Podcast appearances and mentions of Leon Botstein

Leon Botstein ist Gründer des „The Orchestra Now“, ein Orchester das in den gesamten USA bekannt ist. Nun sind sie auch in Deutschland bei einem Konzert in Koblenz zu hören und der Dirigent Leon Botstein erklärt, wieso er dieses Orchester gegründet hat. Im Musikgespräch erzählt er außerdem, wie die Lage der Musik unter Donald Trump ist und wie er den Zugang zu Klassischer Musik von deutschen Komponisten gefunden hat.

​​In September 2019, Richard Stallman, a prominent computer scientist and founder of the Free Software Foundation (FSF), resigned from both the Massachusetts Institute of Technology (MIT) and the FSF following controversial comments related to the Jeffrey Epstein case. Specifically, Stallman questioned the use of the term "sexual assault" concerning allegations against the late MIT professor Marvin Minsky, suggesting that the victim may have appeared "entirely willing." These remarks were widely criticized as insensitive and dismissive of the coercive circumstances surrounding Epstein's trafficking of minors.The backlash against Stallman's comments led to his immediate resignation from both institutions. However, in March 2021, he announced his return to the FSF's board of directors, a move that sparked renewed controversy and led to significant criticism from the open-source community. Organizations such as Mozilla and the Open Source Initiative opposed his reinstatement, citing concerns over his past behavior and statements.Leon Botstein, president of Bard College, engaged in a controversial relationship with Jeffrey Epstein, a convicted sex offender, by accepting donations and maintaining contact even after Epstein's 2008 conviction. Epstein contributed $75,000 and 66 laptops to Bard in 2011, and in 2016, he personally gave Botstein $150,000, which Botstein redirected to the college as part of his own $1 million donation. Botstein defended these actions by emphasizing his fundraising responsibilities and Bard's commitment to rehabilitation, stating, "We believe in rehabilitation."Despite knowing Epstein's criminal history, Botstein met with him over a dozen times to solicit further donations, raising ethical questions about engaging with disreputable donors. Botstein acknowledged Epstein's past but justified the interactions as part of his role in securing funding for the college, reflecting the complex dynamics between institutional fundraising and ethical considerations.to contact me:bobbycapucci@protonmail.com

​​In September 2019, Richard Stallman, a prominent computer scientist and founder of the Free Software Foundation (FSF), resigned from both the Massachusetts Institute of Technology (MIT) and the FSF following controversial comments related to the Jeffrey Epstein case. Specifically, Stallman questioned the use of the term "sexual assault" concerning allegations against the late MIT professor Marvin Minsky, suggesting that the victim may have appeared "entirely willing." These remarks were widely criticized as insensitive and dismissive of the coercive circumstances surrounding Epstein's trafficking of minors.The backlash against Stallman's comments led to his immediate resignation from both institutions. However, in March 2021, he announced his return to the FSF's board of directors, a move that sparked renewed controversy and led to significant criticism from the open-source community. Organizations such as Mozilla and the Open Source Initiative opposed his reinstatement, citing concerns over his past behavior and statements.Leon Botstein, president of Bard College, engaged in a controversial relationship with Jeffrey Epstein, a convicted sex offender, by accepting donations and maintaining contact even after Epstein's 2008 conviction. Epstein contributed $75,000 and 66 laptops to Bard in 2011, and in 2016, he personally gave Botstein $150,000, which Botstein redirected to the college as part of his own $1 million donation. Botstein defended these actions by emphasizing his fundraising responsibilities and Bard's commitment to rehabilitation, stating, "We believe in rehabilitation."Despite knowing Epstein's criminal history, Botstein met with him over a dozen times to solicit further donations, raising ethical questions about engaging with disreputable donors. Botstein acknowledged Epstein's past but justified the interactions as part of his role in securing funding for the college, reflecting the complex dynamics between institutional fundraising and ethical considerations.to contact me:bobbycapucci@protonmail.com

​​In September 2019, Richard Stallman, a prominent computer scientist and founder of the Free Software Foundation (FSF), resigned from both the Massachusetts Institute of Technology (MIT) and the FSF following controversial comments related to the Jeffrey Epstein case. Specifically, Stallman questioned the use of the term "sexual assault" concerning allegations against the late MIT professor Marvin Minsky, suggesting that the victim may have appeared "entirely willing." These remarks were widely criticized as insensitive and dismissive of the coercive circumstances surrounding Epstein's trafficking of minors.The backlash against Stallman's comments led to his immediate resignation from both institutions. However, in March 2021, he announced his return to the FSF's board of directors, a move that sparked renewed controversy and led to significant criticism from the open-source community. Organizations such as Mozilla and the Open Source Initiative opposed his reinstatement, citing concerns over his past behavior and statements.Leon Botstein, president of Bard College, engaged in a controversial relationship with Jeffrey Epstein, a convicted sex offender, by accepting donations and maintaining contact even after Epstein's 2008 conviction. Epstein contributed $75,000 and 66 laptops to Bard in 2011, and in 2016, he personally gave Botstein $150,000, which Botstein redirected to the college as part of his own $1 million donation. Botstein defended these actions by emphasizing his fundraising responsibilities and Bard's commitment to rehabilitation, stating, "We believe in rehabilitation."Despite knowing Epstein's criminal history, Botstein met with him over a dozen times to solicit further donations, raising ethical questions about engaging with disreputable donors. Botstein acknowledged Epstein's past but justified the interactions as part of his role in securing funding for the college, reflecting the complex dynamics between institutional fundraising and ethical considerations.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Jeffrey Epstein was one of the biggest donors to higher education intsitutions such as Harvard and MIT and in return, Epstein was granted access to these universities, their professors and even had an office of his own on the campus of Harvard. All of this came on the backend of him dishing out lavish donations and gifts to these scientists and colleges.Why did Jeffrey Epstein do it though? Was it just charity? Or was he angling for something else?Let's dive in and discuss it!(commercial at 11:08)to contact me:bobbycapucci@protonmail.comsource:Cozying Up to Monsters - LA Progressive

Jeffrey Epstein was one of the biggest donors to higher education intsitutions such as Harvard and MIT and in return, Epstein was granted access to these universities, their professors and even had an office of his own on the campus of Harvard. All of this came on the backend of him dishing out lavish donations and gifts to these scientists and colleges.Why did Jeffrey Epstein do it though? Was it just charity? Or was he angling for something else?Let's dive in and discuss it!(commercial at 11:08)to contact me:bobbycapucci@protonmail.comsource:Cozying Up to Monsters - LA Progressive

Swiss-American conductor, educator, scholar, and President of Bard College, Leon Botstein has dedicated his musical career to the performance of lesser known repertoire. Maestro Botstein candidly discusses the practical and emotional challenges a conductor faces while leading an orchestra and the importance of forgoing theatrical gestures. Leon reflects on how his choice to pursue music was a form of rebellion within his family of physicians and when he understood he wouldn't be a virtuoso. David and Leon talk about what makes a good leader of school, Leon's belief in a broad education (as opposed to that of a conservatory), the importance of an inquiring mind, and arts patronage.Check out Leon Botstein on Facebook, Spotify, Apple Music, or the web.Learn more about American Symphony Orchestra here, Bard College here, and The Orchestra Now here. 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 Leon by Matt Dine.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 © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Matthew Whalan and Ben Burgis continue the weekly series of Thursday Night Debate Breakdowns by watching a debate on "Resolved: That the Death Penalty Is a Good Thing" from a 1994 episode of William F. Buckley's Firing Line. These names didn't all fit in the title but the guests are Ed Koch, Walter Berns, Susan Boleyn, Ira Glasser, Leon Botstein, Stephen B. Bright, Bryan Stevenson.Matthew has written some relevant essays on His Substack:https://matthewvernonwhalan.substack.com/p/the-jimmy-davis-jr-story-death-rowhttps://matthewvernonwhalan.substack.com/p/ending-peoples-lives-putting-peoplehttps://matthewvernonwhalan.substack.com/p/institutional-racism-and-classismFollow Matthew on Twitter: @VernonWhalanFollow Ben on Twitter: @BenBurgisFollow GTAA on Twitter: @Gtaa_ShowBecome a GTAA Patron and receive numerous benefits ranging from patron-exclusive postgames every Monday night to our undying love and gratitude for helping us keep this thing going:patreon.com/benburgisRead the weekly philosophy Substack:benburgis.substack.comVisit benburgis.com

Leon Botstein in conversation with Rita Ryan of LocalMotion 10.25.23

Saint-Saëns's opera "Henry VIII" will run as part of the 20th Bard SummerScape, July 21–30, in the Sosnoff Theater at the Fisher Center at Bard. This, the first fully staged production of Henry III in the United States will be sung in French with English supertitles. Leon Botstein conducts the American Symphony Orchestra.Internationally acclaimed stage director Jean-Romain Vesperini helms the production at Bard and he joins us.

Jeffrey Epstein was one of the biggest donors to higher education intsitutions such as Harvard and MIT and in return, Epstein was granted access to these universities, their professors and even had an office of his own on the campus of Harvard. All of this came on the backend of him dishing out lavish donations and gifts to these scientists and colleges.Why did Jeffrey Epstein do it though? Was it just charity? Or was he angling for something else?Let's dive in and discuss it!(commercial at 11:08)to contact me:bobbycapucci@protonmail.comsource:Cozying Up to Monsters - LA ProgressiveThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5080327/advertisement

Jeffrey Epstein was one of the biggest donors to higher education intsitutions such as Harvard and MIT and in return, Epstein was granted access to these universities, their professors and even had an office of his own on the campus of Harvard. All of this came on the backend of him dishing out lavish donations and gifts to these scientists and colleges.Why did Jeffrey Epstein do it though? Was it just charity? Or was he angling for something else?Let's dive in and discuss it!(commercial at 11:08)to contact me:bobbycapucci@protonmail.comsource:Cozying Up to Monsters - LA ProgressiveThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5003294/advertisement

El 23 de agosto de 2019 el financiero Jeffrey Epstein se suicidó en una celda del Centro Correccional Metropolitano de Manhattan. En esos momentos se encontraba detenido bajo la acusación de agresión sexual, pederastia y tráfico de menores. Hasta poco antes Epstein había sido un tipo muy popular y solicitado. Se dejaba ver con personajes importantes de las finanzas, la política, el cine y hasta la realeza. La lista de los que frecuentaban a Epstein es muy larga, pero no hace más que crecer con el tiempo. Publicaba este domingo el Wall Street Journal en exclusiva un reportaje sobre algunos de las personas que se relacionaron con él entre los años 2013 y 2017. El diario neoyorquino ha tenido acceso a la agenda de Jeffrey Epstein y ha hecho públicos algunos de los nombres que no aparecían en el conocido como “libro negro” de Epstein que tanto escándalo levantó hace casi cuatro años. En la agenda no sólo aparecen las personas, también las citas que tuvo durante sus últimos años de vida. Así encontramos, por ejemplo, que William Burns, hoy director de la CIA, programó tres reuniones con Epstein en 2014, cuando era subsecretario de Estado. Se conocieron en Washington y luego Burns visitó a Epstein en su mansión de Manhattan. Kathryn Ruemmler, consejera del presidente Barack Obama, tuvo varias reuniones con Epstein tras salir de la Casa Blanca y antes de convertirse en una de las principales abogadas de Goldman Sachs en 2020. Junto a Epstein viajó a París en 2015 y visitó dos años más tarde su isla privada en el Caribe. Pero las amistades de Epstein no se limitaron a la política. En su agenda se encuentran nombres provenientes del mundo de la cultura y la universidad. Gente como Leon Botstein, director de orquesta y rector del prestigioso Bard College de Nueva York. Botstein invitó a Epstein al campus, éste aceptó la invitación y se llevó a un grupo de mujeres jóvenes con él en helicóptero. Noam Chomsky, un renombrado lingüista, profesor del MIT y conocido activista político, también trató a Epstein. Según se desprende de su agenda, Epstein y Chomsky cenaron juntos en la casa del primero en 2015. Ninguno de estos nombres aparece en el “libro negro” ni en el registro de pasajeros que viajaron en su avión privado, una información que se hizo pública hace años y que ha ocasionado más de un terremoto. La agenda muestra que Epstein organizó múltiples reuniones con toda esta gente a pesar de haber sido condenado en 2008 por un delito sexual, algo de lo que todos eran conscientes. La agenda no revela el propósito de esas reuniones y tampoco se sabe si se llegaron a celebrar, pero algunos de los señalados se han visto obligados a dar explicaciones. Unos arguyen que se vieron con Epstein porque era rico y estaba bien conectado. Respecto a su condena por agresión sexual, todos coinciden en que la conocían, pero ya había cumplido su condena y estaba limpio y rehabilitado. Botstein asegura que se puso en contacto con él para conseguir donaciones para el Bard College, Chomsky que le vio para discutir temas de naturaleza política y académica. Burns se reunió con Epstein hace unos diez años cuando estaba a punto de dejar la Casa Blanca. Se lo presentaron como un experto financiero, pero, según la portavoz de la CIA, nunca tuvieron relación personal. Ruemmler si llegó a tener una relación con Epstein, pero de tipo profesional en calidad de abogada. Asegura que nunca llegó a viajar con Epstein y que lamenta haberle conocido en persona. Todos se utilizaron mutuamente. Ellos querían dinero y contactos. A Epstein, por su parte, le gustaba presumir de amistades importantes no sólo en el mundo de la política y las finanzas, también en el de la cultura. Colaborar con una orquesta sinfónica o con una universidad abre muchas puertas y da muy buena imagen. Con los políticos era diferente, ahí buscaba poder e influencia para seguir ganando dinero y, ya de paso, para obtener protección cuando la necesitase. En La ContraRéplica: - Los límites de la libertad - Bukele, Fujimori y los cirujanos de hierro - Conspiranoia · Canal de Telegram: https://t.me/lacontracronica · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #epstein Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This week on The Hamilton Review Podcast, Dr. Bob welcomes American conductor Troy Quinn to the show! In this conversation, Troy shares the details of his impressive musical and academic background as well as his deep love for music. Troy is the new conductor of the Santa Monica Symphony Orchestra and the city is excited to have him lead the beloved orchestra.  Don't miss this great conversation! American conductor Troy Quinn is quickly establishing himself as one of his generation's most versatile young artists. Lauded for his energetic and riveting, yet sensitive conducting, Quinn is in his sixth season as Music Director of the Owensboro Symphony Orchestra in Kentucky. He is also the Music Director of the Venice Symphony in Florida where he conducts both the classical and pops concert series. Quinn's engagements have included performances with many prestigious orchestras in the United States, including the Los Angeles Chamber Orchestra, Rochester Philharmonic Orchestra, Chamber Orchestra of Philadelphia, and the Rhode Island Philharmonic, where he serves as the Summer Pops conductor. He is also the former Music Director of the Juneau Symphony. Since making his conducting debut with the Rochester Philharmonic Orchestra in their young conductor preview, Quinn has been the recipient of numerous accolades, including awards from the Presser Foundation, Rislov Foundation, Anna Sosenko Assist Trust, and a Rhode Island Foundation grant for his contributions to the musical landscape in New England. Equally at home in the pops and commercial world, Quinn has performed and recorded with some of the most popular artists of our time, including The Rolling Stones, Barry Manilow, Lee Greenwood, Josh Groban, Jennifer Hudson, Rockapella, Michael Feinstein, and Linda Eder. As an accomplished vocalist, Quinn has also collaborated with such prominent maestros as Helmuth Rilling, Carl St. Clair, and Dan Saunders of the Metropolitan Opera. In addition to his concert work, Quinn has worked extensively in the television and recording industry, having made appearances on such hit TV shows as Fox's GLEE, NBC's The Voice, and The Tonight Show with Jay Leno while recording on films like The Call of the Wild and Indiana Jones and the Kingdom of the Crystal Skull. He has also appeared at many of the world's major music centers and at such famed venues as the Hollywood Bowl and Walt Disney Concert Hall. A native of Connecticut, Quinn pursued a bachelor of arts degree from Providence College where he was the recipient of the Leo S. Cannon award for superior achievement in the music field. He went on to earn his masters degree with honors from the Manhattan School of Music, studying conducting with David Gilbert and voice with highly acclaimed Metropolitan Opera singer Mark Oswald. He completed his doctorate in conducting at the University of Southern California's Thornton School of Music, where he studied with Larry Livingston and Jo-Michael Scheibe and was awarded the outstanding doctoral graduate of his class. Quinn has participated in numerous masterclasses as a conducting fellow, attending conducting institutes at the Royal Academy of Music, Eastman School of Music, and Bard Conservatory of Music. He has been mentored by such renowned conductors as Benjamin Zander, Neil Varon, and Leon Botstein. Quinn serves on the conducting faculty at the University of Southern California's Thornton School of Music and has previously served as a faculty member at Providence College. How to contact Troy Quinn: Troy Quinn website How to contact Dr. Bob: Dr. Bob on YouTube: https://www.youtube.com/channel/UChztMVtPCLJkiXvv7H5tpDQ Dr. Bob on Instagram: https://www.instagram.com/drroberthamilton/ Dr. Bob on Facebook: https://www.facebook.com/bob.hamilton.1656

Leon Botstein is a Swiss-American conductor, educator, and scholar serving as the President of Bard College since 1975. He is also the Leon Levy Professor in the Arts and Humanities at Bard. --- Support this podcast: https://anchor.fm/toby-usnik/support

Synopsis Today we remember the Russian composer Reinhold Glière, who died in Moscow on today's date in 1956. These days Glière is probably best known for the popular “Russian Sailor's Dance” from his ballet “The Red Poppy.” Glière was born in Kiev in 1875, and studied at the Moscow Conservatory, where he later became professor of composition. That was after the Russian Revolution, and Glière could count among his students Sergei Prokofiev and Nikolai Miaskovsky. With the success of works like “The Red Poppy,” Glière is often cited as the founder of Soviet ballet. Glière also wrote several symphonies, all intensely Russian in color and character. The most famous of these is his Third, subtitled “Ilya Murometz” after a legendary Russian folk hero. Glière was also intrigued by the folk music of the far eastern republics of the then USSR, incorporating folk themes from the Soviet Union's Trans-Caucus and Central Asian peoples into some of his orchestral scores. He was a very prolific composer, but apart from a handful of very popular works, most of Glière's operas, ballets and orchestral works remain largely unfamiliar to most music lovers in the West. Music Played in Today's Program Reinhold Glière (1875 – 1956) –Russian Sailors' Dance, from The Red Poppy (Philadelphia Orchestra; Eugene Ormandy, cond.) BMG 63313 Reinhold Glière (1875 – 1956) –Symphony No. 3 (Ilya Murometz) (London Symphony; Leon Botstein, cond.) Telarc 80609

In this conversation with RevDem editor Ferenc Laczó, Peter Osnos discusses his new edited volume George Soros: A Life in Full. Osnos introduces the concept of the volume, reflects on Soros' remarkably complex character, addresses his path-breaking philanthropy and special commitment to education, and dissects his profound and fraught connection to Hungary and the post-Soviet world. Peter Osnos has had a long and distinguished career as a reporter, editor, and publisher. He worked for The Washington Post and then at Random House until he founded Public Affairs in 1997. He has published a host of major authors and public figures, including four former US Presidents and several of the most celebrated personalities in human rights, business, and media. In 2021, Peter Osnos released An Especially Good View. Watching History Happen, a reported memoir. George Soros: A Life in Full is out on April 5. It contains chapters by Leon Botstein, Eva Hoffman, Michael Ignatieff, Ivan Krastev, and Darren Walker, among a host of other distinguished authors.

Shaggin' Flies with Ben and Zach Zach is joined for a special solo session with Howard Megdal (@howardmegdal) of Baseball Prospectus, The IX, and the Next for a lovely ninety-minute conversation about women's sports, Bard College, the Mets, New Jersey, and plenty more baseball.  --- 3 – Working in politics, but then not 5 – Mouse! 7 – The Next and The IX 10 – A nearly half-hour tangent about the wonderfulness of women's sports and the criminality of their underfunding 31 – Name and Image Likeness 33 – Loving sports at Bard College 35 – Sending angry emails to KenPom 37:30 – Leon Botstein does have a Wikipedia 40:30 – Campaigning the backup center for D3 player of the year 42 – Why baseball? 47 – Basketball is a shot, baseball is an IV 49 – The Baseball Talmud! 52 – Coolest games ever: 2015 World Series, David Cone, and Johan Santana 58 – Alex Bregman and flawed replay 1:02 – Analytics talk 1:06 – Cat! 1:07 – The enemy is certainty 1:09 – Order of Operations trifecta! 1:14 – The consistency of toothpaste as it hits the teeth 1:15 – A conversation with Abraham 1:17 – No ghosts, but Justin Turner is unexplained 1:20 – The Full Count Howard's Book Recommendation: Katherine Heiny Howard's Food Recommendation: South Jersey Pretzel Howard's Movies/TV Recommendation: The Third Man Howard's Music Recommendation: Bria Skonberg; Veronica Swift;Emmet Cohen; Good Jazz and Good Food (in general) Howard's Miscellaneous Recommendation: Flannel pants

Shaggin' Flies with Ben and Zach Zach is joined for a special solo session with Howard Megdal (@howardmegdal) of Baseball Prospectus, The IX, and the Next for a lovely ninety-minute conversation about women's sports, Bard College, the Mets, New Jersey, and plenty more baseball.  --- 3 – Working in politics, but then not 5 – Mouse! 7 – The Next and The IX 10 – A nearly half-hour tangent about the wonderfulness of women's sports and the criminality of their underfunding 31 – Name and Image Likeness 33 – Loving sports at Bard College 35 – Sending angry emails to KenPom 37:30 – Leon Botstein does have a Wikipedia 40:30 – Campaigning the backup center for D3 player of the year 42 – Why baseball? 47 – Basketball is a shot, baseball is an IV 49 – The Baseball Talmud! 52 – Coolest games ever: 2015 World Series, David Cone, and Johan Santana 58 – Alex Bregman and flawed replay 1:02 – Analytics talk 1:06 – Cat! 1:07 – The enemy is certainty 1:09 – Order of Operations trifecta! 1:14 – The consistency of toothpaste as it hits the teeth 1:15 – A conversation with Abraham 1:17 – No ghosts, but Justin Turner is unexplained 1:20 – The Full Count Howard's Book Recommendation: Katherine Heiny Howard's Food Recommendation: South Jersey Pretzel Howard's Movies/TV Recommendation: The Third Man Howard's Music Recommendation: Bria Skonberg; Veronica Swift;Emmet Cohen; Good Jazz and Good Food (in general) Howard's Miscellaneous Recommendation: Flannel pants Get PL+ and join our community!: https://pitcherlist.com/plus

Shaggin' Flies with Ben and Zach Zach is joined for a special solo session with Howard Megdal (@howardmegdal) of Baseball Prospectus, The IX, and the Next for a lovely ninety-minute conversation about women's sports, Bard College, the Mets, New Jersey, and plenty more baseball.  --- 3 – Working in politics, but then not 5 – Mouse! 7 – The Next and The IX 10 – A nearly half-hour tangent about the wonderfulness of women's sports and the criminality of their underfunding 31 – Name and Image Likeness 33 – Loving sports at Bard College 35 – Sending angry emails to KenPom 37:30 – Leon Botstein does have a Wikipedia 40:30 – Campaigning the backup center for D3 player of the year 42 – Why baseball? 47 – Basketball is a shot, baseball is an IV 49 – The Baseball Talmud! 52 – Coolest games ever: 2015 World Series, David Cone, and Johan Santana 58 – Alex Bregman and flawed replay 1:02 – Analytics talk 1:06 – Cat! 1:07 – The enemy is certainty 1:09 – Order of Operations trifecta! 1:14 – The consistency of toothpaste as it hits the teeth 1:15 – A conversation with Abraham 1:17 – No ghosts, but Justin Turner is unexplained 1:20 – The Full Count Howard's Book Recommendation: Katherine Heiny Howard's Food Recommendation: South Jersey Pretzel Howard's Movies/TV Recommendation: The Third Man Howard's Music Recommendation: Bria Skonberg; Veronica Swift;Emmet Cohen; Good Jazz and Good Food (in general) Howard's Miscellaneous Recommendation: Flannel pants Get PL+ and join our Discord: https://pitcherlist.com/plus

President Botstein shares insights from his remarkable career which started as the youngest college president in the U.S. at just 23, when he joined the experimental Franconia College in New Hampshire and has continued through 46 years as the visionary leader of Bard College. He describes in detail 4 major innovations he has launched at Bard: 1) the Early College network in 7 cities across the U.S., 2) the Bard Prison Initiative, 3) the Open Society University Network of dual degree liberal arts programs around the world that culminated in a $500 million matching gift from George Soros, and 4) the development of Bard as a leader in music education and performance, including a Conservatory, a Frank Gehry-designed performing arts center, and Orchestra Now, a Master's program that trains world-class musicians. He describes the differences along with some commonalities between being a top conductor, for the American Symphony, the Jerusalem Symphony and many leading orchestras, and a successful college president. David Finegold is the president of Chatham University. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Bard College Conservatory of Music presents the Bard Conservatory Orchestra with members of The Orchestra Now performing Gustav Mahler's Second Symphony, “Resurrection” conducted by music director Leon Botstein.

The Bard Music Festival has been committed, since its inception, to reviving important but neglected operas. This year's immersion in “Nadia Boulanger and Her World” presents the first fully staged American production of "King Arthur," the only opera by Boulanger's compatriot and close contemporary Ernest Chausson. The production is directed by Louisa Proske and will run for four performances (two of which will also stream online), anchored by the American Symphony Orchestra and Bard Festival Chorale under the leadership of festival founder and co-artistic director Leon Botstein. Baritone Norman Garrett sings the title role opposite Grammy-winning mezzo-soprano Sasha Cooke as Guinevere. Sasha Cooke has been called a “luminous standout” ( New York Times ) and “equal parts poise, radiance and elegant directness” ( Opera News ). She is sought after by the world's leading orchestras, opera companies, and chamber music ensembles for her versatile repertoire.

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

Democracy and Education Democracy and education are inextricably linked. A democracy can only work when voters have an open mind, the ability to think critically, and are tolerant of others and their beliefs. A good education should be designed to cultivate these instincts, and the result should be we well-rounded citizens who respect each other, engage in healthy public discourse, and are able to think critically to uncover lies and bad ideas. Education should prepare all citizens to properly participate in civic life. The 4 Pillars of Good Education First, students should gain a firm grasp on language, and be able to read and write critically, uncover lies and discuss opinions respectfully. Second, students need strong mathematic, scientific, and computational literacy. Third, we need to understand and be able to think critically about the past, because the way we understand history has an impact on what we do in the future. Finally, we need to encourage creative thinking, and learn to understand the beauty and importance of things like poetry, art, and design. The Bankruptcy of US Education Our education system does not prepare us for the nation and the economy we live in. First, a high school degree does not prepare students for a life of work. With the current level of specialization and technology, we must make higher education free in order to give graduates a way to succeed. Our education system is also failing us civically. Most adults can’t name the three branches of government, a huge percentage of the electorate can be easily manipulated by obvious falsehoods, and many lack critical thinking skills as evidenced by COVID denial. Find out more: Leon Botstein’s entire life and his work in all its aspects is devoted to one mission: the improvement of peoples’ lives through education and exposure to the arts. A child of a generation that experienced extreme prejudice and barbarity, his firm belief that a better and more equitable world can be created by cultivating the life of the mind remains the principle that informs and connects all of his performances, writing, public service, and teaching. He was born in Zurich and immigrated to the US as a child. He studied history and philosophy at the University of Chicago and earned a PhD in history from Harvard University. In 1975 Botstein became the president of Bard College, a position he still holds. Under his leadership, Bard has developed into a distinctive liberal arts institution offering a vast range of undergraduate and graduate programs. In 1990 Botstein established the internationally admired Bard Music Festival, the success of which helped in the development of the beautiful Richard B. Fisher Center for the Performing Arts, a multi-functional facility designed by Frank Gehry on the Bard College campus. Opening in 2003, the Fisher Center inspired a programmatic expansion, Bard SummerScape, that includes opera, dance, theater, and cabaret over six weeks every summer. In 1992 he was named music director of the American Symphony Orchestra, a position he still holds. During his directorship, he transformed ASO into a pioneer, presenting great works that have long been ignored by history, alongside the acknowledged masterpieces, in concerts curated thematically, using history and ideas to catch the imagination of a wider and non-traditional audience. On January 23, 2020, Botstein was named chancellor of the Open Society University Network, of which Bard College and Central European University are founding members. We've started a referral program! Refer us to your friends to get a free button or Moleskine notebook. Please use this link to get your personal referral code: https://refer.glow.fm/future-hindsight, which you can then forward to your friends.

Australian soprano Eleanor Lyons has an extraordinary career, which has taken her all over Europe and further abroad. Most recently, she’s performed as soloist in Verdi’s Requiem and Britten’s War Requiem with Philippe Herreweghe and the Antwerp Symphony; at the Grafenegg Festival with conductor Leon Botstein in two roles: Maria in Der Diktator by Krenek and in Hindemith’s Mörder, Hoffnung der Frauen; and with the Polish National Radio Symphony Orchestra in Katowice as soloist at their New Year’s Eve Gala with Australian conductor Matthew Coorey. In 2020, Lyons made her Opera Australia debut as Donna Anna in our production of Don Giovanni.

Archbishop of Canterbury Justin Welby joins Christiane Amanpour to talk about the UK foreign aid cuts, the decision to close churches during lockdown and measurements being put in place in response to sexual abuse within the Church of England. Turning from faith to education – Leon Botstein, the president of Bard College, discusses the call to close New York City public schools due to Covid-19 and the importance of education for democracy. Then our Walter Isaacson speaks to Nicholas Thompson, the editor-in-chief of WIRED Magazine about how misinformation is spread on social media and why Facebook need to change their algorithm.To learn more about how CNN protects listener privacy, visit cnn.com/privacy

As the COVID-19 Pandemic swept across New York City and the Hudson Valley region in March of 2020, teachers and school administrators scrambled to reengineer education for deliver in a virtual format. The pandemic exposed how critical it is to educate young adults with new skills. This is an opportunity to rethink what our education systems look like and how they function. Let's take a look at Higher Education and K-12. We'll learn more about the Bard public High Schools - a unique and innovative approach to high school education.This week's episode features Leon Botstein, President of Bard College in Dutchess County New York since 1975. A true innovator, a renaissance man, and conductor of the American Symphony Orchestra. 

Today we sit down with Violin Virtuoso Asi Matathias. Violinist Asi Matathias, protege of Pinchas Zukerman, is already recognized as one of the most celebrated talents of his generation. He made his debut at the age of 14 with the Israel Philharmonic Orchestra under the baton of Zubin Mehta, displaying a musical maturity and inspiration far beyond his years. This success was immediately followed by another invitation from Maestro Mehta to perform with him in the following season. Since then, he has performed as a soloist with numerous orchestras across the globe with such conductors as Eliahu Inbal, Leon Botstein, Frederic Chaslin, Dan Ettinger, the late Mendi Rodan and Gints Glinka.

It sometimes takes horseradish vodka shots with Leon Botstein to get your powerfully beautiful ass in THAT tub (of life) in order to REBIRTH yourself and others — but dammit, someone’s gotta do it! Major shoutout to @mama_yb @doulachana @bardearlycolleges @bhsecalumni @bardmanhattan @bardcollege @bardalumni @sumistouch --- Support this podcast: https://anchor.fm/savvilyplay/support

Steven Colbert has called him a smartypants and an egghead. Bard College President Leon Botstein says he’s one of those people who’s easy to make fun of and he’s okay with that. In addition to being the head of an institution of higher learning for the past 45 years, Botstein is the Conductor of the American Symphony Orchestra. And while other educators are worried about what’s going to happen to colleges now, Botstein says the creativity of students will save the day.  “Now What?” is produced with the help of Gabe Zimmer, Steve Zimmer and Stephanie Marie Horton. Audio production is by Nick Ciavatta.

Leon Botstein, music director and conductor, scholar, and president of Bard College in upstate New York, had once thought that the Berlin Wall would never come down. And he found the revolutions surrounding 1989 “frightening” because they could lead to the ascent of unregulated capitalism and the release of suppressed nationalism. Botstein explains that democracy “is harder than people expected” and worries that we are spending too much time staring at our smartphones and “mesmerized by nothing” rather than finding meaning and value by our own activity. Referenced in the interview: https://www.pbs.org/kenburns/college-behind-bars/

In this episode, I discuss with solo violinist Arnaud Sussmann.  He elaborates on the mindsets and strategies to adopt when working on sound quality, the importance of having a strong concept of phrasing and of bow distribution in musicality, the importance of creating fluency in his playing and how he achieves it, the importance of purpose in our practice, warming up during busy periods, the value of recording ourselves when we practice, and why he believes it's important to work hard. Nous avons aussi une discussion en francais!  Nous vous offrons un retour sur certains point abordés en anglais en ce qui a trait à la production du son et du phrasé, et une conversation sur l'importance de la curiosité dans la pratique et sur comment il aborde une œuvre nouvelle.   MORE ABOUT ARNAUD SUSSMAN: Website: http://arnaudsussmann.com/ YouTube channel: https://www.youtube.com/user/violinice Facebook: https://www.facebook.com/arnaudsussmannviolin/ Instagram: https://www.instagram.com/arnaudsussmann/ Boris Garlitsky: http://www.talentmusicmasters.it/boris-garlitsky   Winner of a 2009 Avery Fisher Career Grant, Arnaud Sussmann has distinguished himself with his unique sound, bravura and profound musicianship. Minnesota's Pioneer Press writes, “Sussmann has an old-school sound reminiscent of what you'll hear on vintage recordings by Jascha Heifetz or Fritz Kreisler, a rare combination of sweet and smooth that can hypnotize a listener. His clear tone [is] a thing of awe-inspiring beauty, his phrasing spellbinding.” A thrilling young musician capturing the attention of classical critics and audiences around the world, Arnaud Sussmann has appeared with the American Symphony Orchestra, Buffalo Philharmonic, New World Symphony, Pacific Symphony, Paris Chamber Orchestra, Jerusalem Symphony and the Vancouver Symphony Orchestra. Further solo appearances have included a tour of Israel and concerts at Lincoln Center's Alice Tully Hall, Dresden Music Festival in Germany and at the Phillips Collection in Washington, D.C. Mr. Sussmann has been presented in recital in Omaha on the Tuesday Musical Club series, New Orleans by the Friends of Music, Tel Aviv at the Museum of Art and at the Louvre Museum in Paris. He has also given concerts at the OK Mozart, Chamber Music Northwest and Moritzburg festivals and appears regularly at the Caramoor, Music@Menlo, La Jolla SummerFest, Seattle Chamber Music, Moab Music and Saratoga Springs Chamber Music festivals. Recent concerto appearances include performances with Maestro Valery Gergiev and the Mariinsky Orchestra at the White Nights Festival in St Petersburg, the Santa Rosa Symphony, the Albany Symphony, the Jacksonville Symphony and the Grand Rapids Symphony. This past season, chamber music performances included tours with the Chamber Music Society of Lincoln Center to Korea's LG Arts Center, Shanghai's Oriental Center and Hong Kong's Music Academy. Arnaud Sussmann has performed with many of today's leading artists including Itzhak Perlman, Menahem Pressler, Gary Hoffman, Shmuel Ashkenazi, Wu Han, David Finckel, Jan Vogler and members of the Emerson String Quartet. He has worked with conductors such as Cristian Macelaru, Marcelo Lehninger, Rune Bergmann and Leon Botstein. A dedicated chamber musician, he has been a member of the Chamber Music Society of Lincoln Center since 2006 and has regularly appeared with them in New York and on tour, including a recent concert at London's Wigmore Hall. A frequent recording artist, Arnaud Sussmann has released albums on Deutsche Grammophon's DG Concert Series, Naxos, Albany Records and CMS Studio Recordings labels. His solo debut disc, featuring three Brahms Violin Sonatas with pianist Orion Weiss, was released in December 2014 on the Telos Music Label. He has been featured on multiple PBS' Live from Lincoln Center broadcasts alongside Itzhak Perlman and the Perlman Music Program and with musicians of the Chamber Music Society of Lincoln Center. Born in Strasbourg, France and based now in New York City, Arnaud Sussmann trained at the Conservatoire de Paris and the Juilliard School with Boris Garlitsky and Itzhak Perlman. Winner of several international competitions, including the Andrea Postacchini of Italy and Vatelot/Rampal of France, he was named a Starling Fellow in 2006, an honor which allowed him to be Mr. Perlman's teaching assistant for two years. Mr. Sussmann now teaches at Stony Brook University on Long Island and was recently named Co-Artistic Director of Music@Menlo's International Music Program.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     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/    

Mogens Dahl Kammerkor, Athelas Sinfonietta Copenhagen og Golden Days Festival præsenterer en række markante værker af den sovjetiske komponist, der har opnået stor berømmelse efter murens fald, hvor han valgte at flytte til Hamborg.Alfred Schnittke: Tre åndelige sange.Lebenslauf for 4 metronomer, 3 slagtøjsspillere og klaver.To stykker for orgel.Requiem.Mogens Dahl Kammerkor.Athelas Sinfonitta Copenhagen.Søren Johannesen, orgel.Dirigent: Mogens Dahl. (Christians Kirke, København 23. september). Ca. 21.30Ferdinand Ries: Klaverkoncert nr. 8. Piers Lane, klaver. The Orchestra Now, dirigeret af Leon Botstein. Vært: Max Fage-Pedersen. www.dr.dk/p2koncerten

RadioRotary interviews Kayo Iwama, Associate Director of the Graduate Vocal Arts Program at Bard College, about music education at the college and the performances open to the public. Bard has an unusual undergraduate degree program in music because each student must also obtain a degree in another subject, such as mathematics or political science. The Graduate Vocal Arts Program owes its existence to the renowned soprano Dawn Upshaw, who developed and directs it. Performances by students, faculty, and guest artists occur throughout the year at Bard, some of them free and many at the famed Fisher Center designed by Frank Gehry. Every two years, the Vocal Arts Program mounts an opera for the public, complete with a full orchestra accompaniment. Bard actually hosts three orchestras, including the American Symphony Orchestra conducted by Leon Botstein. --- Support this podcast: https://anchor.fm/radiorotary/support

What explains the global resurgence of populism and the rise of political actors on the right? And what are the effects on longstanding alliances, international institutions, and accepted norms? Don't miss this lively conversation with Leon Botstein, president of Bard College, and international affairs expert Walter Russell Mead.

What explains the global resurgence of populism and the rise of political actors on the right? And what are the effects on longstanding alliances, international institutions, and accepted norms? Don't miss this lively conversation with Leon Botstein, president of Bard College, and international affairs expert Walter Russell Mead.

Bard College President Leon Botstein speaks with Melissa Clay on music entering his life and how being a conductor informs his leadership of a University.

Hear conductor and Bard president Leon Botstein talk about music and the future of Simon's Rock. Released 10.25.2015

The "Star-Spangled Banner" that kicks off opening night concerts across the U.S. is often believed to be a great patriotic tradition. But some people think it's out of place and out of mood. The Fort Worth Symphony recently drew criticism over its practice of playing the anthem before every concert. A Dallas musician sounded off on Facebook that orchestra concerts were not meant to be patriotic events, and that the anthem ruined the mood a conductor was trying to set. Many others agreed. In this week's podcast, two experts weigh in on the anthem at the orchestra. Marc Ferris, author of Star-Spangled Banner: The Unlikely Story of America's National Anthem, says he has no problem with the piece's appearance, which is a holdover from 9/11 in many concert halls. "Just to shoehorn it in there just for the sake of doing it could take away from the thematic program," Ferris said. "But you don't have to do it at the beginning. You could do it after intermission. You could do it at the end." He notes that the first time it was played at a baseball game was during the seventh-inning stretch at 1918 Brooklyn Dodgers game. Leon Botstein, the conductor of the American Symphony Orchestra and president of Bard College, is more ambivalent. "I don't think it necessarily spoils the mood," he said in the second part of the segment. "But to repeat it at every concert is a kind of cheap patriotism. It has, unfortunately, a negative effect. It's like repeating a prayer every day without understanding its meaning."  However, Botstein believes the "Star-Spangled Banner" can be effective when American orchestras play it on international tours. He also thinks it provides an opportunity for an otherwise passive audience to participate in a concert. Ferris dismisses the notion that the anthem's octave-and-a-half range and complicated lyrics are overly challenging. "It's a real myth that this is hard to sing," said Ferris. "What, a professional singer can't remember 81 words? We're only singing the first verse." Botstein disagrees. "The 'Star-Spangled Banner' is not a great national anthem," he said. "It happens to be ours. It's slightly unsingable and the words don't really make a lot of sense. But it is our national anthem. If the audience actually likes it, maybe it doesn't spoil the mood." Listen to the full segment at the top of this page and leave a comment below: How do you feel about playing the Star-Spangled Banner before concerts? After four years, this is Naomi Lewin's final episode as host of WQXR's Conducting Business. We thank her for her steadfast dedication to the show, her commitment to quality arts journalism, her sense of humor and willingness to dive into a wide range of topics involving classical music. We wish her best of luck in her next endeavors.

This episode is a recording of the second panel of the day entitled Ethics and Working in a Diverse World. The panel was chaired by Bob Grand, Wabash College class of 1978 and Managing Partner of Barnes Thornburg LLP, and consisted of Leon Botstein, President of Bard College; Bobby Schnadel, Dean of the School of Informatics and Computing at Indiana University; David N. Shane, Wabash College class of 1970 & retired CEO of LDI, Ltd., LLC. The panel discussion centered around the question: How did each panelist benefit from the liberal arts for developing a deeper sense of ethics and the capacty to work effectively in a diverse world, and how would each change liberal arts education to make it more effective? (Episode 34)

I del 1 porträtteras den yngre Richard Strauss, kompositören med framgångarna men också de många motsättningarna i Strauss väsen. Progressiv och traditionalist på samma gång. Dessutom ringer Johan Korssell upp världens främsta lyriska Strauss-sopran, Renée Fleming. Richard Strauss (1864-1949) har skrivit in sig i musikhistorien med tunga bidrag lika mycket till orkesterlitteraturen som till operarepertoaren. Salome, Elektra och Rosenkavaljeren tillhör de yppersta mästerverken bland 1900-talets operor och Strauss symfoniska dikter (Don Juan, Till Eulenspiegel, Also sprach Zarathustra m. fl.) fortsätter att vinna ny publik till den klassiska musiken. Vid förra sekelskiftet tillhörde Strauss de mest radikala krafterna inom musiken, av publik och kritik betraktades han som ”avantgardist”. Men efter Elektra (1909) kom Strauss att göra helt om, och hans musik blir mer traditionell ofta nostalgiskt tillbakablickande. Allt Strauss gjorde var emellertid inriktat på publiken, om musiken uppfattades som progressiv eller traditionell var för honom ointressant. Dessutom var det alltid ämnet som fick bestämma den musikaliska stilarten. Vidare kan man som dirigenten och musikvetaren Leon Botstein beskriva Richard Strauss som en senromantiker skeptisk till genikulten. Han såg sig hellre som musikalisk hantverkare. Alltså, ett exempel på en väldigt oromantisk inställning - en attityd som helt säkert bidragit till missuppfattningarna kring Strauss. Det klangliga överdådet i hans musik tycks omöjligt att få ihop med en sådan genomsaklig syn på musikskapandet. Strauss-biografen Michael Kennedy, som liksom även Leon Botstein medverkar i första delen av serien, menar t o m att Strauss alltid var konservativ även i sina mest experimentella verk. Detta mot bakgrund av Strauss uppväxt där hans horn-spelande far Franz inpräntade sina musikaliska värderingar på sonen. Idealen var klassiska med Mozart som förebild. Richard Strauss kom dock att på en väsentlig punkt trotsa sin far när han lade till Richard Wagner bland idolerna. Wagner var en tonsättare som pappa Strauss hatade, och som på inget sätt kan inordnas i de klassiska ideal som Franz Strauss predikade. Dirigenten Hans von Bülow jämställde senare Strauss begåvning med just Wagners och kallade den yngre tonsättaren för Richard den tredje. Men varför inte Richard den andre? Nja, det kunde inte finnas en Richard den andre efter Wagner menade von Bülow.   P2 dokumentär i två delar av Johan Korssell.

January 15, 2014 - Leon Botstein, Principal Conductor of the American Symphony Orchestra, Barbara Haskell, Curator at the Whitney Museum, and Dale Marsha Gregory, Vice President for Public Programs at N-YHS discuss the cultural context of...

On May 4, the finale of Renée Fleming's Perspectives series at Carnegie Hall is "Vienna: Window to Modernity," a thoughtful tribute to the time and place where the European musical tradition, under the influence of literary and visual arts, gave way to the 20th century. Here, in the final video of a series of three in which Ms. Fleming and conductor and music historian Leon Botstein discuss Vienna at the turn of the 20th century, they talk about the "simple and heartbreaking" music of Richard Strauss. Strauss is a composer close to the soprano's heart and one who she believes has been ever popular but not always respected, particularly in Europe.

On May 4, the finale of Renée Fleming's Perspectives series at Carnegie Hall is "Vienna: Window to Modernity," a thoughtful tribute to the time and place where the European musical tradition, under the influence of literary and visual arts, gave way to the 20th century. Here, in the second of a series of three videos in which Ms. Fleming and conductor and music historian Leon Botstein discuss Vienna at the turn of the 20th century, they examine audience reactions to 20th-century music and explore how audiences should approach music by Viennese composers of the period.

On May 4, the finale of Renée Fleming's Perspectives series at Carnegie Hall is "Vienna: Window to Modernity," a thoughtful tribute to the time and place where the European musical tradition, under the influence of literary and visual arts, gave way to the 20th century. Here, Ms. Fleming, composer and conductor André Previn, and conductor and music historian Leon Botstein discuss how several of the major Viennese composers of the period—Korngold, Schoenberg, and Zeisl—spent a lot of time in Los Angeles and how their experiences there differed widely.

On May 4, the finale of Renée Fleming's Perspectives series at Carnegie Hall is "Vienna: Window to Modernity," a thoughtful tribute to the time and place where the European musical tradition, under the influence of literary and visual arts, gave way to the 20th century. Here, in the first of three videos in which Ms. Fleming and conductor and music historian Leon Botstein discuss Vienna at the turn of the 20th century, they reveal the circumstances that led to the upheaval of society and art in Vienna, drawing parallels with New York City in its diversity and opportunities for social advancement.

On May 29, 1913, the Paris premiere of Igor Stravinsky's ballet The Rite of Spring provoked a riot: whistling and booing, catcalls and fisticuffs overran the performance and the police were called in to quiet the angry crowd. It became one of the most celebrated scandals in music history. Today, The Rite of Spring is practically an audience favorite and rioting in concert halls is unthinkable. But is this a good thing? Does classical music need more shock value, more scandals? In his latest column for BBC Music Magazine, music critic Richard Morrison argues that classical music needs more Rite-style uproar. "Never in my 30 years as a critic have I witnessed that kind of reaction," Morrison tells host Naomi Lewin in this podcast. "It just struck me that maybe we’re a bit too polite these days and composers aren’t provoking us enough." Composers today rarely seek the label enfant terrible, added Morrison. "I think they rather like to be liked rather than creating an uproar." Leon Botstein, the music director of the American Symphony Orchestra and president of Bard College, believes the reason audiences were shocked by the Rite of Spring was a sense of ownership over a received musical language. Classical music signaled respectability to audiences "and these young composers were sticking their proverbial finger in their eye." But Botstein believes that many of today's concert-goers lack a frame of reference for challenging new music. "The problem is the audience is musically illiterate and therefore if you want to do something very daring and sophisticated you’re presuming a literate audience," said Botstein, who will devote the 2013 Bard Music Festival to Stravinsky. "So there’s very little for a composer to push back on. That’s the dilemma they face." To some extent, it isn't possible to shock audiences because everything seems to have been done. By the 1960s, composers had explored the outer extremes of total Serialism, computer music and John Cage-style chance. The hybrid, postmodern styles embraced by composers in the last two decades, by contrast, are seldom driven by a need to provoke. Even Minimalism, a style that provoked an uproar with the 1973 premiere of Steve Reich's Four Organs, is now part of the mainstream, featured in film scores and TV commercials. Morrison believes that classical music has long shifted between radical and conservative modes. "If you look at the history of classical music, it’s a very fine balance between tradition and revolution," he noted. "You had Haydn and Mozart, who were craftsman in an established tradition. But then you had Beethoven who came and turned everything upside down. You need both polarities." But Botstein doesn't believe that headline-making disturbances are what's needed to move classical music forward in the name of progress. "I don’t think classical music should be about scandal or riots," he argued. "Leave it to football matches, leave it to political rallies. This is an entirely different art form and I think we should walk away from the way Hollywood makes success." Weigh in: Should classical music do more to shock audiences? Is it possible to shock anymore? Take our poll and leave your comments below. .chart_div { width: 600px; height: 300px; } loadSurvey( "music-shocks", "survey_music-shocks");

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Leon Botstein, AB '67, offers remarks after accepting an Alumni Medal at Rockefeller Memorial Chapel on June 2, 2012. Botstein reflects on the power of nostalgia and the importance of scholarly discourse. He is president of Bard College, music director of the American Symphony Orchestra, and conductor laureate of the Jerusalem Symphony.

Leon Botstein talks about the relationship between music and architecture in a natural setting and how different periods show the different connections between the two seemingly distinct fields. (April 26, 2011)