Podcast appearances and mentions of Leonard Slatkin

durée : 01:28:37 - Jean-Yves Thibaudet, grande personnalité et moyens exceptionnels - par : Aurélie Moreau - Chaque concert de Jean-Yves Thibaudet, chaque parution de ses disques suscitent toute l'attention du public et de la presse. Aujourd'hui, « le plus américain des pianistes français », comme le lui a dit le chef d'orchestre Leonard Slatkin.

'Querido Monstro', Contos de Cães e Maus Lobos, Valter Hugo Mãe. Música: George Gershwin, 'Promenade', St. Louis Symphony, Leonard Slatkin.

Conductor Leonard Slatkin took the St. Louis Symphony Orchestra to new heights during his 18 years at the helm. He talks about a weekend of concerts and events celebrating his 80th birthday, and his favorite moments conducting works by Gershwin and Tchaikovsky. Along with Slatkin, we get to know composer Cindy McTee, whose work “Timepiece” will be part of the program at the Touhill.

Internationally renowned composer and conductor Leonard Slatkin believes that the arts have the power to transform us – and his life and body of work exemplify this belief. Slatkin has served as the Music Director of the St. Louis, Detroit, New Orleans, National and Lyon Symphony Orchestras, Chief Conductor of the BBC Symphony Orchestra in London, and Principal Guest Conductor of countless others. Raised in a musical household, he is the son of violinist, conductor and film composer Felix Slatkin and Eleanor Aller, first chair cellist at Warner Brothers Studios. Both were members of the Hollywood String Quartet and contributed to some of the great film scores of old Hollywood. As a result, Stalkin was surrounded by music from an early age - learning several instruments while young and attending The Juilliard School. He went on to build an impressive career, including six Grammy wins and the National Medal of the Arts. Slatkin is the author of several books on music and conducting, most recently “Eight Symphonic Masterworks of the Twentieth Century - A Study Guide for Conductors.” He also served as host of the weekly radio programs “The Slatkin Project” and “The Slatkin Shuffle.” Leonard Slatkin shares with host Alec Baldwin what it was like growing up surrounded by icons like Marilyn Monroe and Frank Sinatra in his home, discusses how he contributes to an orchestra as its Music Director and reflects on what it means to be part of a musical dynasty.See omnystudio.com/listener for privacy information.

In Part 1, Maestro Slatkin shares stories from his musical upbringing in Los Angeles, enriched by his family's deep musical roots. He reflects on his formative years studying under renowned mentors Jean Morel and Walter Susskind. We explore his process for learning new pieces and his insights on the unique approaches and sounds of various orchestras. The episode concludes with a poignant recollection of a moving performance of Barber's Adagio for Strings at the BBC Proms on September 15, 2001, just days after the tragic events of 9/11 (see links below).In Part 2 (Subscriber Content), we highlight a significant aspect of Leonard Slatkin's legacy: his dedication to promoting and premiering contemporary composers. His extensive contributions to the discovery and revival of earlier American music are equally impressive. We wrap up our conversation with delightful anecdotes about his love for baseball and his friendship with trumpet legend Bud Herseth, complete with a tale of how they pranked each other!Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

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

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Jego mottem była „oryginalność poprzez niekompetencję. Johann Christian Bach, jego brat, miał powiedzieć, że nigdy nie spotkał kompozytora, którego muzy omijałyby tak szerokim łukiem. Żył na tym samym świecie, co Haydn i Mozart, ale w takich jego rejonach, w które żadnej z nich się nie zapuszczał, szczególnie po zmroku. Mowa oczywiście o P.D.Q. Bachu, najmłodszym i najdziwniejszym synu kantora z Lipska – fikcyjnej postaci stworzonej przez Petera Schickele, jednego z najciekawszych amerykańskich kompozytorów i satyryków, popularnością i sympatią ze strony publiczności dorównującemu Victorowi Borge czy Annie Russel. 16 stycznia Schickele zmarł. Podobnie jak wielu melomanów i ja zawdzięczam mu mnóstwo ciepłych wspomnień o chwilach, gdy śmiałem się do rozpuku z dzieł P.D.Q. Bacha. Postanowiłem więc ten odcinek poświęcić Peterowi Schickele, a także przypomnieć, że oprócz tego, co nas tak bawi, w jego dorobku jest mnóstwo muzyki na poważnie – ponad setka kompozycji, które w dużej mierze dopiero czekają na swoje odkrycie. Podcast powstał dzięki ⁠Mecenasom⁠ Szafy Melomana. Jeśli chcesz stać się jednym z nich i wspierać pierwszy polski podcast o muzyce klasycznej, odwiedź mój profil w serwisie ⁠Patronite.pl⁠. Muzyka w odcinku (fragmenty) 1. P.D.Q Bach, „The Seasonings” cz. VII i VIII., recytatyw i aria „Open Sesame Seeds”, wyk. The Royal P.D.Q. Bach Festival Orchestra, The Okay Chorale, Jorge Mester (dyr.). 2. S. Jones & City Slickers, „Serenade to a Jerk” (1945), BMG Music. 3. P.D.Q Bach, „Last Tango in Bayreuth”, wyk. Tennessee Bassoon Quartet, Telarc 1992. 4. P.D.Q. Bach „Notebook for Betty Sue Bach”, Allemande left i Corrate, wyk. Mary Norris. 5. „Peter Schickele Presents an Evening with P.D.Q. Bach” Vanguard Records 1965 (fragment początku). 6. P.D.Q. Bach, „Erotica Variations”, wariacja IV Lasso d'amore. 7. P. Schickele, I Symfonia „Songlines”, wyk. Louisville Symphony Orchestra, dy. Leonard Slatkin (1996). 8. P. Schickele, „Kwartet na klarnet, skrzypce, wiolonczelę i fortepian, cz. I, wyk. Viklarbo Chamber Ensemble (1994). Zrealizowano w ramach stypendium Ministerstwa Kultury i Dziedzictwa Narodowego. (odcinki w styczniu i lutym stanowią jeszcze realizację stypendium, w ramach którego byłem zobowiązany do nagrania 50 audycji)

St. Louis Symphony Orchestra Conductor Leonard Slatkin joins Charlie Brennan to discuss upcoming events put on by the orchestra, his upcoming book, and the movie Maestro starring Bradley Cooper.

Charlie Brennan fills in for Chris and Amy today, and spends the hour chatting with Hancock and Kelley; Jim Otis Jr, a St. Louisan who was on the 2002 Ohio State National Championship team; and Leonard Slatkin, conductor of the St. Louis Symphony.

- Za dnia moi rodzice pracowali w studiach i nagrywali głównie muzykę filmową, a wieczorami, gdy wracali do domu, jedliśmy wspólnie późny obiad i czekaliśmy na pozostałych członków Hollywood Quartet. Wtedy u nas w domu odbywały się próby tego zespołu, pierwszego kwartetu smyczkowego w USA, którego wszyscy członkowie-założyciele byli Amerykanami - mówił w Dwójce dyrygent Leonard Slatkin.

Leonard Slatkin - Billy Roche - Bernard Canavan

SynopsisThese days at symphony concerts, when a new piece of music is about to be played, it's not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there's so much Brahms and Tchaikovsky we'd rather hear?”Well, on today's date in 1881, the 40th season of the New York Philharmonic Society's concerts opened with a pair of new works: first the New York premiere of the Tragic Overture, by Johannes Brahms, and after that, the world premiere of the Second Piano Concerto, by Peter Ilyich Tchaikovsky. The soloist in the Tchaikovsky was Madeleine Schiller.Here's what the New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event, ... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.”Ah, some things never change!Music Played in Today's ProgramJohannes Brahms (1833 – 1897) Tragic Overture; Chicago Symphony; Daniel Barenboim, cond. Erato 95192Peter Tchaikovsky (1840 – 1893) Piano Concerto No. 2; Barry Douglas, piano; Philharmonia Orchestra; Leonard Slatkin, cond. RCA/BMG 61633

SynopsisOn today's date in 2002, at the Kennedy Center in Washington, D.C., Leonard Slatkin conducted the National Symphony in the premiere of a new symphony by American composer Cindy McTee.McTee subtitled her Symphony No. 1, Ballet for Orchestra, saying: “Music is said to have come from dance — [and] the impulse to compose often begins as a rhythmical stirring and leads to a physical response — tensing muscles, gesturing with hands and arms, or quite literally, dancing. … There is also much pleasure to be gained from observing the gestures of a conductor, or from seeing the coordinated bowing of the string sections within an orchestra. My Ballet for Orchestra emerged out of a similar kinesthetic/emotional awareness and a renewed interest in dance music.”McTee's symphony makes passing allusions to earlier works by Stravinsky, Ravel, Barber and even Penderecki, tossing in some jazz and folk fiddling allusions for good measure. But Allan Kozinn, reviewing the new symphony for the New York Times, wrote: “Ms. McTee's sense of organization kept the work from becoming a pastiche: As diverse as its ideas were, they seemed to unfold naturally within an orchestral fabric that used the ensemble's full coloristic range.”Music Played in Today's ProgramCindy McTee (b. 1953) Symphony No. 1 (Ballet for Orchestra) - Detroit Symphony; Leonard Slatkin, cond. Naxos 8.559765

SynopsisBy a coincidence, the last two symphonies of Soviet composer Sergei Prokofiev premiered on today's date: His Sixth Symphony premiered in Leningrad in 1947, and his final, Seventh Symphony, in Moscow, in 1952.The Sixth Symphony is tragic in tone, and Prokofiev confided that it was about the physical and emotional wounds suffered by his countrymen during World War II. The Sixth was premiered at the opening concert of the Leningrad Philharmonic's 1947 season and was applauded warmly by both audiences and the official Soviet critics. But early in 1948, Prokofiev somehow ran afoul of the Central Committee of the Communist Party, and his Sixth was quickly withdrawn from further performances.Prokofiev's Seventh was intended to be a symphony for children, a kind of symphonic Peter and the Wolf, written in a deliberately populist style and with a wary eye on the dictates of the Central Committee. It's an airy, almost transparently melodic score. Originally, it had a wistful, somewhat melancholic ending, with the music trailing off into silence. During the final dress rehearsals, however, Prokofiev wrote an alternative, perhaps more “politically correct” finale, decidedly chipper and upbeat in tone.Music Played in Today's ProgramSergei Prokofiev (1891 – 1953) Symphony No. 6 - National Symphony; Leonard Slatkin, cond. RCA/BMG 68801Symphony No. 7 - French National Orchestra; Mstislav Rostropovich, cond. Erato 75322

durée : 00:25:04 - Nikolaj Szeps-Znaider, violoniste et chef d'orchestre (1/5) - D'abord reconnu comme violoniste virtuose, Nikolaj Szeps-Znaider a parallèlement développé ces dernières années une carrière de chef d'orchestre de très haut niveau. Le musicien israélo-danois est depuis 2020 directeur musical de l'Orchestre National de de Lyon, succédant ainsi à Leonard Slatkin. - réalisé par : Lionel Quantin

durée : 00:25:12 - Les Grands entretiens - par : Judith Chaine - D'abord reconnu comme violoniste virtuose, Nikolaj Szeps-Znaider a parallèlement développé ces dernières années une carrière de chef d'orchestre de très haut niveau. Le musicien israëlo-danois est depuis 2020 directeur musical de l'Orchestre National de de Lyon, succédant ainsi à Leonard Slatkin.

durée : 00:24:59 - Les Grands entretiens - par : Judith Chaine - D'abord reconnu comme violoniste virtuose, Nikolaj Szeps-Znaider a parallèlement développé ces dernières années une carrière de chef d'orchestre de très haut niveau. Le musicien israélo-danois est depuis 2020 directeur musical de l'Orchestre National de de Lyon, succédant ainsi à Leonard Slatkin.

durée : 00:25:14 - Les Grands entretiens - par : Judith Chaine - D'abord reconnu comme violoniste virtuose, Nikolaj Szeps-Znaider a parallèlement développé ces dernières années une carrière de chef d'orchestre de très haut niveau. Le musicien israélo-danois est depuis 2020 directeur musical de l'Orchestre National de de Lyon, succédant ainsi à Leonard Slatkin.

durée : 00:24:54 - Les Grands entretiens - par : Judith Chaine - D'abord reconnu comme violoniste virtuose, Nikolaj Szeps-Znaider a parallèlement développé ces dernières années une carrière de chef d'orchestre de très haut niveau. Le musicien israélo-danois est depuis 2020 directeur musical de l'Orchestre National de de Lyon, succédant ainsi à Leonard Slatkin.

In this episode of Naxos Classical Spotlight, Raymond Bisha presents the first in a series of podcasts that explore newly remastered recordings on the VOX label dating from the 1970s. This episode features four albums by the St Louis Symphony Orchestra under Leonard Slatkin, in which the orchestra and solo pianists Abbey Simon and Jeffrey Siegel variously perform works by Rachmaninov and Gershwin. The ‘silent stars', however, are Marc Aubort and Joanna Nickrenz, the albums' original, legendary recording engineers who are credited with producing some of the finest ever examples of recorded orchestral sound.

Every musician should know a little about conducting.  But what does a conductor really do, especially when working with professional musicians?  How do they prepare for rehearsal and for a performance?  Our guest this episode is Michelle Merrill, a conductor who previously served as Associate/Assistant Conductor of the Detroit Symphony Orchestra under the supervision of esteemed maestro Leonard Slatkin.  She is the music director of the Coastal Symphony of Georgia, and just recently was appointed as the new music director of the Winston-Salem Symphony Orchestra.  She talks about the importance of networking, the craft of score and rehearsal preparation, the importance of making sure your physical style suits you individually, as well as her short and long term plans with the Winston-Salem Symphony. For single tickets to the WSSO 2023-24: https://wssymphony.my.salesforce-sites.com/ticket/#/ For more on Michelle Merrill, visit: https://www.michelle-merrill.com/ Let me know your thoughts on this episode at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.  

SynopsisOn today's date in 1962, the Symphony No. 5 for strings, by the German-born American composer Gene Gutchë, received its premiere performance at Chatauqua, New York.Romeo Maximilian Eugene Ludwig Gutchë was born in Berlin in 1907. His father, a well-to-do European businessman, was not amused by the notion of his son “wasting” his time on music, even though the famous Berlin-based composer-pianist Ferruccio Busoni confirmed the young man's talent. So “Gene” Gutchë ran away from home, abandoning any hope of a sizeable inheritance in the process, and came to America. He studied at the Universities of Minnesota and Iowa, and, in 1950, at age 43, produced his first symphony. Gutchë would go on to compose six symphonies in all, plus an hour-long symphonic work for chorus and orchestra titled “Akhenaten,” premiered by Leonard Slatkin and the St. Louis Symphony in 1983. For most of his life, despite fellowships and commissions, Gutchë lived modestly with his wife, Marion, in a cottage in White Bear Lake, Minnesota.Gutchë died in the fall of 2001—one year after this Cincinnati Symphony recording of his Fifth Symphony was reissued on compact disc. Music Played in Today's ProgramGene Gutchë (1907 - 2001) Symphony No. 5, Op. 34 Cincinnati Symphony; Max Rudolf, conductor. CRI 825

The Winston-Salem Symphony recently announced their new music director -- Michelle Merrill. Merrill served four years with the Detroit Symphony Orchestra as assistant then associate conductor under Leonard Slatkin. She will be the Winston-Salem Symphony's first female music director and the only woman to lead a professional orchestra in the Carolinas. She talks about her priorities, one of which is music education, as she takes on this new role.

What links baseball, life insurance and American art music? Charles Ives does! Unknown during his lifetime in Connecticut and New York the experimental composer and church organist created his unique style entirely on his own terms away from the contemporary music world, whilst running his insurance company Ives & Myrick. One day in his early fifties in 1927 he came downstairs with tears in his eyes and told his wife he couldn't compose anymore - nothing sounded right. He spent the rest of his life revising and promoting his pieces. He was eventually admired and championed by Bernard Herrmann, Leonard Bernstein and Arnold Schoenberg. His music incorporates everything from hymn tunes to brass band marches but foreshadowed many ideas and innovations that were later used widely in 20th-century classical music. As the conductor Leonard Slatkin puts it, 'knowing one Ives piece may not prepare you for another!' Tom Service looks beyond the quirks of Ives's unusual life as a composer and explores how his incredible music actually works.

‘Wonderschoon en amusant' Maurice Ravel wilde zijn Pianoconcert de titel ‘Divertissement' meegeven, ‘amusement'. Onderhoudend, niet meer dan dat, maar wel op het hoogste niveau. Hij sleep zo'n drie jaar aan dit concert, totdat iedere noot stond waar die moest staan, maar ook gewoon ‘amusant' was. In deze aflevering ook de eerste opname van Ravels pianoconcert. Maurice Ravel Pianoconcert in G; II. Alicia de Larrocha, piano Saint Louis Symphony Orchestra olv Leonard Slatkin (album: Ravel Pianoconcert in G) Maurice Ravel Pianoconcert in G; II. Marguerite Long, piano Orchestre des Concerts Lamoureux olv Maurice Ravel (album: Ravel conducts Ravel)

Not every music student or even professional musician has explored classical music, much like not necessarily every classical musician will know something about jazz or any other genre.  However, each genre has certain pieces that one should know from each genre regardless of your preference.  These are 25 of many possible choices, not necessarily "the best", but some pieces you should recognize by title and composer upon hearing. Musical examples used in this episode: 06:53 P. Tchaikovsky: "Dance of the Sugar Plum Fairy" from The Nutcracker - (Montreal Symphony; Charles Dutoit) 12:49 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Hannes Kästner, organ) 13:15 J.S. Bach: Toccata and Fugue in D minor BWV 565 (Czech Philharmonic; Leopold Stokowski) 17:26 S Barber: Adagio for Strings (New York Philharmonic; Thomas Schipps) 19:48 Beethoven: Symphony No. 5 (Vienna Philharmonic; Carlos Klieber) mvt 1 and 4 24:03 Beethoven: Symphony No. 9 (Berlin Philharmonic; Von Karajan) mvt. 4 and 2 28:33 Brahms: Hungarian Dances 4, 5, 6 (Vienna Philharmonic; Claudio Abbado) 30:56 A Copland: "Hoe-Down" from Rodeo (St. Louis Symphony; Leonard Slatkin) 32:33 F Chopin: Grand Valse Brillante op. 18 (Valentina Lisitsa) 34:22 Debussy: Prelude to the Afternoon of a Faun (Royal Concertgebouw; Bernard Haitink) 36:01 Dvorak: Symphony No. 9 "From the New World" mvt 2 (London Philharmonic; Charles MacKerras) 38:16 Grieg: Peer Gynt and Peer Gynt suite no.1 (San Francisco Symphony; Herbert Blomstedt) 40:13 Handel: The Messiah "Hallelujah" (London Symphony; Colin Davis) 40:43 Handel: Water Music selections (English Chamber Orchestra; Raymond Leppard) 41:30 Holst: The Planets "Mars" - (Montreal Symphony; Charles Dutoit) 42:13 Liszt: Hungarian Rhapsody No. 2 (Marc-Andre Hamelin) 43:22 Mendelssohn: Overture and Wedding March from A Midsummer Night's Dream (London Symphony, Andre Previn) 45:11 Mozart: Overture to The Marriage of Figaro (Academy of St Martin in the Fields; Neville Marriner) 46:16 Mussorgsky: Pictures at an Exhibition - Promenade and Great Gate of Kiev (Berlin Philharmonic; Claudio Abbado) 48:25 Rachmaninoff: Piano Concerto No. 2 (Vladimir Ashkenazy; Moscow Symphony; Kirill Kondrashin) 49:38 Ravel: Bolero (Boston Symphony; Seiji Ozawa) 51:42 Ravel: Daphnis & Chloe (Rotterdam Philharmonic; Yannick Nézet-Séguin) 52:46 Rimsky-Korsakov: Flight of the Bumblebee (Berlin Philharmonic; Zubin Mehta) 53:08 Rimsky-Korsakov: Scheherezade mvt IV and III (London Symphony; Charles MacKerras) 55:06 Schubert: Ave Maria (Barbara Booney) 55:31 R Strauss: Also Sprach Zarathustra (Chicago Symphony; Fritz Reiner) 57:15 Stravinsky: Rite of Spring (from Part 1) (New York Philharmonic; Leonard Bernstein) 58:21 Tchaikovsky: Russian Dance, Arabian Dance, Dance of the Reed Flutes from The Nutcracker (Montreal Symphony; Dutoit)   Do you have a different recording of these pieces that you'd recommend?  Let me know by telling me directly at https://www.speakpipe.com/MusicianToolkit or you can send me a written message at https://www.davidlanemusic.com/contact  The blog post that goes with this episode can be found here: https://www.davidlanemusic.com/post/25-essential-classical-pieces-to-know You can find this episode and links to this show on all podcast apps from https://musiciantoolkit.podbean.com/ . If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can also now find the podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1 This episode is sponsored by Fons, an online platform that helps private teachers of all types (music, yoga, martial arts, academic tutoring, coaches, etc) with smooth, automated assistance such as securing timely automatic payments and scheduling.  Click here for more information or to begin your free trial.

Synopsis It's usually NEW music that gets terrible reviews, but scanning old newspapers, you'll find that occasionally OLD music gets panned with equal venom. On today's date in 1865, a concert by the Theodore Thomas Orchestra at Irving Hall opened with an orchestral arrangement of a Bach Passacaglia, followed by Mozart's Sinfonia Concertante for Violin and Viola. The New York Times reviewer was not thrilled with either selection: “The Bach,” he wrote, “is a fair representation of the treadmill. A culprit may travel on it for a day without advancing a step. It simply goes ‘round and ‘round in the most obvious style, and is generally DULL – like a superannuated church warden… The symphony for violin and viola by Mozart is a work generally avoided in Europe. The wearisome scale passages on the little fiddle repeated ad nauseam on the bigger one are simply maddening. On the whole, one would prefer death to a repetition of this production.” Thus spake The Times in April of 1865. We should note in its defense that Americans had other matters on their minds that week. The day the review appeared the paper's headline read: “Union Victory! Peace! Lee Surrenders His Whole Army!” Music Played in Today's Program J.S .Bach (arr. Respighi) Passacaglia in c BBC Philharmonic; Leonard Slatkin, conductor. Chandos 9835 Wolfgang Mozart (1756 – 1791) Sinfonia Concertante, K. 364/320d Midori, violin; Nobuko Imai, viola; NDR Symphony; Christoph Eschenbach, conductor Sony 89488

Synopsis On this date in 1814, Ludwig van Beethoven conducted the premiere performance of his Symphony No. 8 in F Major. As the scherzo movement of his new symphony, Beethoven recycled a tune he originally used as a musical salute to Johann Nepomuk Maelzel, the inventor of the metronome. For a time, Maelzel was Beethoven's friend and sometimes collaborator on concerts and various mechanical projects. Beethoven used Maelzel's metronomes to add precise, if sometimes debatable, tempo markings to some of his earlier works. Some conductors choose to ignore these metronome markings, since they came after the fact of composition and at a time when Beethoven was increasingly deaf. In fact, in addition to metronomes, the versatile Maelzel also supplied the Beethoven with ear trumpets—the 19th-century version of hearing aids. Perhaps Beethoven was using one of those ear trumpets when someone asked him why his Seventh Symphony was more popular in Vienna than his Eighth. "Because the Eighth is so much better," he growled in reply. Closer to our own time, the American composer Leroy Anderson, who lived from 1908 to 1975, immortalized the tick-tock of a mechanical timekeeper in his piece entitled The Syncopated Clock. Leroy Anderson was a master of the musical miniature, creating dozens of witty pieces with titled like Plink, Plank, Plunk, Bugler's Holiday, and Fiddle Faddle. Music Played in Today's Program Ludwig van Beethoven (1770 - 1827) Symphony No. 8 in F, Op. 93 Berlin Philharmonic; Herbert von Karajan, conductor. DG 429 036 Leroy Anderson (1908-1975) The Syncopated Clock St. Louis Symphony; Leonard Slatkin, conductor. BMG/RCA 68048

Synopsis In February of 1919, members of the New York Chamber Music Society gave the premiere performance of this music—an instrumental suite by the American composer Deems Taylor, titled Through the Looking Glass. A few years later, Deems Taylor landed a job as music critic for the New York World, and following that, became known coast-to-coast as the radio commentator for New York Philharmonic broadcasts, and as the host of a popular quiz-show titled Information, Please. His voice was also heard as the commentator for the 1940 Disney film, Fantasia. On today's date in 1980, another American composer premiered a musical work inspired by Alice in Wonderland. This was David Del Tredici's In Memory of a Summer's Day, first presented by the St. Louis Symphony conducted by Leonard Slatkin. By 1980, Del Tredici had already composed several successful works inspired by the Lewis Carroll books, but In Memory of Summer's Day capped the lot, and won that year's Pulitzer Prize for Music. Del Tredici was a protégé of Aaron Copland, and recalled how Copland would react to Del Tredici's compositions. "He'd say something noncommittal at first, such as 'It's very nice.' Then maybe an hour or so later, at dinner, he would turn to me, apropos of nothing, and say, 'I think the bass line is too regular, and the percussion should not always underline the main beat and would you please pass the butter.'" Music Played in Today's Program Deems Taylor (1885-1966) Through The Looking Glass Suite Seattle Symphony; Gerard Schwarz , conductor. Delos 3099 David Del Tredici (b. 1937) In Memory of A Summer Day St. Louis Symphony; Leonard Slatkin, conductor. Nonesuch 79043

Dr. Paul Robinson, Professor of Historical Theology and Director of Library Services at Concordia Seminary in St. Louis, and Bruce Durazzi, librarian for special collections at Concordia Seminary, join Andy and Sarah to talk about the upcoming Bach Birthday Celebration at the Seminary, including the exciting lecture this year from Leonard Slatkin, why celebrating Bach is important to the Seminary community, the Bach Bible on display for this event, and what we know about J.S. Bach from his Bible and other collected books. Learn more about this celebration at csl.edu/event/bach-birthday-celebration.

DSO Music Director Laureate Leonard Slatkin and his friend Garrick Ohlsson are back in town this weekend to performs Johannes Brahms's mighty Piano Concerto No. 1. The DSO also plays music by Igor Stravinsky and Bela Bartok. 90.9's Peter Whorf asked the Maestro about the concerto's place in Brahms's symphonic timeline…

Synopsis Today marks the birthday of the American pianist and composer Donald Shirley, who was born in Pensacola, Florida, in 1927, to Jamaican immigrant parents: a mother who was a teacher and a father an Episcopalian priest. Young Donald was a musical prodigy who made his debut with the Boston Pops at age 18, performing Tchaikovsky's First Piano Concerto. If Shirley had been born 20 years later, he might have had the career enjoyed by Andre Watts, who born in 1946. But in the late 1940s, when Shirley was in his 20s, impresario Sol Hurok advised him that America was not ready for a black classical pianist, so instead Shirley toured performing his own arrangements of pop tunes accompanied by cello and double-bass. His Trio recorded successful albums marketed as “jazz” during the 1950s and 60s, but Shirley also released a solo LP of his piano improvisations that sounds more like Debussy or Scriabin, and he composed organ symphonies, string quartets, concertos, chamber works, and a symphonic tone poem based on the novel Finnegans Wake by James Joyce. The 2018 Oscar-winning film “Green Book” sparked renewed interest in Shirley's career as a performer, but those of us curious to hear his organ symphonies and concert works hope they get a second look as well. Music Played in Today's Program On This Day Births 1715 - Austrian composer Georg Christoph Wagenseil, in Vienna; 1782 - French composer Daniel-François-Esprit Auber, in Caen; 1852 - British composer Frederic Hymen Cowen, in Kingston, Jamaica; 1862 - English composer Fritz (Frederick) Delius, in Bradford, Yorkshire; 1876 - English composer Havergal Brian, in Dresden, Staffordshire; 1924 - Italian composer Luigi Nono, in Venice; Deaths 1946 - British composer Sydney Jones, age 84, in London, age 84; 1962 - Austrian composer and violinist Fritz Kreisler, age 86, in New York City; Premieres 1728 - Gay & Pepusch: ballad-opera, “The Beggar's Opera,” at Lincoln's Inn Fields, London; This work, mounted by the London impresario John Rich, proved so popular that it was staged 62 times that season; As contemporary wags put it, the wildly successful work “made Gay Rich and Rich Gay&rdquo(Gregorian date: Feb. 9); 1781 - Mozart: opera, "Idomeneo" in Munich at the Hoftheater; 1826 - Schubert: String Quartet in D minor, "Death and the Maiden," as a unrehearsed reading at the Vienna home of Karl and Franz Hacker, two amateur musicians; Schubert, who usually played viola on such occasions, could not perform since he was busy copying out the parts and making last-minute corrections; 1882 - Rimsky-Korsakov: opera "The Snow Maiden," in St. Petersburg (Gregorian date: Feb. 10); 1892 - Chadwick: “A Pastoral Prelude,” by the Boston Symphony. Arthur Nikisch conducting; 1916 - Prokofiev: "Scythian" Suite ("Ala and Lolly"), Op. 20, at the Mariinsky Theater in Petrograd, with the composer conducting (Julian date: Jan. 16); 1932 - Gershwin: "Second Rhapsody" for piano and orchestra, in Boston, with the Boston Symphony conducted by Serge Koussevitzky and the composer as soloist; 1936 - Constant Lambert: "Summer's Last Will and Testament" for chorus and orchestra, in London; 1981 - John Williams: first version of Violin Concerto (dedicated to the composer's late wife, actress and singer Barbara Ruick Williams), by Mark Peskanov and the St. Louis Symphony conducted by Leonard Slatkin; Williams subsequently revised this work in 1998; This premiere date is listed (incorrectly) as Jan. 19 in the DG recording featuring Gil Shaham; Links and Resources On Donald Shirley

Synopsis Today's date in 1904 marks the birthday of Richard Addinsell, a versatile British musician who became one of the most famous film score composers of his generation. Addinsell was born in London, studied music at the Royal College of Music, and pursued additional studies in Berlin and Vienna before heading off to America in 1933 for some practical education at Hollywood film studios. He put both his theoretical and practical learning to good use when he returned to England, where he began composing for a series of successful British movies, like the Oscar-winning 1939 film “Goodbye, Mr. Chips.” Addinsell also became a popular songwriter and accompanist for British comediennes and cabaret singers of the day. But Addinsell is best known as the composer of the Warsaw Concerto, a piano concerto consciously modeled on the big Romantic scores of Rachmaninoff. This music originally appeared in the 1941 British adventure film “Dangerous Moonlight,” retitled “Suicide Squadron” when it was released in the States in 1942. After that mega-hit, Addinsell's fluent and versatile writing continued to grace a goodly number of Post-War British films and TV dramatizations, ranging from historical epics to psychological thrillers, gritty “slice-of-life” dramas, and whimsical, light-hearted comedies. Addinsell died in London at the age of 73 in 1977. Music Played in Today's Program Richard Addinsell (1904 –1977) Goodbye Mr. Chips BBC Concert Orchestra; Kenneth Alwyn, conductor. Marco Polo 8.223732 Richard Addinsell (1904 –1977) Warsaw Concerto Cristina Ortiz, piano; Royal Philharmonic; Moseh Atzmon, conductor. London 414 348 On This Day Births 1690 - German composer Gottfried Heinrich Stölzel, in Grünstadtl; 1866 - Russian composer Vassili Sergeievitch Kalinnikov, in Voin (Julian date: Jan 1.); 1904 - British composer Richard Addinsell, in London; Deaths 1864 - American composer Stephen Foster, age 37, in Bellevue Hospital, New York; 1980 - Russian-born American conductor and arranger André Kostelanetz, age 78, in Port-au-Prince, Haiti; Premieres 1726 - Bach: Sacred Cantata No. 32 ("Liebster Jesu, mein Verlangen") performed on the 1st Sunday after Epiphany as part of Bach's third annual Sacred Cantata cycle in Leipzig (1725/27); 1775 - Mozart: opera "La finta giardiniera" (The Feigned Gardener), in Munich at the Opernhaus St. Salvator; 1873 - Rimsky-Korsakov: opera "The Maid of Pskov" (first version) in St. Petersburg, Napravnik conducting; This was Rimsky-Korsakov's first opera (Julian date: Jan.1); 1904 - Bartók: tone-poem “Kossuth,” in Budapest; Bartók's parody of the German national hymn in this work caused an uproar at the work's premiere; 1944 - Stravinsky: "Circus Polka" (concert version) and "Four Norwegian Moods," in Cambridge at the Garden Theatre, with the Boston Symphony conducted by the composer; 1945 - Prokofiev: Symphony No. 5, by the Moscow State Philharmonic, with the composer conducting; 2000 - Danielpour: "Voices of Remembrance" for string quartet and orchestra, in Washington, D.C. with the Guarneri String Quartet and the National Symphony, Leonard Slatkin conducting. Others 1910 - Lee De Forest relays experimental Met Opera performances via a radio transmitter (see also Jan. 12). Links and Resources On Richard Addinsell Richard Addinsell filmography

We're excited to have Kelly Hall Tompkins on the show!! http://www.kellyhall-tompkins.com/ind... Acclaimed by the New York Times as “the versatile violinist who makes the music come alive” and as a 2017 New York Times “New Yorker of the Year,” for her “tonal mastery” (BBC Music Magazine) and “Groundbreaking” recording projects (STRINGS Magazine), and featured in the Smithsonian Museum of African- American History, violinist Kelly Hall-Tompkins is trailblazing an innovative, creative and entrepreneurial career as a soloist and chamber musician. Winner of a Naumburg International Violin Competition Honorarium Prize, Concert Artists Guild Career Grant, and Sphinx Medal of Excellence, Ms. Hall-Tompkins has appeared as soloist as the Inaugural Artist in Residence with the Cincinnati Symphony and with orchestras including the Dallas Symphony, Oakland Symphony, Jacksonville Symphony, Tulsa Philharmonic, Greenville Symphony, Chamber Orchestra of New York, Gateways Music Festival, for the Manhattan School Centennial Gala at Carnegie Hall with co-soloist Glenn Dicterow, under the baton of Leonard Slatkin, and a Brevard Festival Orchestra under the baton of Keith Lockhart. Additional concerts and recitals include the cities of Kiev, Ukraine; New York, Washington, Cleveland, Toronto, Chicago, Baltimore, and Greenville, South Carolina, and at festivals in France, Germany and Italy. For more information on the show, visit our website: www.counterpartsshow.com . . . . #Violinist #musician #broadway #fiddlerontheroof #johnhenrysoto #counterpartsshow #motivational #inspire #georgebatista #ascap #leaders

We're excited to have Kelly Hall Tompkins on the show!! http://www.kellyhall-tompkins.com/ind... Acclaimed by the New York Times as “the versatile violinist who makes the music come alive” and as a 2017 New York Times “New Yorker of the Year,” for her “tonal mastery” (BBC Music Magazine) and “Groundbreaking” recording projects (STRINGS Magazine), and featured in the Smithsonian Museum of African- American History, violinist Kelly Hall-Tompkins is trailblazing an innovative, creative and entrepreneurial career as a soloist and chamber musician. Winner of a Naumburg International Violin Competition Honorarium Prize, Concert Artists Guild Career Grant, and Sphinx Medal of Excellence, Ms. Hall-Tompkins has appeared as soloist as the Inaugural Artist in Residence with the Cincinnati Symphony and with orchestras including the Dallas Symphony, Oakland Symphony, Jacksonville Symphony, Tulsa Philharmonic, Greenville Symphony, Chamber Orchestra of New York, Gateways Music Festival, for the Manhattan School Centennial Gala at Carnegie Hall with co-soloist Glenn Dicterow, under the baton of Leonard Slatkin, and a Brevard Festival Orchestra under the baton of Keith Lockhart. Additional concerts and recitals include the cities of Kiev, Ukraine; New York, Washington, Cleveland, Toronto, Chicago, Baltimore, and Greenville, South Carolina, and at festivals in France, Germany and Italy. For more information on the show, visit our website: www.counterpartsshow.com . . . . #Violinist #musician #broadway #fiddlerontheroof #johnhenrysoto #counterpartsshow #motivational #inspire #georgebatista #ascap #leaders

Synopsis If the late 18th century is the “Classical Age,” and the 19th “The Romantic,” then perhaps we should dub our time “The Eclectic Age” of music. These days, composers can—and do—pick and choose from a wide variety of styles. The American composer William Bolcom was loath to rule anything out when he approached the task of setting William Blake's Songs of Innocence and of Experience to music. Bolcom calls for a large orchestra, multiple choruses, and more than a dozen vocal soloists versed in classical, pop, folk, country, and operatic styles. There are echoes of jazz, reggae, gospel, ragtime, country and rock idioms as well. As Bolcom put it: "At every point Blake used his whole culture, past and present, high-flown and vernacular, as sources for his many poetic styles. All I did was use the same stylistic point of departure Blake did in my musical settings.” The massive work received its premiere performance in Stuttgart, Germany, on today's date in 1984. Most of the work was completed between 1973 and 1982, after Bolcom joined the faculty of the University of Michigan in Ann Arbor, and it was there that the work received its American premiere a few months following its world premiere in Germany. Music Played in Today's Program William Bolcom (b. 1938) Songs of Innocence and of Experience Soloists; Choirs; University of Michigan School of Music Symphony; Leonard Slatkin, conductor. Naxos 8.559216/18 On This Day Births 1792 - American composer and educator Lowell Mason, in Medford, Massachusetts; 1812 - Swiss composer and pianist Sigismond Thalberg, in Pâquis, near Geneva; 1896 - Czech composer Jaromir Weinberger, in Prague; 1899 - Russian-born American composer Alexander Tcherepnin (Gregorian date: Jan. 21); 1905 - Italian composer Giacinto Scelsi, in La Spezia; 1924 - Russian-American composer Benjamin Lees (née Lysniansky), in Harbin, Manchuria; 1924 - Austrian-born American composer Robert Starer, in Vienna; 1935 - The charismatic rock 'n' roll performer Elvis Presley is born in Tupelo, Miss.; 1937 - American composer Robert Moran, in Denver; Deaths 1713 - Italian composer and violinist Arcangelo Corelli, age 59, in Rome; 1831 - Moravian-born composer and violinist Franz Krommer, age 71, in Vienna; 1998 - British composer Sir Michael Tippett, age 93, in London; Premieres 1705 - Handel: opera "Almira" in Hamburg; This was Handel's first opera (see also Dec. 5 & 30 for related contemporary incidents); 1720 - Handel: opera "Radamisto" (2nd version), in London (Julian date: Dec. 28, 1720); 1735 - Handel: opera "Ariodante" in London at the Covent Garden Theater (Gregorian date: Jan. 19); 1843 - Schumann: Piano Quintet in Eb, Op. 44, at Leipzig Gewandhaus with pianist Clara Schumann; 1895 - Brahms: Clarinet Sonata, Op. 120, no. 1 (first public performance), in Vienna, by clarinetist Richard Mühlfeld, with the composer at the piano, as part of the Rosé Quartet's chamber music series; The first performance ever of this work occurred on September 19, 1894, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, with the same performers; Brahms and Mühlfeld also gave private performances of both sonatas in Frankfurt (for Clara Schumann and others) on November 10-13, 1894; at Castle Altenstein (for the Duke of Meiningen) on Nov. 14, 1894; and on Jan. 7, 1895 (for members of the Vienna Tonkünstler Society); 1911 - Florent Schmitt: "La tragédie de Salomé" for orchestra, in Paris; 1927 - Berg: "Lyric Suite" for string quartet, in Vienna, by the Kolisch Quartet; 1928 - Hindemith: "Kammermusik" No. 7, Op. 46, no. 2, in Frankfurt, with Ludwig Rottenberg conducting and Reinhold Merten the organist; 1940 - Roger Sessions: Violin Concerto, by the Illinois Symphony conducted by Izler Solomon, with Robert Gross as soloist; The work was to have been premiered by Albert Spalding with the Boston Symphony under Koussevitzky in January of 1937, but did not take place); 1963 - Shostakovich: opera "Katerina Izmailova" (2nd version of "Lady Macbeth of the Mtsensk District"), in Moscow at the Stanislavsky-Nemirovich-Dachenko Music Theater; 1971 - Shostakovich: Symphony No. 15, in Moscow, by the All-Union Radio and Television Symphony, with the composer's son, Maxim, conducting; 1987 - Christopher Rouse: "Phaethon" for orchestra, by the Philadelphia Orchestra, Riccardo Muti conducting; 1988 - Schwantner: "From Afar . . . " (A Fantasy for Guitar and Orchestra), by guitarist Sharon Isbin with the St. Louis Symphony, Leonard Slatkin conducting; Others 1923 - First broadcast in England of an opera direct from a concert hall, Mozart's "The Magic Flute" via the BBC from London; Links and Resources More on Wiiliam Bolcom More on William Blake

Our second ever episode of the FNGC Fireside Talks is a huge one with a brand new cast member, Chazzy of the Side Projekt Podcast. Chazzy has done some incredible work in the video game, anime and cosplay space and shares some awesome stories from his experiences at Anime Pasadena and L.A. Comic Con.  Even better we take time to really have a deep dive into one of Chazzy's all time favorite games, Breath of the Wild! You're going to enjoy this one folks strap in.(00:35) - Intro(03:05) - Interview with Chazzy of the Side Projekt Podcast(55:23) - Breath of the Wild Review(02:12:28) - OutroPlease follow Chazzy at all your favorite platforms using the link below! (Specifically be sure to follow @ighateschazzy - he's got some hilarious skits that are a must-see)https://lnk.bio/prjktIntro/Outro: Le carnaval des animaux: XIII. Le cygne (Arr. Hazell for Cello and Orchestra) [Performed by Han-Na Chang, Leonard Slatkin, Philharmonic Orchestra, Aline Brewer]Intermission/Game Music: Legend of Zelda: Breath of the Wild OST [Composed by: Manaka Kataoka; Yasuaki Iwata; Hajime Wakai]If you want to reach out to Nick and Will personally to engage with us about the show, follow us on any link here:https://linktr.ee/FridayNightGamecastSupport the show

Created in a natural landscape feature, a conclave hillside, the Hollywood Bowl had already hosted religious services before its stage arrived. In 1922 the Los Angeles Philharmonic played its first season of open air concerts inaugurating a music venue. Lisa Mullen hears how the amphitheatre has hosted some of the greats of classical and popular music from Felix and Leonard Slatkin to Ella Fitzgerald. Michael Goldfarb and Mark Glancy discuss the emergence of a cultural landmark. Producer: Ruth Watts You can find a collection of programmes called Modernism on the BBC Radio 3 Free Thinking programme website which discuss other art and culture from the 1920s https://www.bbc.co.uk/programmes/p07p3nxh

We are delighted to share our latest podcast episode “Into the Singing Studio” with Dr. Rebecca Loar. This episode showcases Dr. Loar's career as a vocalist, and her research into vocal health. We discussed her work with her students in the Department of Music and how we can all take proper care of our voices across our lives. After degrees in vocal and opera performance from Samford University and the Manhattan School of Music, Dr. Loar earned her Doctor of Musical Arts in Voice Performance with a cognate in Choral Conducting from the University of South Carolina. Her doctoral dissertation was “Singing Voice Specialization, an Essential Bridge Between Two Worlds,” discussing the need for medical arts specialists. An active performing artist, Dr. Loar has performed many opera roles and concert works, and is a former member of the New York Choral Artists where she performed with the New York Philharmonic, the American Symphony Orchestra, Orchestra Society of St. Lukes, and the Little Orchestra Society of New York. She has worked under the batons of Maestros Kurt Masur, Leonard Slatkin, Leon Botstien, Pierre Boulez, Seiji Osawa, and more. Dr. Loar has been teaching voice for over twenty years and is an active vocal adjudicator and clinician throughout the Southeast. Her students perform on Broadway and in national Broadway tours, in summer opera programs and for major cruise lines. Many of her students have entered advanced conservatory graduate programs such as Manhattan School of Music, Oberlin Conservatory and Boston University. Listen as we learn about the important work Dr. Loar is doing in her teaching studio here at UNCP, which ensures healthy singing for her students as they make music here on campus and across our community. Find the episode transcript here and join Dr. Loar in the concert she mentions with UNCP Music colleagues Drs. Jaeyoon and Seung Ah Kim on Monday, January 30th, 2023 at 7:30 PM in Moore Hall Auditorium, free admission and no tickets required.  Visit https://www.uncp.edu/departments/music/calendar-events for more UNCP Music events and information.   Follow UNCP's College of Arts and Sciences  on Facebook, Twitter@uncpcas and Instagram@uncpcas

Synopsis It was on today's date in 1944 that Martha Graham and her dance company first performed the ballet "Appalachian Spring" by Aaron Copland. The premiere took place at the Library of Congress in Washington, D.C, as part of the 80th birthday celebrations for music patron Elizabeth Sprague Coolidge, who had commissioned Copland's score for $500 – not a bad commission back then! Copland used an old Shaker hymn called "Simple Gifts" as a principal theme for his ballet. The austere but simple elegance of Shaker art reminded him, he said, of Graham's style of dancing, and tied in with her vague suggestions that the ballet would be about early American pioneers. Copland left the title up to Graham. Arriving in Washington for the rehearsals, Copland wrote: “The first thing I said to Martha when I saw her was, ‘What have you called the ballet?' She replied, ‘Appalachian Spring.' ‘What a pretty title. Where did you get it?' I asked, and Martha said, ‘Well, actually it's from a poem by Hart Crane.' I asked, ‘Does the poem have anything to do with your ballet?' ‘No,' said Martha. ‘I just liked the title.'” Understandably, Copland said he was always amused when people said, "Oh Mr. Copland, I can just see the Appalachian Mountains when I hear your music!" Music Played in Today's Program Aaron Copland (1900-1990) Appalachian Spring Saint Louis Symphony;Leonard Slatkin, cond. EMI 73653

Composer Jeff Beal, a musician with a genre-defying dramatic fluidity joins conductor Devin Patrick Hughes on One Symphony. His film scores have received critical acclaim, while he remains active and relevant in the concert, theater, and dance worlds. Jeff's evocative score and theme for House of Cards received four Emmy Award nominations, and recently won for outstanding score, bringing Beal's Emmy tally to fifteen nominations and four statues.  Other lauded series and film scores include HBO's Carnivale, Rome, and the documentaries Blackfish and Queen of Versailles and the dramas Pollock and Appaloosa.      Jeff's orchestral works have been commissioned and performed by major orchestras, choruses, chamber groups, and soloists across the globe. Born and raised in the San Fransisco Bay Area, Jeff graduated from the Eastman School of Music where he and his wife Joan recently donated $2 million to the creation of The Beal Institute for Film Music and Contemporary Media.   Thank you for joining us for our third season on One Symphony.  Thanks to Jeff Beal for sharing his music and wealth of knowledge. Thanks to the New Hollywood String Quartet, Hila Plittman, Leonard Slatkin, and the Eastman Philharmonia and Supertrain Records for making this episode possible! You can check out Jeff's music including his new album The Paper Lined Shack wherever you listen to your music, and online at http://www.jeffbeal.com. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!   http://www.jeffbeal.com http://onesymphony.org https://devinpatrickhughes.com    

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

Created in a natural landscape feature, a conclave hillside, the Hollywood Bowl had already hosted religious services before its stage arrived. In 1922 the Los Angeles Philharmonic played its first season of open air concerts inaugurating a music venue. Lisa Mullen hears how the amphitheatre has hosted some of the greats of classical and popular music from Felix and Leonard Slatkin to Ella Fitzgerald, The Beatles and James Taylor. Michael Goldfarb and Mark Glancy discuss the emergence of a cultural landmark. Producer: Ruth Watts

We're excited to have Kelly Hall Tompkins on the show!! http://www.kellyhall-tompkins.com/index.html Acclaimed by the New York Times as “the versatile violinist who makes the music come alive” and as a 2017 New York Times “New Yorker of the Year,” for her “tonal mastery” (BBC Music Magazine) and “Groundbreaking” recording projects (STRINGS Magazine), and featured in the Smithsonian Museum of African- American History, violinist Kelly Hall-Tompkins is trailblazing an innovative, creative and entrepreneurial career as a soloist and chamber musician. Winner of a Naumburg International Violin Competition Honorarium Prize, Concert Artists Guild Career Grant, and Sphinx Medal of Excellence, Ms. Hall-Tompkins has appeared as a soloist as the Inaugural Artist in Residence with the Cincinnati Symphony and with orchestras including the Dallas Symphony, Oakland Symphony, Jacksonville Symphony, Tulsa Philharmonic, Greenville Symphony, Chamber Orchestra of New York, Gateways Music Festival, for the Manhattan School Centennial Gala at Carnegie Hall with co-soloist Glenn Dicterow, under the baton of Leonard Slatkin, and a Brevard Festival Orchestra under the baton of Keith Lockhart. Additional concerts and recitals include the cities of Kiev, Ukraine; New York, Washington, Cleveland, Toronto, Chicago, Baltimore, and Greenville, South Carolina, and at festivals in France, Germany, and Italy. For more information on the show, visit our website: www.counterpartsshow.com . . . . #Violinist #musician #broadway #fiddlerontheroof #johnhenrysoto #counterpartsshow #motivational #inspire www.counterpartsshow.com

Synopsis In 1935, a 26-year-old American named Elliott Carter returned to the States after composition studies in Paris with Nadia Boulanger. Carter found work as the music director of Ballet Caravan, an ambitious and enterprising touring ensemble whose mission was to present specially-commissioned new dance works on quintessentially American themes. Virgil Thomson, for example, wrote a ballet entitled "Filling Station," and Carter himself, decades before the animated Disney movie, wrote a ballet version of the story of Pocahontas and John Smith. While on tour, these new scores were presented in two-piano versions, but on today's date in 1939, the orchestral version of Carter's "Pocahontas" Ballet was presented by the Ballet Caravan at its home base at the Martin Beck Theater in New York. The New York Times reviewer didn't much care for the staging or Carter's music: "The costumes are in the manner of the old-fashioned cigar box Indian," he wrote, "and after the first amusing glimpse their psuedo-naiveté begins to grow irksome. Mr. Carter's music is so thick it is hard to see the stage through it." The Times reviewer DID like another new ballet also receiving its orchestral debut that same night. This was Aaron Copland's "Billy the Kid.” "A perfectly delightful piece of work," enthused the same critic, concluding, "Aaron Copland has furnished an admirable score, warm and human, and with not a wasted note about it anywhere." Music Played in Today's Program Elliott Carter (1908 - 2012) — Pocahontas Ballet (American Composers Orchestra; Paul Dunkel, cond.) CRI 610 Aaron Copland (1900 - 1990) — Billy the Kid Ballet (St. Louis Symphony; Leonard Slatkin, cond.) EMI 73653

All of us are made with unique gifts—ultimately so we can bless the world. But how can we discover our gifts and lean into our calling? Join host Richard Dahlstrom as he talks with John Carrington, the Principal Harpist with the Pacific Northwest Ballet Orchestra, the Bellevue Philharmonic and the Auburn Symphony.  Seattle native John Carrington appears regularly with the Seattle Symphony and Seattle Opera where he was Guest Principal Harpist for several seasons. He performs with the Fifth Avenue Theatre Orchestra and has worked as solo harpist on Cunard Line's "Queen Elizabeth 2" performing for its World Cruise on six continents John's classical background includes performances with such conductors as Seiji Ozawa, Charles Dutoit, Leonard Slatkin, Gerard Schwarz, Asher Fisch and John Rutter. His popular music experience is equally notable, as he has shared the stage with Tony Bennett, José Carreras, Josh Groban, Olivia Newton-John, Rita Moreno, Doc Severinsen, and James Taylor, to name a few. In addition, John is a sought-after recording artist, participating in over 200 motion picture soundtracks and including “Mr. Holland's Opus”, “The Wedding Planner,” and several Disney and Hallmark Hall of Fame productions. He's also performed on video game soundtracks including "Halo" and "World of Warcraft." He received his Master of Music degree from the Cleveland Institute of Music after earning his Bachelor of Music from the University of Washington.

Diana Vuolo is the Founder/Executive Director of SWAN4kids. She received a full-tuition scholarship to study violin with world-renowned teacher Dorothy DeLay at The Philadelphia College of Performing Arts (PCPA). She earned a Bachelor of Music Degree in Violin Performance and was a masterclass performer for Miss DeLay at PCPA and the Aspen Music Festival. Her performance career began with a chamber music concert in Carnegie Hall, NY, and as co-concertmaster for the International Lyric Festival Opera Orchestra, Barga, Italy. Diana was a member of the Concerto Soloists of Philadelphia, Philly Pops Orchestra, Canton Symphony. She served as a substitute for the Saint Louis Symphony under the direction of Leonard Slatkin. In addition to performing, Diana has taught violin, music theory, and ensemble classes over the past 45 years and served as an adjunct violin professor at Lancaster Bible College. Volante, one of her high school student groups, was featured on CBS, “The Early Show.” Her SWAN students have been featured on national and local television and radio broadcasts.Mission: To be dedicated advocates for children affected by parental incarceration by providing life-changing intervention through music and mentoring. SWAN provides free music lessons, ensemble training, and performance opportunities as an after-school program within the School Districts of Lancaster, Red Lion, and Lancaster's Youth Intervention Center.

In this fifth episode, renowned composer David Del Tredici is joined by pianist Marc Peloquin in a conversation with filmmaker H. Paul Moon, discussing David's distinctive and bold Neo-Romantic body of work, ranging from his settings of Lewis Carroll's "Alice In Wonderland," to his piano works performed and recorded by Marc. David recounts his interactions with Samuel Barber, Aaron Copland, Leonard Bernstein, Leonard Slatkin, and many more legends in 20th century music.Support this podcast at — https://redcircle.com/capricorn/donations

Leonard Slatkin is a Grammy award winning conductor, as well as a composer and author. I find out what conducting the Last Night of the Proms was like after the 9/11 attacks, how he came to know Frank Sinatra and we get to hear possibly the most amazing answer to the "final meal" question ever! A really enjoyable chat with lots of laughter....