by living composers, and committing to programming music by women and people of color.  Cabrera also oversees the selection process of the California Symphony’s celebrated Young American Composer-in-Residence program, through which the orchestra has supported the burgeoning careers of composers including Mason Bates, Kevin Puts, and the current Composer-in-Residence, Katherine Balch.   

How do composers pick subject matter for a new opera? What is the composing process like? How does a composer work with a librettist? How much time do composers get to create an opera? In this episode of The Metropolitan Opera Guilld Podcast, we explore all of those questions and more in the release of an archival recording from 2017! This event featured a live interview panel as part of our Opera in the New Millennium program, when lecturers Naomi Barrettara and Elspeth Davis sat down with composers Missy Mazzoli, Paola Prestini, and Kevin Puts to learn more about their work as contemporary opera composers. (Please Note: Due to the live and archival nature of the original recording, there were some microphone glitches throughout the track. We have attempted to balance the recording and smooth out glitches as much as possible for this episode!) Track photo credits (from left to right): Paola Prestini, by Caroline Tompkins Kevin Puts, by David White Missy Mazzoli, by Caroline Tompkins

Keturah has a conversation with librettist and lyricist, Mark Campbell. They discuss his extensive body of work, advice for young librettists, how Elizabeth Cree is his favorite libretto, and the artist’s constant struggle with imposter syndrome.

Les carnets de Gautier Capuçon - Kevin Puts

Hosts Jeff Counts and Carol Anderson interview the creators of the 2012 Pulitzer Prize winning Opera, Silent Night

Director Tomer Zvulun discusses Utah Opera's upcoming production of Kevin Puts and Mark Campell's "Silent Night." The Israeli-born director also discusses his time serving as a medic, reveals what stories he would like to see given an operatic treatment, and more!

The Miro Quartet opens the Chamber Music Society of Detroit’s 2019/20 at the Seligman Performing Arts Center on Saturday, September 14 at 8pm. They joined us in our studios today to play Beethoven and Kevin Puts and spoke with Midday Music Host Peter Whorf.

The Miro Quartet opens the Chamber Music Society of Detroit’s 2019/20 at the Seligman Performing Arts Center on Saturday, September 14 at 8pm. They joined us in our studios today to play Beethoven and Kevin Puts and spoke with Midday Music Host Peter Whorf.

For opera lovers, today's guest needs no introduction. Renée Fleming is one of the most celebrated and cherished singers worldwide.  In the midst of a whirlwind tour, Renée had a moment to chat with dramaturg Cori Ellison about her Santa Fe Opera debut in a concert featuring Letters from Georgia by Kevin Puts and Vier letzte Lieder (Four Last Songs) of Richard Strauss.  Renée shares a peek inside her preparation and collaborative process for singing the role of New Mexico icon artist Georgia O'Keeffe, reflects on one of her most sung pieces of repertoire by Strauss, and shares the drive behind the growing body of arts education advocacy and neuroscience research she is championing. Follow Renée and learn more about her advocacy work at https://reneefleming.com and on Facebook and Instagram @reneeflemingmusic and on YouTube @ReneeFlemingTV. *** Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org. We'd love for you to join us on Instagram, Twitter, and Facebook @santafeopera.  *** Beyond the Opera is produced for the Santa Fe Opera by Andrea Klunder at The Creative Impostor Studios. Our audio engineer is Kabby at Kabby Sound Studios in Santa Fe. Our hosts are dramaturg Cori Ellison and Kathleen Clawson, associate director of the Santa Fe Opera apprentice singer program.

Acclaimed young composer Viet Cuong joins the show to share his thoughts about band music, his work as a composer, and how growing up in the Lassiter band helped him fit in and find his place in the world. Topics: 
Viet’s background and how he got his start as a musician, percussionist, and composer. How band and music helped Viet “find his place” in the world and the importance of band as a place where kids who are struggling to feel accepted have a place where they can fit in and grow. Growing up in the legendary Lassiter Band Program under the baton of Alfred Watkins. Thought about what band directors can do to support young musicians who are writing music or want to become composers. Thoughts about academic music, new music for band, and some insights into building design at Princeton. The Blue Dot Collective Links: Viet Cuong, Composer The Blue Dot Collective Cuong: Diamond Tide Cuong: Moth Stravinsky: Rite of Spring Biography: Called “alluring” and “wildly inventive” by The New York Times, the “ingenious” and “knockout” (Times Union) music of Viet Cuong (b. 1990) has been performed on six continents by musicians and ensembles such as Sō Percussion, Eighth Blackbird, Alarm Will Sound, Sandbox Percussion, the PRISM Quartet, JACK Quartet, Gregory Oakes, Kaleidoscope Chamber Orchestra, Albany Symphony, Jacksonville Symphony, and Cabrillo Festival Orchestra, among many others. Viet’s music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, Library of Congress, Cabrillo Festival of Contemporary Music, Aspen Music Festival, New Music Gathering, Boston GuitarFest, International Double Reed Society Conference, US Navy Band International Saxophone Symposium, and on American Public Radio’s Performance Today. He also enjoys composing for the wind ensemble medium, and his works for winds have amassed over one hundred performances by conservatory and university ensembles worldwide, including at Midwest, WASBE, and CBDNA conferences. Viet holds the Curtis Institute of Music’s Daniel W. Dietrich II Composition Fellowship as an Artist Diploma student of David Ludwig and Jennifer Higdon. Viet received his MFA from Princeton University as a Naumburg and Roger Sessions Fellow, and he is currently finishing his PhD there. At Princeton he studied with Steve Mackey, Donnacha Dennehy, Dan Trueman, Dmitri Tymoczko, Paul Lansky, and Louis Andriessen. Viet holds Bachelor and Master of Music degrees from the Peabody Conservatory of the Johns Hopkins University, where he studied with Pulitzer Prize-winner Kevin Puts and Oscar Bettison. While at Peabody, he received the Peabody Alumni Award (the Valedictorian honor) and the Gustav Klemm Award for excellence in composition. Viet has been a fellow at the Mizzou International Composers Festival, Eighth Blackbird Creative Lab, Cabrillo Festival’s Young Composer Workshop, Copland House’s CULTIVATE emerging composers workshop, and was also a scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals. Additionally, he has received artist residencies from Yaddo, Copland House, Ucross Foundation, and Atlantic Center for the Arts (under Melinda Wagner, 2012 and Christopher Theofanidis, 2014). Viet is a recipient of the Barlow Endowment Commission, Copland House Residency Award, ASCAP Morton Gould Composers Award, Suzanne and Lee Ettelson Composers Award, Theodore Presser Foundation Music Award, Kaleidoscope Chamber Orchestra Call for Scores, Cortona Prize, New York Youth Symphony First Music Commission, Boston GuitarFest Composition Competition, and Walter Beeler Memorial Prize, among others. In addition, he received honorable mentions in the Harvey Gaul Composition Competition and two consecutive ASCAP/CBDNA Frederick Fennell Prizes. Scholarships include the Evergreen House Foundation scholarship at Peabody, a 2010 Susan and Ford Schumann Merit Scholarship from the Aspen Music Festival and School, and the 2011 Bachrach Memorial Gift from the Bowdoin International Music Festival.

The OBS boys are joined by conductor Cathy O'Shaughnessy as a guest co-host and go ‘Inside the Huddle’ with conductor Michael Christie. At Minnesota Opera, Christie led 24 productions over six seasons as its first-ever Music Director, including the world premiere of Kevin Puts and Mark Campbell’s opera “Silent Night”. Plus this guy flies planes... In the ‘Two Minute Drill’, Plácido Domingo celebrates a milestone... Oliver plays ‘Monday Evening Quarterback’ on Verdi’s “Il Trovatore” at Lyric Opera of Chicago... www.facebook.com/OBSCHI1/ @operaboxscore

Justin misses his first podcast! Join us as we meet and chat with JB Taylor, talk about Kevin Puts and Esperanza Spaulding, and Dom serves up a medium-spice take. http://www.ghananationalmusicfestival.com https://www.washingtonpost.com/entertainment/music/war-is-hell-and-other-original-insights-silent-night-at-the-opera/2018/11/11/78a40a7e-e5df-11e8-bbdb-72fdbf9d4fed_story.html?fbclid=IwAR0kft3jWVuzrb0YjHRW-KFkWpMeZ5Ijh2GW0-_I-SJ2Ez7pqzaW1cXVDEc&noredirect=on&utm_term=.4f67138affa3 Don’t forget to give us a like on Facebook, and give us a rating in the Apple podcast store. Also support us on patreon https://www.patreon.com/YMPodcast And send us an email at youngmusicianspodcast@gmail.com, we’d love to hear from you!

In Sidenote, Opera San José director of marketing and development (and retired opera singer) Aaron St. Clair Nicholson sits down with members of the opera world about the work of putting a production on the stage. In this episode, Nicholson talks with Michael Shell, directing of OSJ's season opener, Mozart's The Abduction from the Seraglio. About Michael Shell: Michael Shell returns in the 2018-19 season to direct the company premiere of Mozart’s The Abduction from the Seraglio. Previously, Mr. Shell received critical acclaim for his direction of OSJ’s West Coast premiere of Kevin Puts and Mark Campbell’s Silent Night and Puccini’s La bohème. He made his OSJ debut as stage director of Rossini’s The Italian Girl in Algiers in the 2014-15 season. Mr. Shell’s “visionary” and “masterful storytelling” is steadily leading him to be one of the most sought after directors in the United States. His “thoughtful and detailed score study” is shown in character development and relationships onstage as well as the complete visual world he creates. Shell has directed productions for Atlanta Opera, Pittsburgh Opera, Michigan Opera Theater, Opera Omaha, Opera Tampa, Opera North, Virginia Opera, Santa Fe Opera, Wexford Festival Opera, and Opera Theatre of St. Louis. He made his international directing debut at the Wexford Festival Opera in 2010 with a production of “Winners,” by American composer Richard Wargo and returned the next fall to direct Double Trouble – Trouble in Tahiti & The Telephone. He has written and directed three cabarets, including All About Love and The Glamorous Life – A group therapy session for Opera Singers, both for Opera Theatre of Saint Louis. Shell holds a BM and MM in Music/Vocal Performance from the University of North Carolina School of the Arts. He was a Corbett Scholar at The University of Cincinnati College-Conservatory of Music, as well as studying Acting and Scene Study on a school awarded scholarship at the internationally renowned H.B. Studios in NYC. He has been a guest faculty member at the University of North Carolina School of the Arts, Florida State University and Webster University, St. Louis, teaching Opera Workshop and directing Undergraduate Opera Workshop performances. In addition, he has been guest director at The A.J. Fletcher Opera Institute, Oklahoma University and is a frequent guest director at Indiana University.

Librettist Mark Campbell joins us 'Inside the Huddle' live via phone. His latest collaboration with composer Kevin Puts is the opera “Elizabeth Cree”, currently playing at Chicago Opera Theater. Hear Mark talk about how he got into the mind of a nineteenth-century serial killer... But first, Lyric Opera of Chicago recently announced its 2018-2019 season a few weeks ago. Our team scores the season using a metric we're calling 'The Dodson Scale'... And, it’s the ‘Two Minute Drill’: everything you need to know from the past week in Operaland, and our hot takes on those stories... www.facebook.com/OBSCHI1/

Texas composer Daniel Montoya Jr. joins me on the eve of TMEA 2018 to discuss his career as a composer and share his opinions on a variety of topics, including writing for marching bands and why sometimes it is better to not talk too much! Topics: Daniel’s background, growing up in the Texas band tradition, and the story of his humorous biography. The inspiration behind Daniel’s early efforts as a composer and how relationships he built over time led to early success as a published composer of percussion music and eventually to his current career as a composer of music for marching band and concert band. The process of commissioning a piece of music and Daniel’s advice for how to deal with your percussion section. In what is the greatest soliloquy in the history of this podcast, Daniel dishes on competition and band and keeping everything in its proper perspective. Links: Daniel Montoya Jr. The Portfolio Composer, Episode 25: Aprille Janes Mahler: Symphony No. 2 “Resurrection” Maslanka: Symphony No. 4 Biography: Daniel Montoya, Jr. is a native of Austin, a 90’s music aficionado (followed closely by the jams of the 80’s), and denies his “hipster-ness” whenever possible. He also, occasionally, writes music (since being musically moved by his first viewing of the James Cameron film Titanic and wanting to write the music to the sequel, Titanic 2: Jack of Spades: Jack Dawson’s Revenge: This Time It’s Personal). His oeuvre spans several genres, including original pieces and arrangements for wind band, percussion ensemble, and the marching arts. His works, which resound with bristling energy and color, have won numerous awards from national organizations. His education includes a master’s degree in wind conducting from Texas State University where he studied with Dr. Caroline Beatty, a master’s degree in music composition from Central Michigan University where he studied with David R. Gillingham, and a baccalaureate degree in music composition from Texas State University (he fully expects to be called Grand Master Montoya, or “Montstro“). He has also studied and participated in masterclasses with such composers as Kevin Beavers, William Bolcom, Michael Ippolito, Cindy McTee, Kevin Puts, Russell Riepe, and Roberto Sierra. While not tending to Mont Shoemore, his outlandish and somewhat offensive collection of sneakers, Montoya has been known to make public appearances at performances of his music, which have included concerts at Avery Fisher Hall, the Midwest International Band and Orchestra Clinic, the Percussive Arts Society International Conference, the Texas Music Educators Association Conference, the North American Saxophone Alliance Biennial Conference, and the Texas Bandmasters Association Conference, among others. When in attendance at these events, he can usually be identified by denim, sneakers, and his satchel (man purse or, “murse” for the layman). Although the closest he’s been to being a man in uniform was as a member of “The Pride of the Hill Country” and possibly some ill-advised Halloween costumes, he served as the arranger for the U.S. Army All-American Marching Band in 2012 & 2013. His involvement with marching bands engages him throughout the nation. Among the organizations that have used his compositions and arrangements on the field are champions and finalists at various state- and national-level competitions, and major Division I intercollegiate bands. Montoya is the Program Coordinator & Brass Composer/Arranger for The Guardians Drum & Bugle Corps from Houston, TX and has arranged for The Colts Drum & Bugle Corps from Dubuque, IA and Revolution Drum & Bugle Corps from San Antonio, TX. His innovative approach to field arrangement involves imbuing new vitality and dramatic elements into his charts without sacrificing the integrity of the source material, creating a new and vibrant musical object rather than a mere transcription of the original. When not submerged in his mild-mannered Clark-Kent-esque composition day job, Montoya enjoys engaging in the indigenous Austinite culture and trying to slowly conquer the universe of social media. He is frequently mistaken for Andy Garcia on Congress Avenue. His sidekicks on this mission are his better half, known to the Twittersphere simply as “The Girl,” their daughter, known to the world as “The Heir,” and a slightly overweight puggle named Mahler who runs the household and sleeps in the big bed. He has coined the term “portmonto” as a portmanteau of his name with the word “portmanteau” to refer to his love of making up senselessly long words (partially inspired by his love of mash-ups) and he was a fan of using hashtags on Facebook way before it was cool. Montoya’s music is published by C-Alan Publications, Row-Loff Productions, Tapspace Publications, and his publishing company, Underwater Theme Productions/Montoya Music. Montoya is an Artist/Educator for Innovative Percussion, Inc. and is a member of ASCAP and Phi Mu Alpha Sinfonia.

This week, COMPOSER Kevin Puts talks about his 1 Track, the third movement from his FLUTE CONCERTO.

This episode is dedicated to all Band Room listeners in the great band state of Texas. Join Dylan in an episode entitled, Don't Mess With Texas, as he explores wind music of Texas, with works by Kevin Puts, Scott McAllister and Donald Grantham. Featuring the Baylor University Wind Ensemble with Dr. Eric Wilson, Michigan State University Wind Symphony with Dr. Kevin Stedatole & The University of Texas Wind Ensemble with Jerry Junkin. Big thanks to Mark Records for the use of the recordings used on today's episode. Help Support the Band Room Podcast by Becoming a Patron Through Patreonhttps://www.patreon.com/bandroompodBRP Storehttp://www.bandroompod.com/storeSupport the show (https://www.patreon.com/bandroompod)

Considered “highly imaginative…with big ideas” (Baltimore Sun) and “stirring and uplifting” (Miami Herald), award-winning composer Jake Runestad (b. 1986) has received commissions and performances from leading ensembles and organizations such as Washington National Opera, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, Seraphic Fire, the Dayton Philharmonic Orchestra, the Virginia Arts Festival, the Rockford Symphony Orchestra, Craig Hella Johnson and the Cincinnati Vocal Arts Ensemble, Spire Chamber Ensemble, and the Master Chorale of Tampa Bay. Dubbed a “choral rockstar” by American Public Media, Jake is one of the most frequently performed composers in the U.S.A. and travels extensively to work with ensembles as a clinician and resident composer. Jake Runestad holds a Master's degree in composition from the Peabody Conservatory of the Johns Hopkins University where he studied with Pulitzer Prize-winning composer Kevin Puts. Prior to graduate school, he studied privately with acclaimed composer Libby Larsen. A native of Rockford, IL, Mr. Runestad currently lives in Minneapolis, MN and his music is published by Boosey & Hawkes and JR Music. Join The Portfolio Composer community and support the creation of the platform on Patreon. Just $1/month to enable the creation of more great content to help you build your career! In this episode Jake discusses the value of learning from other composers, as well as: Time management F.A.Q.s Websites Commissions Meditation Website: www.jakerunestad.com Recommended Listening: Dominick Argento, Walden Pond Recommended Reading: Robert Pirsig, Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values Give The Portfolio Composer a review on iTunes! This post contains affiliate links.

With more than a decade of experience in the music industry, Andrew Ousley has worked with artists and organizations such as Lawrence Brownlee, Conrad Tao, Kevin Puts, Warner Music, On Site Opera and more. He has overseen the marketing, promotion, publicity and project management of fourteen #1 albums, from core classical to crossover to Fifty Shades of Grey - The Classical Album, and has built his company Unison Media into one of the the most highly-regarded publicity and marketing companies in the performing arts world. Join The Portfolio Composer community and support the creation of the platform on Patreon. Just $1/month to enable the creation of more great content to help you build your career! PR expert and entrepreneur Andrew Ousley shows us how we can clarify our story, define our brand, and better market ourselves and our music. Topics discussed in this episode: PR How the public perceives you PR=Branding=Marketing Controlling the story Slicing up the kaleidoscopic totality of your being PR is like dating Being in the public eye Slicing the personality of your brand The difficulty of talking to two audiences Make the story around your music feel momentous The question you need to ask yourself What a PR firm can do for you PR lead time Budgeting to hire a PR firm PR vs Agents Building a team Website: www.unison.media Recommended Listening: Ludwig van Beethoven, String Quartet 15 (Op. 132) Arvo Pärt, Spiegel im Spiegel Recommended Reading: David Cutler, The Savvy Musician: Building a Career, Earning a Living & Marking a Difference Milan Kundera, The Unbearable Lightness of Being: A Novel Give The Portfolio Composer podcast a Rating and Review! This post contains affiliate links.

Jake Runestad stops by to tell some stories of his youth, including "Old Kmart", the origins of "Nyon Nyon" (and "Ner Ner"), and his viewpoint as a composer when it comes to sharing his art with the world. An entertaining listen, sponsored by KI Concerts. Oliver Scofield of KI drops in to announce a World Premiere commission by Jake as well! Support our sponsor for this episode: KI Concerts Listen Jake's Bio Jake Runestad is an award-winning and frequently-performed composer of “highly imaginative” (Baltimore Sun) and “stirring and uplifting” (Miami Herald) musical works. He has received commissions and performances from leading ensembles and organizations such as Washington National Opera, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, the Virginia Arts Festival, the Dayton Philharmonic Orchestra, the Santa Fe Desert Chorale, Seraphic Fire, Craig Hella Johnson and Conspirare, and many more. Jake’s visceral music and charismatic personality have fostered a busy schedule of commissions, residencies, workshops, and speaking engagements, enabling him to be one of the youngest full-time composers in the world. Jake Runestad holds a Master’s degree in composition from the Peabody Conservatory of the Johns Hopkins University where he studied with Pulitzer Prize-winning composer Kevin Puts. Has has also studied extensively with acclaimed composer Libby Larsen. A native of Rockford, IL, Mr. Runestad is currently based in Minneapolis, MN and his music is published by JR Music. Find out more at: JakeRunestad.com Links Jake's Soundcloud #ikeptliving on Twitter

Kevin Puts is one of today’s leading American composers. His persuasive music, colourfully orchestrated and emotionally charged, is well showcased on this month’s new release of three of his highly engaging symphonic works. Raymond Bisha guides us from the adventurous harmonic combinations of River’s Rush to the elegant transparency of the Flute Concerto and the arresting atmospheric shifts of Symphony No. 2. The latter was written in response to the events of 9/11. It moves from unsuspecting bliss to rhapsodic patriotism before hurtling into violent upheaval, and culminating in a coda of uncertainty and hope.

Kevin might want to choose his words a little more carefully the next time he talks about one of Indy's sports teams. #WFMS #JimDebKevin #Indianapolis

Composer Kevin Puts returns to this year's Cabrillo Festival of Contemporary Music with his new Flute Concerto and a Pulitzer Prize on his credit. Kevin and I talked about the new work and its charming backstory; about his love of heartfelt music, whatever proponents of modernist abstraction may say; and about his choice of a contemplative composing career over the athletic rigors of concert piano. In the second part of the show, globe-trotting composer/clarinetist Derek Bermel describes Dust Dances, an orchestral piece based on his studies of the West African xylophone known as the gyil. Both Dust Dances and the Flute Concerto will be performed on opening night of the Cabrillo Festival.

Soprano Kelly Kaduce returns to Philadelphia as Anna Sorenson, the Danish soprano who will stop at nothing to ensure the safety of her beloved Nikolaus Sprink. No stranger to contemporary works and new operas, Ms. Kaduce talks about Anna's strength of character as well as the glories of Kevin Puts' lush and tuneful score. The Opera's Michael Bolton hosts.For tickets and more information on Silent Night, visit http://www.operaphila.org/production/silent-night.

Soprano Kelly Kaduce returns to Philadelphia as Anna Sorenson, the Danish soprano who will stop at nothing to ensure the safety of her beloved Nikolaus Sprink. No stranger to contemporary works and new operas, Ms. Kaduce talks about Anna’s strength of character as well as the glories of Kevin Puts’ lush and tuneful score. The Opera’s Michael Bolton hosts. For tickets and more information on Silent Night, visit http://www.operaphila.org/production/silent-night.

For this edition of In Tune, co-hosts Michael Bolton and Maren Montalbano interview one of Philadelphia's favorite baritones, Troy Cook, who stars in the February production of Kevin Puts and Mark Campbell's Pulitzer Prize winning opera, Silent Night. Mr. Cook talks about his role in the opera as Father Palmer, a role he created at the world premiere of the opera and reprises in Philadelphia, and this fascinating and beautiful new work.

For this edition of In Tune, co-hosts Michael Bolton and Maren Montalbano interview one of Philadelphia’s favorite baritones, Troy Cook, who stars in the February production of Kevin Puts and Mark Campbell’s Pulitzer Prize winning opera, Silent Night. Mr. Cook talks about his role in the opera as Father Palmer, a role he created at the world premiere of the opera and reprises in Philadelphia, and this fascinating and beautiful new work.

The Opera Company of Philadelphia will host the local premieres of two exciting new American operas over the next several months: Nico Muhly and Stephen Karam's Dark Sisters and Kevin Puts and Mark Campbell's Silent Night. Both operas had their world premiere in November 2011. Podcast hosts Michael Bolton and Maren Montalbano talk with two Philadelphia favorites, soprano Jennifer Check (Almera in Dark Sisters) and baritone Troy Cook (Father Palmer in Silent Night) about these operas and their experience working with the amazingly gifted creators of these operas.

The Opera Company of Philadelphia will host the local premieres of two exciting new American operas over the next several months: Nico Muhly and Stephen Karam's Dark Sisters and Kevin Puts and Mark Campbell's Silent Night. Both operas had their world premiere in November 2011. Podcast hosts Michael Bolton and Maren Montalbano talk with two Philadelphia favorites, soprano Jennifer Check (Almera in Dark Sisters) and baritone Troy Cook (Father Palmer in Silent Night) about these operas and their experience working with the amazingly gifted creators of these operas.

As the Cabrillo Festival of Contemporary Music begins its 2010 season, we speak to two of this year's featured artists about their upcoming performances. Kevin Puts, best known for his composing, talks about the challenges of performing his own piano concerto "Night" for the first time. In part 2, percussion virtuoso Colin Currie describes his rendition of Jennifer Higdon's "Percussion Concerto." We listened to Colin's Grammy-winning performance of the concerto with the London Philharmonic as we discussed the piece.