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Hosted by Libby Larsen
Hosted by Libby Larsen
16 episodes with Libby Larsen
2 episodes with Libby Larsen
2 episodes with Libby Larsen
2 episodes with Libby Larsen
3 episodes with Libby Larsen
Jana Lee Ross speaks with Rob Fisher, Goode Family Artistic Advisor for Musical Theater and American Songbook with the Virginia Arts Festival, about an upcoming performance featuring Broadway star Kelli O'Hara with the Virginia Symphony Orchestra. Along with Broadway favorites, the program includes a new work by American composer Libby Larsen, setting poems by former U.S. Poet Laureate Joy Harjo.
Rose Wollman and Dror Baitel have come together, Viola and Piano respectively, to create the new record Breaking Glass Ceilings Music by Unruly Women offering classical compositions from four women spanning the last century or so; Florence Price, Libby Larsen, … More ... The post Rose Wollman & Dror Baitel – “Breaking Glass Ceilings” appeared first on Paradigms Podcast.
When I work with emerging composers trying to get noticed, I ask them “What are you trying to be noticed FOR?”- Libby Larsen. Could the social media environment incentivize non-musical answers to this question? In this episode, I have the pleasure of speaking with the remarkable composer Libby Larsen about her journey into the world … Continue reading "Episode 215: Thinking in the Language of Music with Libby Larsen"
It's hot and muggy this morning, and severe storms and high temperatures are looming in this afternoon's forecast, with a hail risk in Northern Minnesota. We'll get the latest forecast from MPR Chief Meteorologist Paul Huttner.St. Paul's Suni Lee is once again a gold medalist. A New York Times journalist who wrote about Suni's long journey to get back on the bars will join us live from The Olympics.The closure of Rainbow Health left many HIV positive Minnesotans without care resources. We'll hear from the director of an organization trying to fill the gap.We'll talk to the biographer of one of the most influential musicians in Minneapolis history.And we're continuing our small town summer festival series with Braham Pie Day.Our Minnesota Music Minute was “Brass Flight” by Libby Larsen and our Song of the Day was “Spandrel” by Jacob Pavek.
Today I interviewed: Libby Larsen. A life and empowerment coach for female entrepreneurs. She specializes in helping women in business step into their story, unique expression, authority and power in order to stand out in their niche and create a lasting legacy in alignment with their core values and deepest desires. We talked about: ✨Redefining success✨Taking the hustle culture out of entrepreneurship ✨Aligning with what you want and how to get there ✨When we feel trapped in our day to day ✨Self love & wellbeing ✨Our power being in our decision making Libby's Story led leadership - get it here Connect with Libby on IG. Stay connected with Magali here: InstagramSign up to the newsletter Podcast IGPodcast Youtube
Music Majors Unplugged | Career Advice for Aspiring Musicians
In today's episode, we talk with Erik Rohde about conducting and education! Erik Rohde maintains a diverse career as a conductor, violinist, and educator, and has performed in recitals and festivals across the United States and in Europe and Asia. He is the Director of Orchestral Activities at the University of Northern Iowa and the Artistic Director and Conductor of the Winona Symphony Orchestra (MN). Prior to his appointment at the University of Northern Iowa, Rohde served as the Director of String Activities and Orchestra at Indiana State University where he conducted the Indiana State University Symphony Orchestra and taught violin, chamber music, and Suzuki pedagogy. In Indiana, he also founded the Salomon Chamber Orchestra, an orchestra dedicated to promoting the works of living composers and of Haydn and his contemporaries. Having grown up in Rochester, Rohde is particularly excited to return to his hometown to conduct the orchestra that includes former teachers, classmates, and colleagues. He began his musical studies with Linda Thompson on the violin at the age of 4 and first heard the Rochester Symphony at one of their annual educational concerts a few years later. Having begun his musical journey in Rochester, this is an exciting chance to return and make music in a new way in a community that he loves and one that helped shape the early part of his musical journey. A committed advocate for contemporary music, he has premiered and commissioned many new works by both established and young composers, and is constantly seeking to discover new compositional voices. In addition to regularly bringing new orchestral works to programs each season, he is the violinist of the new music duo sonic apricity, which is dedicated to uncovering and commissioning new works by living composers for violin and viola. The duo released their first recording on the Navona label in December of 2022. At Indiana State University, he helped to host the annual Contemporary Music Festival – now running for over 50 years. He has worked with Joan Tower, Augusta Read Thomas, Libby Larsen, Chen Yi, Meira Warshauer, Elliott Miles McKinley, Christopher Walczak, Michael-Thomas Foumai, Pierre Jalbert, James Dillon, David Dzubay, Marc Mellits, Carter Pann, Narong Prangcharoen and countless others. In 2019, he released two recordings with composer Elliott Miles McKinley, conducting his percussion concerto Four Grooves and performing on his eighth string quartet. In his native Minnesota, Rohde has served as the Music Director of the Buffalo Community Orchestra, conductor and violinist for the Contemporary Music Workshop, Camarata Suzuki orchestra conductor for the MacPhail Center for Music, String Ensemble conductor at the Trinity School, and first violinist of the Cantiamo and Enkidu String Quartets. Rohde holds a Doctorate of Musical Arts in Conducting from the University of Minnesota – Twin Cities, where he studied with conductors Mark Russell Smith, Kathy Saltzman Romey, and Craig Kirchhoff and violin pedagogue Mark Bjork. He also holds degrees in Violin Performance and Biomedical Engineering. Rohde lives in Cedar Falls, IA with his wife Erin and their children. Betwixt Bach: Suite for Solo Violin (2021) Performed by Erik Rohde
Music Majors Unplugged | Career Advice for Aspiring Musicians
In today's episode, we talk with Erik Rohde about conducting and education! Erik Rohde maintains a diverse career as a conductor, violinist, and educator, and has performed in recitals and festivals across the United States and in Europe and Asia. He is the Director of Orchestral Activities at the University of Northern Iowa and the Artistic Director and Conductor of the Winona Symphony Orchestra (MN). Prior to his appointment at the University of Northern Iowa, Rohde served as the Director of String Activities and Orchestra at Indiana State University where he conducted the Indiana State University Symphony Orchestra and taught violin, chamber music, and Suzuki pedagogy. In Indiana, he also founded the Salomon Chamber Orchestra, an orchestra dedicated to promoting the works of living composers and of Haydn and his contemporaries. Having grown up in Rochester, Rohde is particularly excited to return to his hometown to conduct the orchestra that includes former teachers, classmates, and colleagues. He began his musical studies with Linda Thompson on the violin at the age of 4 and first heard the Rochester Symphony at one of their annual educational concerts a few years later. Having begun his musical journey in Rochester, this is an exciting chance to return and make music in a new way in a community that he loves and one that helped shape the early part of his musical journey. A committed advocate for contemporary music, he has premiered and commissioned many new works by both established and young composers, and is constantly seeking to discover new compositional voices. In addition to regularly bringing new orchestral works to programs each season, he is the violinist of the new music duo sonic apricity, which is dedicated to uncovering and commissioning new works by living composers for violin and viola. The duo released their first recording on the Navona label in December of 2022. At Indiana State University, he helped to host the annual Contemporary Music Festival – now running for over 50 years. He has worked with Joan Tower, Augusta Read Thomas, Libby Larsen, Chen Yi, Meira Warshauer, Elliott Miles McKinley, Christopher Walczak, Michael-Thomas Foumai, Pierre Jalbert, James Dillon, David Dzubay, Marc Mellits, Carter Pann, Narong Prangcharoen and countless others. In 2019, he released two recordings with composer Elliott Miles McKinley, conducting his percussion concerto Four Grooves and performing on his eighth string quartet. In his native Minnesota, Rohde has served as the Music Director of the Buffalo Community Orchestra, conductor and violinist for the Contemporary Music Workshop, Camarata Suzuki orchestra conductor for the MacPhail Center for Music, String Ensemble conductor at the Trinity School, and first violinist of the Cantiamo and Enkidu String Quartets. Rohde holds a Doctorate of Musical Arts in Conducting from the University of Minnesota – Twin Cities, where he studied with conductors Mark Russell Smith, Kathy Saltzman Romey, and Craig Kirchhoff and violin pedagogue Mark Bjork. He also holds degrees in Violin Performance and Biomedical Engineering. Rohde lives in Cedar Falls, IA with his wife Erin and their children. Betwixt Bach: Suite for Solo Violin (2021) Performed by Erik Rohde
National Haiku Poetry Day is April 17 and we celebrate it early with a selection of music by composers inspired by this transcendent poetic tradition. Hosted and curated by Stephen Anthony Rawson and Seth Boustead. Music by Paul Chihara, Libby Larsen, Ursula Mamlok, Lisa Neher, James Falzone, Stephen Melillo, Dai Fujikura, John Cage, Toru Takemitsu
SynopsisIn 1985, the musical world was celebrating the 300th anniversary of the birth of Georg Frideric Handel. On today's date that year, Minnesota-based composer Libby Larsen, then in her mid-30s, was celebrating the premiere performance of her Symphony No. 1.Larsen titled her symphony Water Music and says its first movement was a deliberate homage to Handel's famous Water Music. As a resident composer of a state with over 10,000 lakes, Larsen admits her love of sailing also had something to do with the symphony's descriptive title.Since 1985, Larsen has gone on to write a few more symphonies, each with its own particular title. And she frequently gives individual movements of each symphony a descriptive tag. For example, one movement from her Solo Symphony (No. 5), from 1999, is titled “The Cocktail Party Effect.”Rather than the wallop of a stiff drink, Larsen says she means the ability of human hearing to pick out a single voice among the extraneous noise one encounters at a crowded cocktail party. “It's a kind of musical ‘Where's Waldo?'” she says. “In this case, Waldo is a melody, introduced at the beginning … then hidden amid the other music.”Music Played in Today's ProgramLibby Larsen (b. 1950) Symphony: Water Music; Minnesota Orchestra; Neville Marriner, cond. Nonesuch 79147; and Solo Symphony; Colorado Symphony; Marin Alsop, cond. Koch 7520
These five works – four sonatas and a sonatina – chronicle a century of American writing for the viola and are linked by a concern for the directness of musical language. But they also reflect diversity in their origins and inspirations, the Ulysses Kay pieces being written by a pioneering African American, Libby Larsen's by a successful female freelance composer, Eric Ewazen's animated by a particularly American lyricism and energy, and the sonata by David Tcimpidis commemorating the ‘9/11' terrorist attack on the World Trade Center, which Tcimpidis heard unfolding.TracksUlysses Kay Sonatine for Viola and Piano (1939)* (4:54)Viola Sonata (1942)* (10:29) I. Largo (2:33) II. Allegro (2:19) III. Adagio (1:18) IV. Allegretto (4:19) David Tcimpidis Viola Sonata (2004)* (8:31)Libby LarsenViola Sonata (2004) (18:32) I. Flow (6:24) II. Drift (7:16) III. Breathless (4:52) Eric EwazenViola Sonata (1991) (18:59) I. Lento. Allegro Apassionato (7:06) II. Andante (5:29) III. Allegro energico (6:24) Help support our show by purchasing this album at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.
SynopsisIn the musical world, there are many creative people with innovative ideas, but far fewer with the ability and persistence to raise the funds necessary to realize their visions.Today, a tip of the hat to American composer John Duffy, who, in 1982, was president of Meet the Composer, an organization that secured funding from the National Endowment for the Arts and other foundations for a large-scale residency program that paired rising American composers with major American orchestras. The composers included John Corigliano, Joan Tower, Stephen Paulus, Christopher Rouse, Libby Larsen and Alvin Singleton. Each wrote special works for their orchestras, works that were premiered and recorded as part of the program — a major career boost for any young composer.For example, Singleton was the composer chosen for the Atlanta residency, and on today's date in 1988, that orchestra premiered his work After Fallen Crumbs.The unusual title doesn't refer to arts funding, however apt that might seem, but derives from an earlier choral piece by Singleton whose text dealt with world hunger and closed with the lines, “An ant can feed a family with the fallen crumbs of an elephant.”Music Played in Today's ProgramAlvin Singleton (b. 1940) After Fallen Crumbs; Atlanta Symphony; Louis Lane, cond. Nonesuch 79231
Our guest today, Michael Brofman, was seriously injured during undergraduate school. He tried various teachers and received much medical advice - some of which included chain smoking! That's not a typo. Stay tuned for that outrageous story.Michael came across Taubman Approach expert Robert Durso. Through lessons with Robert Durso, Michael experienced physical healing and a level of artistic freedom that was almost unimaginable during his academic study. Today's episode is a story of healing and freedom through the Taubman Approach. www.golandskyinsitute.org Pianist Michael Brofman has earned a reputation as one of the finest vocal accompanists of his generation. He has performed over one thousand songs, from Schubert's earliest lieder to premieres of new songs by today's most-recognized composers. He was hailed by the New York Times as an “excellent pianist” and Feast of Music recently praised his “elegant and refined playing… exhibiting excellent touch and clean technique.” Parterre Box Blog called Mr. Brofman a “master communicator at the piano,” and Voix des Arts praised his “finesse and flexibility.” Seen and Heard International recently wrote “Brofman got to the core of each song…delving into their emotional depths.” Opera News stated “Michael Brofman provided exquisite piano accompaniment.”Highlights from Mr. Brofman's 2023-2024 season include performances of Arnold Schoenberg's Das Buch der Hängenden Gärten with Kate Maroney, Poulenc's Tel Jour, Telle Nuit with Michael Kelly, and repeat or premiere performances of works written for him by Daniel Felsenfeld, Libby Larsen, Jessica Meyer, and Reinaldo Moya. Mr. Brofman also performs works by Benjamin Britten, Johannes Brahms, Michael Djupstrom, Shawn E. Okempolo, Caroline Shaw, Clara Schumann, Anton Webern, Kurt Weill, and Hugo Wolf.Mr. Brofman has championed new works and has fostered relationships with many living composers, including Katherine Balch, Lembit Beecher, Tom Cipullo, Michael Djupstrom, Daniel Felsenfeld, Herschel Garfein, Mikhail Johnson, Daron Hagen, Jake Heggie, James Kallembach, Libby Larsen, Lowell Liebermann, David Ludwig, James Matheson, Reinaldo Moya, Harold Meltzer, Russell Platt, Kurt Rohde, Glen Roven, Andrew Staniland, Carlos Simon, and Scott Wheeler. In all, he has premiered over 100 songs, many of them dedicated to him. Mr. Brofman is the founder and artistic director of the Brooklyn Art Song Society, an organization dedicated to the vast repertoire of poetry set to music now in its 14th season. His first CD New Voices on Roven Records includes four world-premiere recordings and was number one on Amazon's new releases for Opera/Vocal and debuted in the top 10 of the Traditional Classical Billboard Chart. Since then he has recorded world premiere recordings of Kurt Rohde on Albany Records and Herschel Garfein for Acis Records. An eloquent and passionate advocate for art song, Mr. Brofman has been interviewed by Russell Platt for Opera News, for Caught In the Act on Brooklyn Public Television, on the WQXR radio show Soundcheck, on Seattle KING FM 98.1, and for the Linked Music blog. He also hosts his own internet show Song and Wine. Mr. Brofman has a reputation as a gifted educator and has presented masterclasses at the University of Chicago, Cornell, Ithaca College, the University of Notre Dame and University of South Carolina. Mr. Brofman holds a bachelor of Music from Northwestern University where he studied with James Giles. There he was awarded the Frida A. Pick Award for Piano and featured on Chicago's classical radio station. Mr. Brofman spent several summers at the Aspen Music Festival as a student of Rita Sloan and continues his studies with Robert Durso. He resides in Windsor Terrace, Brooklyn with his wife
SynopsisOn today's date in 1998, at Orchestra Hall in Minneapolis, the Minnesota Orchestra, led by Eiji Oue, premiered a new symphony by American composer Libby Larsen. This was her Symphony No. 4, a work scored for strings alone.Larsen explained her decision to do without winds, brass and percussion as follows: “This symphony is both homage to strings and an essay about them. Strings, the core of the symphony orchestra, are supremely lyrical and supremely emotional. Yet, throughout the 20th century, perhaps marked by the performance of Stravinsky's Rite of Spring, orchestral compositions have tended to become more and more rhythmic and percussive and less lyrical.”Larsen goes on to make this interesting observation: “In each century since the 1600s, the orchestra has added a new choir of sound to its ensemble: the Baroque orchestra consisted chiefly of strings; woodwinds were added during the 1700s; brass during the 1800s. The 20th century has added the percussion section.”Larsen said her new symphony was an attempt to capture something of the melody and inflections of 20th-century American English, as it is spoken and sung, through orchestral strings alone.Music Played in Today's ProgramLibby Larsen (b. 1950) Symphony No. 4 (String Symphony); Scottish Chamber Orchestra; Joel Revzen, cond. Koch International 7481
Twin Cities arts enthusiast Florence Brammer loves Girl Friday Productions and Open Eye Theatre's production of “Life Sucks,” a play she called “smart and funny and poignant.” The play was loosely adapted by playwright Aaron Posner from Anton Chekhov's “Uncle Vanya.”“First of all, when I walked into the theater, I was blown away by how gorgeous the set design is,” Brammer says. “And the performances are so good.”Brammer was struck by the broadness of the performances — but says it became obvious that this was a decision on the part of the playwright, as well as director Joel Sass. “Because as the play continues, the characters become more and more layered and complex. It's sort of like us, isn't it?“ Brammer says that the play made her laugh and cry, “which is my very favorite theatergoing combination.” “Life Sucks” runs through Nov. 5 at Open Eye Theatre in Minneapolis.Eric Heukeshoven is the director of worship music and arts at Central Lutheran Church in Winona, Minn. He's looking forward to this Saturday's Winona Symphony Orchestra performance, which features work by three contemporary Minnesota composers — and one Mozart symphony for good luck. Included is the premier of a new piece by Minnesota composer Libby Larsen. Titled “Haying,” the composition will feature local baritone soloist Alan Dunbar. “On the surface, it's about the toils and rigors of bringing in the harvest,” Heukeshoven explains. “But it gets into some other interesting areas of about war and distress and it's incredibly visceral — very vivid.”Additionally, the orchestra will perform “Minnesota Suite” by Reinaldo Moya and “Superior” by Katherine Bergman, along with Wolfgang Amadeus Mozart's “Symphony No. 41.” The first two are Minnesota composers; Mozart hailed from Austria.The performance takes place Oct. 21 at 7:30 p.m. at DuFresne Performing Arts Center, Main Stage, Winona State University.Bassoonist Tracy Carr is looking forward to hearing the bassoon shine in the Bakken Ensemble's upcoming performance this Saturday. Carr is particularly looking forward to hearing them play Wynton Marsalis' composition “Meeelaan” for bassoon and string quartet, written for renowned bassoonist Milan Turković (also from Austria). “It really features the bassoon in a unique way,” Carr says. “It leverages the instrument in a way that's outside of a typical orchestral setting. And also is playful with the instrument in a way that you don't usually see.”The performance features Fei Xie, principal bassoonist of the Minnesota Orchestra. Also on the program: Sergei Prokofiev's “String Quartet No. 2 in F Major, Op. 92” and Jean Françaix's “Divertissement for Bassoon and String Quintet.”The performance will be Oct. 22 at Antonello Hall at the MacPhail Center in Minneapolis.
SynopsisAngel Fire is a village in the Rocky Mountains of New Mexico, home to ski slopes and hiking trails, plus a summer mountain-bike park and zip line. And, since 1983, it's also the home of a late summer music festival called “Music from Angel Fire.”Early on, violinist Ida Kavafian was invited to serve as the Festival's Artistic Director, a position she maintained through 2019. Kavafian returned on today's date in 2001 to perform in the premiere of a newly commissioned trio by Libby Larsen – along with cellist Peter Wiley And pianist Melvin Chen – this just one of over 45 premieres that have taken place at the Festival to date.Libby Larsen's Trio is a classically-proportioned work in three movements: the first movement, titled Sultry, and the third, titled Burst, are very rhythmic, fast, and hauntingly jazz-like. In between, the second movement, titled Still is quite serene, free flowing, and very quiet.Libbuy Larsen said, “I compose music for the concert hall. I chose this type of music because I love physics. Flutes, cellos, trumpets, tubas, all of the orchestral instruments emit natural sound, and they operate on the laws of physics. I can hear those laws working in the air when those instruments play.”Music Played in Today's ProgramLibby Larsen (b. 1950) – Mvt 3 (Bursts), fr Trio for Violin, Cello, and Piano (Curtis Macomber, vn; Norman Fischer, vcl; Jeanne Kierman, p.) Navona Records NV-6014
SynopsisOn today's date in 1971, jazz great Louis Armstrong died in New York City at the age of 69. He was born in New Orleans, and for years, all the standard reference books listed his birthday as the Fourth of July, 1900. Well, it turned out that wonderfully symbolic date was cooked up by Armstrong's manager Joe Glaser. Louis himself wasn't sure when he was born, so the 4th of July seemed as good a date as any, and was accepted as fact for many years. Eventually documents were discovered that proved Armstrong was actually born on August 4, 1901.Armstrong earned the nickname “Satchmo”—short for “Satchelmouth”—and in later years he was affectionately dubbed “Pops.” If the documentary filmmaker Ken Burns is to be believed, Armstrong was the central figure in the development of jazz in the 20th century.The British music critic Norman Lebrecht offered this assessment: “Armstrong never bowed his head nor sang from anywhere but the heart. He was a figure of enormous dignity and a musical innovator of universal importance.” Acknowledging his influence in American concert music, composer Libby Larsen subtitled one of her works, a 1990 Piano Concerto, “Since Armstrong.”Music Played in Today's ProgramLouis Armstrong (1901 - 1971) Skip the Gutter Louis Armstrong and the Hot Five Columbia 44422I'm in the Barrel arr. David Jolley Windscape Arabesque 6732
Welcome to the end of Flash Forward. This is the first episode in our three-part show finale!! As I say goodbye to Flash Forward, I wanted to leave you all with a rumination on how to think about the future. How do you stay hopeful? How do we imagine better futures? How do we actually GET those better futures? This is my three-part love letter to you all, and to tomorrow. ✨ BECOME A TIME TRAVELER ✨Guests: Jack Shepherd — former editorial director BuzzFeed, author of On Words and Up Words newsletter, co-host of Strange Bedfellows podcast Dr. Adam Mastroianni — postdoctoral research scholar at Columbia Business School and author of Experimental History newsletter Liz Neeley — science communicator and founder of Liminal Dr. Ruha Benjamin — professor of African American studies at Princeton University and author of Viral Justice: How We Grow the World We Want → → → Further reading & resources here! ← ← ← This episode of Flash Forward was written by me, Rose Eveleth; edited by Avery Trufelman; produced by Ozzy Llinas Goodman and sound designed by Ariana Martinez. Much of the music in this episode is by Ilan Blanck. The outro music is by Hussalonia. The episode art is by Mattie Lubchansky. Special thanks to Libby Larsen, who read Plates by Ethan Leos Verne; Emily C, who read Nailbunny's post; Afi Yellow Duke who read “Sorrow is Not My Name” by Ross Gay; and Marge Piercy who read her poem “To be of use.”Poems Credits“Sorrow Is Not My Name” from Bringing the Shovel Down by Ross Gay, Ⓒ 2011. Aired by permission of University of Pittsburgh Press.“To be of use” by Marge Piercy Copyright ©1973, 1982 by Marge Piercy From CIRCLES ON THE WATER, Alfred A. Knopf. Used by permission of Robin Straus Agency, Inc.
Chamber Project Saint Louis wants you to GROOVE: Toe-tapping tunes from around the globe. A spirited and eclectic program of music for flute, clarinet, strings, and keyboards; including a world premiere by Blake Hernton, along with music by Antonio Vivaldi, Libby Larsen, and more.When: Friday, November 18, 2022, from 7:30 PM - 9:00 PMWhere: 560 Music Center, Pillsbury Ballroom; 560 Trinity Avenue in University City, MOTICKETS: Chamber Project STL-GROOVE OR Washington University EventsThis is Season 5! For more episodes, go to stlintune.com#music #chambermusic #worldpremiere #clarinet #violin #piano #viola #cello #bass #stlouismusic
Synopsis On today's date in 1717, King George and his entourage took a barge trip on the river Thames, traveling from Whitehall to Chelsea, accompanied by about 50 musicians, also on barges. A contemporary newspaper account reported that they performed “the finest Symphonies, composed express for this occasion by Mr. Handel, which his Majesty liked so well that he caused it to be played three times in going and returning.” Another report refers to “trumpets, horns, oboes, bassoons, flutes, recorders, violins and basses” being employed. In our time, Handel's “Water Music” – as the three suites have come to be known – is one of the best-known and best-loved works of the entire Baroque Age. In 1985, three hundred years after the birth of Handel, American composer Libby Larsen composed a Symphony she titled “Water Music,” written as a tribute to Handel and as an expression of her own enthusiasm for sailing. Libby Larsen is one of today's busiest American composers, and in the year 2000 the American Academy of Arts and Letters presented Larsen with its Award in Music, honoring her lifetime achievements as a composer. When asked how she finds time to balance her busy life as a composer, Larsen answers: “I can't not do it – having a life and a life in music is as natural and necessary to me as breathing.” Music Played in Today's Program George Frideric Handel (1685-1759) – Water Music (Royal Philharmonic: Sir Yehudi Menuhin, cond.) MCA 6186 Libby Larsen (b. 1950) – Symphony (Water Music) (Minnesota Orchestra; Sir Neville Marriner, cond.) Nonesuch 79147
John Vaida, violin, & Amy Iwazumi, viola, co-founders of NEPACMS, joined by James VanDemark, double bass, speaking about the season finale of the Northeastern PA Chamber Music Society, on Saturday, May 21, 2022, at 7:00 pm, at St. Stephen's Episcopal Church, 35 S. Franklin Street in downtown Wilkes-Barre. On the program, music by Larsen, Ridout and Schubert, with cellist Lisa Caravan & pianist Hwaen Ch'uqi. The musicians will perform Saturday afternoon at 3:00 at the Fine Arts Fiesta on Public Square in Wilkes-Barre, as well.www.nepacms.org/ (Libby Larsen told her story to bassist Matt Heller)
This week, we're playing Will's interview on the Moveable Do podcast, hosted by Steve Danielson. Will joins an illustrious lineup of composers to be interviewed on the show, including Eric Whitacre, Libby Larsen, Rollo Dilworth, and Jake Runestad. Be sure to check out the podcast and subscribe: https://anchor.fm/moveabledoCLASSICAL MIXTAPEThe full playlistFrom Will's interview, we'll add “Acadia Fanfare” to the mixtape as this week's selection:White, “Acadia Fanfare”THINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram
Synopsis On today's date in 1992, Joel Revzen conducted the Albany Symphony in the premiere of the Third Symphony of American composer Libby Larsen. Larsen subtitled her new work a “Lyric Symphony.” Now, the early 20th century Viennese composer Alexander Zemlinsky had written a “Lyric Symphony,” one that involved vocal soloists. As a composer, Libby Larsen is noted for her songs and choral works, but for her own “Lyric Symphony” she opted for a purely instrumental work that would be somehow quintessentially “American.” In program notes for her new symphony, Larsen wrote: “As I struggle with the definition of ‘American' music, it occurs to me that in all of our contemporary American genres, the dominating parameter of the music is rhythm. Rhythm is more important than pitch. This is a fundamental change in the composition of music in the 20th century. Here we speak American English, an inflected, complex, rhythmic language. “What is lyric in our times?” continued Larsen. “Where is the great American melody? Found, I would say, in the music of Chuck Berry, Robert Lockwood, Buddy Guy, George Gershwin, Dolly Parton, Hank Williams, James Brown, Aaron Copland, Walter Piston, and those composers who create melodies that are defined more by the rhythm than their pitch. My Symphony No. 3—the Lyric, is an exploration of American melody.” Music Played in Today's Program Libby Larsen (b. 1950) — Symphony No. 3 (Lyric) (London Symphony; Joel Revzen, cond.) Koch 7370
durée : 00:25:08 - Libby Larsen, " communiquer ce qu'est d'être vivante " - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur la vie et l'oeuvre de la compositrice américaine Libby Larsen. - réalisé par : Claire Lagarde
Synopsis In the years following the end of World War II, the “baby boom” led to a dramatic rise in the number of high school and college music programs across the country. By the mid-1950s, a number of well-known American composers started receiving commissions from these schools for new works for wind band. In the past half-century, the Symphony for Band, by American composer Vincent Persichetti, has been one of the most frequently performed. It was commissioned by the Washington University Chamber Band, and received its first performance by the ensemble in St. Louis, Mo., on today's date in 1956. In keeping with this tradition, in the late 1990s the American Composers Forum started commissioning major composers to write new works for middle-school bands. The series was dubbed BandQuest, and in addition to new scores by composers like Chen Yi, Michael Colgrass, Libby Larsen, Robert X. Rodriguez, and Alvin Singleton, the series offers music teachers interactive content, which places each piece of music in a wider cultural and historical context. This music is from Alegre, by Cuban-born composer Tania Leon. “Alegre” is a Spanish word meaning “joyful,” and Leon's piece is meant to demonstrate the link in Latin culture between music and dance. That's something the New York-based Leon knows more than a little about — she was a founding member and the first music director of the Dance Theatre of Harlem. A music educator as well as a composer, she also set up the theater's music school and orchestra. Music Played in Today's Program Vincent Pershichetti (1915–1987) — Symphony No. 6 (Symphony for Band) (Eastman Wind Ensemble; Frederick Fennell, cond.) Mercury 432 754 Tania Leon (b. 1943) — Alegre (American Composers Forum Bandquest CD-ROM) Hal Leonard
Synopsis Songs form a significant part of the output of the American composer Libby Larsen. Like many other composers, she's set poems of Emily Dickinson and Rainer Maria Rilke – but she has also penned a song-cycle entitled “Try Me, Good King: Last Words of the Wives of Henry VIII.” Another, for mezzo-soprano and handbell choir entitled “Hell's Belles,” is set to words of formidable women such as Talulah Bankhead, Billie Jean King, and Gertrude Stein. On today's date in 1989, Larsen's “Songs from Letters: Calamity Jane to her Daughter, Jenny” had its premiere performance in New York City. As the title indicates, the texts are drawn from the correspondence of Martha Jane Canary, popularly known as “Calamity Jane,” a hard-drinking, gun-toting woman of the Wild West, who lived from 1848 to 1903. Calamity Jane had a daughter, possibly by Wild Bill Hickok. Calamity Jane sent the child to live with a man she called a "normal daddy,” her friend Jim O'Neil, paying child support by both legal and not-so legal means. As Calamity Jane put it: “I ain't no lady.” Larsen says she was fascinated by “the struggle of an individual soul, a woman and pioneer on many frontiers.” As Larsen put it: “Calamity Jane was a working woman, good in her profession, doing what she loved and making choices because of her will to work. In her time she was odd and lonely. She chose rough-tough words to describe her life to her daughter. I'm interested in that rough-toughness and in Calamity Jane's struggle to explain herself honestly.” Music Played in Today's Program Libby Larsen (b. 1950) — Songs from Letters (Benita Valente, soprano; Scottish Chamber Orchestra; Joel Revzen, cond.) Koch 7481
There are many women composers these days, and this program introduces some of them: Caroline Shaw, Ellen Taaffe Zwilich, Anna Thorvaldsdottir, Lera Auerbach, Kaija Saariaho, Chen Yi, Jennifer Higdon, Libby Larsen, Missy Mazzoli, Gabriela Lena Frank, and Tania Leon.
Synopsis Today's date marks the birthday of a 20th century Czech composer you perhaps have never heard of. Viktor Kalabis was born in 1923 and by age 6, was giving public piano performances. All the signs pointed to a brilliant career. But first Kalabis had to face – and surmount–two major political hurdles. First, his formal musical studies were delayed by the Nazi occupation of his country in 1938, when he was forced into factory work; then, after the war, Kalabis met and married a young harpsichordist named Zuzana Ruzickova, who was a concentration camp survivor. Victor was a Gentile, but in Stalinist Czechoslovakia, anti-Semitism was rampant and marrying a Jew was frowned upon. To make matters worse, both Victor and Zuzana refused to join the Communist Party, hardly what one would call “a smart career move” in those years. Even so, Kalabis began to attract commissions and performances of his music at home and abroad, and following the 1989 Velvet Revolution, Kalabis assumed a more prominent position in his country's musical life. His symphonies, concertos, and chamber works are now regarded as some of the most important contributions to Czech music in the late 20th century. Music Played in Today's Program Viktor Kalabis (1923 – 2006) — Piano Concerto No. 1 (Zuzana Ruzickova, p; Czech Philharmonic; Karel Sejna, cond.) MRS Classics MS-1350 On This Day Births 1848 - English composer (Sir) Hubert Parry, in Bournemouth; Deaths 1887 - Russian composer Alexander Borodin, age 53, at a fancy dress ball in St. Petersburg (Julian date: Feb. 15); Premieres 1729 - Bach: Sacred Cantata No. 159 ("Sehet, wie gehn hinauf gen Jerusalem") probably performed in Leipzig on Estomihi Sunday as part of Bach's fourth annual Sacred Cantata cycle (to texts by Christian Friedrich Henrici, a.k.a. "Picander") during 1728/29; 1737 - Handel: opera “Giustino,” in London (Julian date: Feb. 16); 1740 - Handel: oratorio “L'Allegro, il Penseroso, ed il Moderato,” in London at Lincoln's Inn Field, with the premiere of Handel's Organ Concerto in Bb, Op. 7, no. 1 (Gregorian date: Mar. 9); 1814 - Beethoven: Symphony No. 8, in Vienna, with composer conducting; 1908 - Amy Beach: Piano Quintet, at Boston's Potter Hall, with the Hoffmann Quartet and the composer at the piano; 1913 - Walter Damrosch: opera, "Cyrano de Bergerac," at the Metropolitan Opera in New York City; 1915 - Miaskovsky: Symphony No. 3, in Moscow (Julian date: Feb. 14); 1940 - William Schuman: String Quartet No. 3, at Town Hall in New York City, by the Coolidge Quartet; 1945 - Amy Beach: opera "Cabildo," by the Opera Workshop at the University of Georgia in Athens, directed by Hugh Hodgson; The first professional production occurred on May 13, 1995, at Alice Tully Hall in New York City as a "Great Performances" telecast conducted by Ransom Wilson; 1947 - Hindemith: Piano Concerto, by the Cleveland Orchestra, George Szell conducting, with Jesús Maria Sanromá the soloist; 1947 - Peter Mennin: Symphony No. 3, by the New York Philharmonic, Walter Hendel conducting; 1949 - Elliott Carter: Woodwind Quintet, at Times Hall in New York City, at a new music concert of the National Association for American Composers and Conductors, sharing a program with Henry Cowell's Suite for Wind Quintet, Vincent Perischetti's "Pastorale," Richard Franko Goldman's Duo for Tubas, Ingolf Dahl's "Music for Five Brass Instruments," and a revised version of Carl Ruggles; "Angles" for seven brass instruments; 1949 - Wm. Schuman: Symphony No. 6, by the Dallas Symphony, Antal Dorati conducting; 1950 - Elliott Carter: Cello Sonata, at Town Hall in New York, by cellist Bernard Greenhouse and pianist Anthony Markas; 1958 - Peter Mennin: Piano Concerto, by the Cleveland Orchesttra conducted by George Szell, with Eunice Podis the soloist; 1984 - Libby Larsen: "Parachute Dancing" for orchestra, by the American Composers Orchestra, Tom Nee conducting; 1986 - U. Zimmermann: opera "Weisse Rose" (White Rose), in Hamburg by the Opera stabile; 1999 - Peter Lieberson: Horn Concerto, at Carnegie Hall, with soloist William Purvis and the Orpheus Chamber Orchestra. Others 1885 - First documented American performance of Handel's Concerto Grosso in B Minor (op. 6, no.12), by the Boston Symphony, William Gericke conducting. Links and Resources On Viktor Kalabis Kalabis tribute (PDF)
Grammy™ nominated soprano Laura Strickling was praised by The New York Times for her, “flexible voice, crystalline diction, and warm presence.” Celebrated for her work on the concert and recital stage, she has performed at Carnegie Hall, Avery Fisher Hall at Lincoln Center, the Kennedy Center, National Sawdust, Trinity Church on Wall Street, Washington National Cathedral, Tanglewood Music Festival, Ravinia Music Festival, and so, so many more! A specialist in new music, she has collaborated with composers Libby Larsen, Tom Cipullo, James Matheson, Juliana Hall, John Musto, Reinaldo Moya, and Glen Roven. Her upcoming commissioning initiative – The 40@40 Project – will bring to life 40 songs by 40 composers. Find out more about her at https://www.laurastrickling.com/ Do you like these Masterclass episodes? You'll probably like the 29 Days to Diva series on The Sybaritic Singer too. Check it out here: https://sybariticsinger.com/category/29-days-to-diva/ A big thank you to Juanitos and Scott Holmes for the music featured in this episode. Join the Sybaritic Camerata and support the creation of all things Studio Class at patreon.com/mezzoihnen. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Laura Strickling.
Synopsis At the dawn of the 20th century, Teddy Roosevelt was president and America was in an upbeat, prosperous mood. Cultural affairs were not forgotten, either. To the already established American symphony orchestras in cities like New York, Boston, Chicago, Cincinnati and San Francisco, new ensembles would spring up in Philadelphia, St. Louis, Cleveland, and Seattle. On today's date in 1903, it was Minneapolis' turn. On November 5th of that year, a German-born musician named Emil Oberhoffer led the first concert of the newly formed Minneapolis Symphony. In those days it was a 50-piece ensemble, but in the course of the next 100 years, would double in size and change its name to the “Minnesota” Orchestra. As this is the Composers Datebook, we'd be remiss if we didn't mention that the Minnesota Orchestra has enjoyed a special relationship with a number of leading American composers. Aaron Copland conducted the orchestra on a memorable and televised Bicentennial Concert in 1976, and two young American composers, Stephen Paulus and Libby Larsen, served as composers-in-residence with the orchestra in the 1980s. The orchestra has also given the premiere performances of works by Charles Ives, John Adams, Ellen Taaffe Zwilich, Dominick Argento, and Aaron Jay Kernis, among many others. Music Played in Today's Program Dominick Argento (1927-2019) — A Ring of Time (Minnesota Orchestra; Eiji Oue, cond.) Reference 91
Lia Uribe, associate professor in the University of Arkansas Music Department, explores the saxophone this week with music by Shelley Washington, Libby Larsen and Petronio Alvarex, and featuring saxophonists Eric Troiano and Antonio Arnedo.
Our last episode of season two! We discuss our excitement for the coming school year, the background and art songs of American composer Libby Larsen, and (of course) some aural skills pedagogy. Thank you for listening and for your continued support, stay tuned for our third season starting October 8th! Have a great start to your semester :) Timestamps: Our introductions to Libby Larsen: 8:12 "Blue Piece" for violin and piano: 12:41 "Lift Me Into Heaven Slowly:" 17:41 "Bucking Bronco:" 27:03 "Billy The Kid:" 34:02 Bonus song! "Big Sister Says" from Larsen's Love After 1950: 46:31 Get in touch with us at: thetheoryclubpodcast@gmail.com
Synopsis Nothing is better than being outdoors on a glorious summer's day listening to live music – at least that's what American composer Libby Larsen thinks. “I grew up on outdoor concerts,” she recalls. “There was a bandstand by my house in Minneapolis, and all summer long, orchestras and bands would play there. There's something special about being outside and hearing music fill the air with sound.” On today's date in 1983, Larsen's own “Deep Summer Music” received its open-air premiere when the Minnesota Orchestra visited Terrance, a tiny rural community of some 200 people. But their concert drew an audience of 8000, luring music lovers from both Minnesota and neighboring South Dakota, who brought lawn chairs and picnic baskets. 'Deep Summer Music' was written for the occasion, with long trumpet solos that could ring out in the open landscape.At first, says Larsen, she worried the large, festive crowd wouldn't pay much attention to her new piece. Instead, she recalls, “There was the most beautiful blanket of quiet … And as one trumpet solo happened, a "V" formation of geese flew over and honked, seeming to echo the music. It was a lovely and peaceful experience — and you couldn't have cued the geese any better!” Music Played in Today's Program Libby Larsen (b. 1950) Deep Summer Music Colorado Symphony; Marin Alsop, cond. Koch 7520
Synopsis Nothing is better than being outdoors on a glorious summer's day listening to live music – at least that's what American composer Libby Larsen thinks. “I grew up on outdoor concerts,” she recalls. “There was a bandstand by my house in Minneapolis, and all summer long, orchestras and bands would play there. There's something special about being outside and hearing music fill the air with sound.” On today's date in 1983, Larsen's own “Deep Summer Music” received its open-air premiere when the Minnesota Orchestra visited Terrance, a tiny rural community of some 200 people. But their concert drew an audience of 8000, luring music lovers from both Minnesota and neighboring South Dakota, who brought lawn chairs and picnic baskets. 'Deep Summer Music' was written for the occasion, with long trumpet solos that could ring out in the open landscape.At first, says Larsen, she worried the large, festive crowd wouldn't pay much attention to her new piece. Instead, she recalls, “There was the most beautiful blanket of quiet … And as one trumpet solo happened, a "V" formation of geese flew over and honked, seeming to echo the music. It was a lovely and peaceful experience — and you couldn't have cued the geese any better!” Music Played in Today's Program Libby Larsen (b. 1950) Deep Summer Music Colorado Symphony; Marin Alsop, cond. Koch 7520
Steve wraps up season 2 by thanking his guests, talking about the merch store, and previewing a couple of his own compositions. Plus, a little behind-the-scenes information that could change the way you listen to Moveable Do. Featured on this episode: "Midnight Dance" and "Together in Song." For a full archive of episodes visit https://sdcompose.com/moveabledo. For information about this season's guests visit their websites: Jake Runestad - https://jakerunestad.com Moira Smiley - https://moirasmiley.com J.D. Frizzell - https://jdfrizzell.com/ Sarah Riskind - https://sarahriskind.com/ John Muehleisen - https://johnmuehleisen.com/ Mari Esabel Valverde - https://marivalverde.com/ Jen Wagner - http://jenwagnermusic.com/ Rosephanye Powell - http://rosephanyepowell.com Joan Symko - https://joanszymko.com Russ Howard - https://www.imdb.com/name/nm2035423/ Libby Larsen - https://libbylarsen.com/ Eric William Barnum - http://www.ericwilliambarnum.com/ Ellen Gilson Voth - https://www.ellengilsonvoth.net/ Paul Aitken - https://www.paulaitkenmusic.com/ Steve Danielson - https://sdcompose.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/moveabledo/support
Dr. Libby Larsen shares her time, talent, and expertise with us this week as we discuss growing up in a Catholic school before Vatican II, her compositional process, her love of water and lakes and her long-distance running...on purpose! Featured on this episode: "Sorrow Song and Jubilee," "Wolf Song in Los Angeles," "Holy Roller," and "Deep Summer Music." To learn more about Libby, visit https://libbylarsen.com/. For a full archive of episodes, visit https://sdcompose.com/moveabledo. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/moveabledo/support
For this episode, we are featuring Sarah Viens' inspiring recording of Libby Larsen's Fanfare for the Women which she recorded at Tykeson Hall at the Oregon Bach Festival's Berwick Hall. Our featured guest is musician and ON board member Ray Morse who goes into thoughtful detail about the piece. Finally, Sarah Viens joins in at the end to discuss her process. Orchestra Next wants to thank all of our musicians for hanging in there during this trying time. And we also wish to thank our supporters who have made this project possible. If you’d like to help support this project, please visit orchestranext.com.
In 1985, the musical world was celebrating the 300th anniversary of the birth of Georg Frideric Handel. On today’s date that year, a Minnesota-based composer named Libby Larsen, then in her mid-thirties, was celebrating the premiere performance of her Symphony No. 1. Larsen titled her symphony “Water Music,” and says its first movement was a deliberate homage to Handel’s famous “Water Music.” As a resident composer of a state with over 10,000 lakes, Larsen admits her own love of sailing also had something to do with the symphony’s descriptive title. Since 1985, Larsen has gone on to write a few more symphonies, each with its own particular title. And Larsen frequently gives individual movements of each symphony their own descriptive tags. For example, one movement from her “Solo” Symphony No. 5, from 1999, is entitled “The Cocktail Party Effect.” Rather than the wallop of a stiff drink, Larsen says she means the ability of human hearing to pick out a single voice among the extraneous noise one encounters at a crowded cocktail party. “It’s a kind of musical ‘Where’s Waldo?’” says Larsen. “In this case, Waldo is a melody, introduced at the beginning … then hidden amidst the other music.”
In 1985, the musical world was celebrating the 300th anniversary of the birth of Georg Frideric Handel. On today’s date that year, a Minnesota-based composer named Libby Larsen, then in her mid-thirties, was celebrating the premiere performance of her Symphony No. 1. Larsen titled her symphony “Water Music,” and says its first movement was a deliberate homage to Handel’s famous “Water Music.” As a resident composer of a state with over 10,000 lakes, Larsen admits her own love of sailing also had something to do with the symphony’s descriptive title. Since 1985, Larsen has gone on to write a few more symphonies, each with its own particular title. And Larsen frequently gives individual movements of each symphony their own descriptive tags. For example, one movement from her “Solo” Symphony No. 5, from 1999, is entitled “The Cocktail Party Effect.” Rather than the wallop of a stiff drink, Larsen says she means the ability of human hearing to pick out a single voice among the extraneous noise one encounters at a crowded cocktail party. “It’s a kind of musical ‘Where’s Waldo?’” says Larsen. “In this case, Waldo is a melody, introduced at the beginning … then hidden amidst the other music.”
From 2016 - a conversation recorded with acclaimed composer Libby Larsen when she visited Carthage College for a week as composer-in-residence.
In the musical world, there are many creative people with innovative ideas, but far fewer with the ability and persistence to raise the funds necessary to realize their visions. Today, a tip of the hat to the late American composer John Duffy, who, in 1982, was President of Meet the Composer, an organization which secured funding from the National Endowment for the Arts and other foundations for a large-scale residency program that paired rising American composers with major American orchestras. The composers included John Corigliano, Joan Tower, Stephen Paulus, Christopher Rouse, Libby Larsen, and Alvin Singleton. Each wrote special works for their orchestras, works which were premiered and recorded as part of the program – a major career boost for any young composer. For example, Alvin Singleton was the composer chosen for the Atlanta residency, and on today’s date in 1988, that orchestra premiered his score entitled “After Fallen Crumbs.” The unusual title doesn’t refer to arts funding, however apt that may seem, but derives from an earlier choral piece by Singleton, whose text dealt with world hunger, and closed with the lines, “An ant can feed a family with the fallen crumbs of an elephant.”
In the musical world, there are many creative people with innovative ideas, but far fewer with the ability and persistence to raise the funds necessary to realize their visions. Today, a tip of the hat to the late American composer John Duffy, who, in 1982, was President of Meet the Composer, an organization which secured funding from the National Endowment for the Arts and other foundations for a large-scale residency program that paired rising American composers with major American orchestras. The composers included John Corigliano, Joan Tower, Stephen Paulus, Christopher Rouse, Libby Larsen, and Alvin Singleton. Each wrote special works for their orchestras, works which were premiered and recorded as part of the program – a major career boost for any young composer. For example, Alvin Singleton was the composer chosen for the Atlanta residency, and on today’s date in 1988, that orchestra premiered his score entitled “After Fallen Crumbs.” The unusual title doesn’t refer to arts funding, however apt that may seem, but derives from an earlier choral piece by Singleton, whose text dealt with world hunger, and closed with the lines, “An ant can feed a family with the fallen crumbs of an elephant.”
On today’s date in 1998, at Orchestra Hall in Minneapolis, the Minnesota Orchestra, led by Eiji Oue, premiered a new symphony by the American composer Libby Larsen. This was her Symphony No. 4, a work scored for strings alone. Larsen explained her decision to do without winds, brass, and percussion as follows: “This Symphony is both homage to strings and an essay about them. Strings, the core of the symphony orchestra, are supremely lyrical and supremely emotional. Yet, throughout the 20th century, perhaps marked by the performance of Stravinsky’s Rite of Spring, orchestral compositions have tended to become more and more rhythmic and percussive and less lyrical.” Larsen goes on to make this interesting observation: “In each century since the 1600s, the orchestra has added a new choir of sound to its ensemble: the Baroque orchestra consisted chiefly of strings; woodwinds were added during the 1700s; brass during the 1800s. The 20th century has added the percussion section.” Larsen said her new symphony was an attempt to capture something of the melody and inflections of 20th century American English, as it is spoken and sung, through orchestral strings alone.
On today’s date in 1998, at Orchestra Hall in Minneapolis, the Minnesota Orchestra, led by Eiji Oue, premiered a new symphony by the American composer Libby Larsen. This was her Symphony No. 4, a work scored for strings alone. Larsen explained her decision to do without winds, brass, and percussion as follows: “This Symphony is both homage to strings and an essay about them. Strings, the core of the symphony orchestra, are supremely lyrical and supremely emotional. Yet, throughout the 20th century, perhaps marked by the performance of Stravinsky’s Rite of Spring, orchestral compositions have tended to become more and more rhythmic and percussive and less lyrical.” Larsen goes on to make this interesting observation: “In each century since the 1600s, the orchestra has added a new choir of sound to its ensemble: the Baroque orchestra consisted chiefly of strings; woodwinds were added during the 1700s; brass during the 1800s. The 20th century has added the percussion section.” Larsen said her new symphony was an attempt to capture something of the melody and inflections of 20th century American English, as it is spoken and sung, through orchestral strings alone.
The St. Cecilia Chamber Music Society performs works by Beethoven, Libby Larsen, and Brahms.
On today's date in 1971, jazz great Louis Armstrong died in New York City at the age of 69. He was born in New Orleans, and for years, all the standard reference books listed his birthday as the Fourth of July, 1900. Well, it turned out that wonderfully symbolic date was cooked up by Armstrong's manager Joe Glaser. Louis himself wasn't sure when he was born, so the 4th of July seemed as good a date as any, and was accepted as fact for many years. Eventually documents were discovered that proved Armstrong was actually born on August 4, 1901. Armstrong earned the nickname "Satchmo"—short for "Satchelmouth"—and in later years he was affectionately dubbed "Pops." If the documentary filmmaker Ken Burns is to be believed, Armstrong was the central figure in the development of jazz in the 20th century. In the 1960s, radical blacks criticized Armstrong as an "Uncle Tom" too eager to please white audiences, forgetting that it was Armstrong, alone among his jazz peers, who courageously criticized President Eisenhower for not defending the black children attempting to integrate Central High School in Little Rock, Arkansas. The British music critic Norman Lebrecht offered this assessment: "Armstrong never bowed his head nor sang from anywhere but the heart. He was a figure of enormous dignity and a musical innovator of universal importance." Acknowledging his influence in American concert music, composer Libby Larsen subtitled one of her works, a 1990 Piano Concerto, "Since Armstrong."
On today's date in 1971, jazz great Louis Armstrong died in New York City at the age of 69. He was born in New Orleans, and for years, all the standard reference books listed his birthday as the Fourth of July, 1900. Well, it turned out that wonderfully symbolic date was cooked up by Armstrong's manager Joe Glaser. Louis himself wasn't sure when he was born, so the 4th of July seemed as good a date as any, and was accepted as fact for many years. Eventually documents were discovered that proved Armstrong was actually born on August 4, 1901. Armstrong earned the nickname "Satchmo"—short for "Satchelmouth"—and in later years he was affectionately dubbed "Pops." If the documentary filmmaker Ken Burns is to be believed, Armstrong was the central figure in the development of jazz in the 20th century. In the 1960s, radical blacks criticized Armstrong as an "Uncle Tom" too eager to please white audiences, forgetting that it was Armstrong, alone among his jazz peers, who courageously criticized President Eisenhower for not defending the black children attempting to integrate Central High School in Little Rock, Arkansas. The British music critic Norman Lebrecht offered this assessment: "Armstrong never bowed his head nor sang from anywhere but the heart. He was a figure of enormous dignity and a musical innovator of universal importance." Acknowledging his influence in American concert music, composer Libby Larsen subtitled one of her works, a 1990 Piano Concerto, "Since Armstrong."
With the rapid outbreak of COVID-19, the world is experiencing extreme societal changes, which has affected how people communicate, work, and teach. During these unprecedented times, the folks at "Music Talks" have decided to cover an issue that is on every educators' mind - virtual education. This episode's topic: teaching and learning music during COVID-19, and using virtual spaces in order to do so. This episode will host a virtual panel of the outgoing and incoming Executive Board members for Florida NAfME Collegiate, as well as feature audio from a conversation with composer Libby Larsen.
Craig Kirchhoff is emeritus professor of conducting at the University of Minnesota. He joins the show to offer advice about conducting and teaching, and to discuss a career that included working with Frederick Fennell and the Tokyo Kosei Wind Orchestra. Topics: Craig’s lakefront cabin on the Canadian border and the legacy of Jim Croft. Craig’s background and training growing up in Milwaukee, some early teachers that influenced his career, and his first teaching jobs. Thoughts about teacher preparation and what young teachers need to be successful. Meeting Frederick Fennell, some thoughts about the great conductor, and how that changed the course of Craig’s career. Working with the Tokyo Kosei Wind Ensemble. Conducting skills and advice for young band directors who want to become better at their craft as conductors. The 80/20 rule. Links: Craig Kirchhoff Tokyo Kosei Wind Orchestra Mozart: Serenade No. 10 "Gran Partita" Holst: First Suite in E-flat Schwantner: Sparrows Biography: Craig Kirchhoff is professor emeritus of conducting at the University of Minnesota. Born and educated in Wisconsin, Mr. Kirchhoff brings to his position a wide knowledge of both traditional and contemporary literature. He has won critical acclaim from composers Warren Benson, Henry Brant, Michael Colgrass, Karel Husa, Libby Larsen, George Perle, Vincent Persichetti, Stephen Paulus, Verne Reynolds, Gunther Schuller, Joseph Schwantner, Steven Stucky, Elliott Schwartz, Chen Yi, and others. Mr. Kirchhoff is past president of the College Band Directors National Association and is a member of the American Bandmasters Association, the National Band Association, the World Association of Symphonic Bands and Ensembles, and the Music Educators National Conference, and he served as the founding editor and principal advisor of the College Band Directors National Association Journal. Professor Kirchhoff has appeared as guest conductor, clinician, and lecturer throughout the United States, Australia, Canada, Japan, Taiwan, Europe, and Scandinavia. Mr. Kirchhoff is a frequent guest conductor of the Tokyo Kosei Wind Orchestra and has recorded with them on the Kosei Publishing label. ------- Are you planning to travel with your group sometime soon? If so, please consider my sponsor, Kaleidoscope Adventures, a full service tour company specializing in student group travel. With a former educator as its CEO, Kaleidoscope Adventures is dedicated to changing student lives through travel and they offer high quality service and an attention to detail that comes from more than 25 years of student travel experience. Trust Kaleidoscope’s outstanding staff to focus on your group’s one-of-a-kind adventure, so that you can focus on everything else!
1. Libby Larsen’s The Birth Project:https://libbylarsen.com/index.php?contentID=241&profileID=1662&startRange=02. Gilda Lyons’ Songs From the F Train:https://www.youtube.com/watch?v=9uAKuoUrHGc&feature=emb_logo3. Francesco Tristano's A Soft Shell Groove:https://open.spotify.com/track/2HmJC4u4U79EgXlI0yc73EYou can listen to these before or after the episode, or you can pause our podcast and go listen to each piece as we introduce them. Panelists:The vocal pop duo Outcalls has been dubbed the “electronic opera queens” of Baltimore. Led by Britt Olsen-Ecker and Melissa Wimbish, both classically trained musicians, Outcalls creates genre-defying pop music that counters the tired narratives pervading much of today’s popular songs. With compelling live shows that feature melodic and harmonic surprises, their voices can tickle your ear hairs one second and shake your teeth the next. Combining ethereal vocals with robust electronic rhythms, Outcalls has created their own genre: a sort of Baroque operatic indie-pop. Their masterful sopranos fuse into lush harmonies that lilt about energetic beats and linger in your ears long after they're gone. You can listen to Outcalls' music on Spotify, Apple Music, and outcalls.bandcamp.comHailed as a "renaissance woman" by Urbanite Magazine, Britt Olsen-Ecker has taken Baltimore and beyond by storm as a multi-talented performer and photographer. She has photographed over 1,000 faces from portraits to weddings to food all over the world. As a performer, Britt has been hailed by her "impressive" and "captivating" roles on stage both as an actor and singer. She has worked with several companies in Baltimore, including the Acme Corporation and Single Carrot Theatre. She recently appeared in the Baltimore Symphony Orchestra’s production of Hindemith’s “Sancta Susanna” as the maid, under the baton of Maestra Marin Alsop. She brought Libby Larsen’s The Birth Project.In the world-premiere of Josephine with UrbanArias, The Washington Post gushed, “... the afternoon belonged to Melissa Wimbish, who was creating the role of Josephine Baker ... Beautifully prepared, vocally stunning, and theatrically riveting, Wimbish effortlessly held the audience in her hand throughout this one-woman show.” Melissa made her Carnegie Hall solo recital debut as a result of winning the Grand Prize NATS Artist Award. Other career highlights include György Ligeti’s Mysteries of the Macabre with Baltimore Symphony, the world-premiere of Paul’s Case with UrbanArias at the Prototype Festival, and Carmina Burana with Washington Ballet. Melissa brought Gilda Lyons’ Songs From the F Train.More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.
With more than 30 years of experience in designing and delivering the highest quality classroom-based training for adult learners, Janet has made the transition to the on-line classroom and created Alliance Learning. This leading edge platform provides clients with the opportunity to provide custom-built, learner centered e-learning opportunities for their employees and members. WeLoveLearning courses are built using the best available tools and are designed to Janet's high standards of learner interactivity. Show Notes The great myth of our times is that technology is communication. - Libby Larsen 10 years ago Janet travelled extensively to her clients to conduct training. Now the table has taken a drastic turn to move along with the times. Doing in person workshops now account for 1% of her business at most. She has completely transitioned to the online worlds. “People have always wanted training when they need it (just in time training). But we didn't have the tools available to us to do it, `` says Janet. Learner retention is a big part of the reason online training is so good. Trainees can get the training just when they need it which increases learner retention and ultimately behavioural change. This conversation will provide the necessary tools to get you started with your online course. Hot Point Think carefully about the learner experience you want your users to have when planning your online course. Connect with Janet Stewart FREE: eLearning 101 PDF WhatsApp: 1-613-299-5003 Email Website Twitter LinkedIn Get 20% OFF Leadercast Women Visit our Sponsor: Jamaica Stock Exchange Email: Heneka Watkis-Porter
Libby Larsen is one of the most decorated and accomplished musical composers in American history. She has worked with multiple genres, for multiple generations, and has a few Grammy Awards to show for her hard work and dedication to the craft. Larsen chats with Roshini for 'Real Leaders with Roshini' to discuss the music, her love of Minnesota and so much more. See omnystudio.com/listener for privacy information.
In this episode, composer Libby Larsen reads “Wolf Song in Los Angeles” by Bill Holm. Larsen is one of the most prolific and most performed living American composers. Bill Holm (1943 - 2009) was a poet and essayist who lived in western Minnesota. Throughout the episode, you’ll hear excerpts from Larsen’s musical setting of “Wolf Song in Los Angeles” - performed by Clara Osowski, with piano accompaniment by Casey Rafn. “Wolf Song in Los Angeles” by Bill Holm appears in the collection The Dead Get by With Everything, published by Milkweed Editions. Keep up with Libby Larsen on Facebook and libbylarsen.com. Keep up with Clara Osowski on Twitter, Facebook, and claraosowski.com. We feature one short listener poem at the end of every episode. To submit, call the Haiku Hotline at 612-440-0643 and read your poem after the beep. For the occasional prompt, follow us on Twitter, Instagram, and Facebook. Subscribe on RadioPublic, iTunes, Spotify, or Stitcher. https://radiopublic.com/interesting-people-reading-poetry-60aNDL/ep/s1!01f7f
There are many women composers these days, and this program introduces some of them: Caroline Shaw, Ellen Taaffe Zwilich, Anna Thorvaldsdottir, Lera Auerbach, Kaija Saariaho, Chen Yi, Jennifer Higdon, Libby Larsen, Missy Mazzoli, Gabriela Lena Frank, and Tania Leon.
There are few living American classical composers for whom an academic biography has been published, but Libby Larsen deserves this type of study. At the opening of her book, Libby Larsen: Composing an American Life (University of Illinois Press, 2017), Denise Von Glahn describes her subject's life as a “polyphony”—made up of multiple strands of music, career, and family. In order to make sense of Larsen's long and accomplished career (and her hundreds of pieces of music), Von Glahn divides the biography into a close examination of the factors that most influenced Larsen's life and music: family, religion, nature, the academy, gender, technology, and her collaborations. In each chapter, Von Glahn weaves a consideration of Larsen's life with analyses of some of her major compositions. Larsen grew up and still lives in Minneapolis, Minnesota, and has always considered herself something of an outsider in the world of classical music. She does not live in New York City (the epicenter of American classical music); she does not hold an academic appointment; she has never applied for some of the institutional grants that often support contemporary composers' work; and she is a woman in a field still dominated by men. While she was in graduate school, Larsen helped found the American Composers Forum which has become one of the most important organizations that supports the work of new composers in the United States. Today, Larsen is one of America's most successful composers having written for many of the best orchestras, opera companies, instrumental and vocal soloists in the country. Her music is eclectic, thoughtful, never pretentious, and always concerned with communicating with the listener. Denise Von Glahn is the Curtis Mayes Orpheus Professor of Musicology at Florida State University where she is the Coordinator of the Musicology Area and Director of the Center for Music of the Americas. Her work centers on music and place, ecomusicology, gender studies, and biography. She has published three previous award-winning monographs: The Sounds of Place: Music and the American Cultural Landscape, Leo Ornstein: Modernist Dilemmas, Personal Choices (coauthored with Michael Broyles), and Music and the Skillful Listener: American Women Compose the Natural World. She has received multiple grants including from the National Endowment for the Humanities, the Andrew W. Mellon Foundation, and the Henry and Edna Binkele Classical Music Fund. In addition to her scholarly work, Dr. Von Glahn has won university awards for her undergraduate and graduate teaching. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
There are few living American classical composers for whom an academic biography has been published, but Libby Larsen deserves this type of study. At the opening of her book, Libby Larsen: Composing an American Life (University of Illinois Press, 2017), Denise Von Glahn describes her subject’s life as a “polyphony”—made up of multiple strands of music, career, and family. In order to make sense of Larsen’s long and accomplished career (and her hundreds of pieces of music), Von Glahn divides the biography into a close examination of the factors that most influenced Larsen’s life and music: family, religion, nature, the academy, gender, technology, and her collaborations. In each chapter, Von Glahn weaves a consideration of Larsen’s life with analyses of some of her major compositions. Larsen grew up and still lives in Minneapolis, Minnesota, and has always considered herself something of an outsider in the world of classical music. She does not live in New York City (the epicenter of American classical music); she does not hold an academic appointment; she has never applied for some of the institutional grants that often support contemporary composers’ work; and she is a woman in a field still dominated by men. While she was in graduate school, Larsen helped found the American Composers Forum which has become one of the most important organizations that supports the work of new composers in the United States. Today, Larsen is one of America’s most successful composers having written for many of the best orchestras, opera companies, instrumental and vocal soloists in the country. Her music is eclectic, thoughtful, never pretentious, and always concerned with communicating with the listener. Denise Von Glahn is the Curtis Mayes Orpheus Professor of Musicology at Florida State University where she is the Coordinator of the Musicology Area and Director of the Center for Music of the Americas. Her work centers on music and place, ecomusicology, gender studies, and biography. She has published three previous award-winning monographs: The Sounds of Place: Music and the American Cultural Landscape, Leo Ornstein: Modernist Dilemmas, Personal Choices (coauthored with Michael Broyles), and Music and the Skillful Listener: American Women Compose the Natural World. She has received multiple grants including from the National Endowment for the Humanities, the Andrew W. Mellon Foundation, and the Henry and Edna Binkele Classical Music Fund. In addition to her scholarly work, Dr. Von Glahn has won university awards for her undergraduate and graduate teaching. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
There are few living American classical composers for whom an academic biography has been published, but Libby Larsen deserves this type of study. At the opening of her book, Libby Larsen: Composing an American Life (University of Illinois Press, 2017), Denise Von Glahn describes her subject’s life as a “polyphony”—made up of multiple strands of music, career, and family. In order to make sense of Larsen’s long and accomplished career (and her hundreds of pieces of music), Von Glahn divides the biography into a close examination of the factors that most influenced Larsen’s life and music: family, religion, nature, the academy, gender, technology, and her collaborations. In each chapter, Von Glahn weaves a consideration of Larsen’s life with analyses of some of her major compositions. Larsen grew up and still lives in Minneapolis, Minnesota, and has always considered herself something of an outsider in the world of classical music. She does not live in New York City (the epicenter of American classical music); she does not hold an academic appointment; she has never applied for some of the institutional grants that often support contemporary composers’ work; and she is a woman in a field still dominated by men. While she was in graduate school, Larsen helped found the American Composers Forum which has become one of the most important organizations that supports the work of new composers in the United States. Today, Larsen is one of America’s most successful composers having written for many of the best orchestras, opera companies, instrumental and vocal soloists in the country. Her music is eclectic, thoughtful, never pretentious, and always concerned with communicating with the listener. Denise Von Glahn is the Curtis Mayes Orpheus Professor of Musicology at Florida State University where she is the Coordinator of the Musicology Area and Director of the Center for Music of the Americas. Her work centers on music and place, ecomusicology, gender studies, and biography. She has published three previous award-winning monographs: The Sounds of Place: Music and the American Cultural Landscape, Leo Ornstein: Modernist Dilemmas, Personal Choices (coauthored with Michael Broyles), and Music and the Skillful Listener: American Women Compose the Natural World. She has received multiple grants including from the National Endowment for the Humanities, the Andrew W. Mellon Foundation, and the Henry and Edna Binkele Classical Music Fund. In addition to her scholarly work, Dr. Von Glahn has won university awards for her undergraduate and graduate teaching. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
There are few living American classical composers for whom an academic biography has been published, but Libby Larsen deserves this type of study. At the opening of her book, Libby Larsen: Composing an American Life (University of Illinois Press, 2017), Denise Von Glahn describes her subject’s life as a “polyphony”—made up of multiple strands of music, career, and family. In order to make sense of Larsen’s long and accomplished career (and her hundreds of pieces of music), Von Glahn divides the biography into a close examination of the factors that most influenced Larsen’s life and music: family, religion, nature, the academy, gender, technology, and her collaborations. In each chapter, Von Glahn weaves a consideration of Larsen’s life with analyses of some of her major compositions. Larsen grew up and still lives in Minneapolis, Minnesota, and has always considered herself something of an outsider in the world of classical music. She does not live in New York City (the epicenter of American classical music); she does not hold an academic appointment; she has never applied for some of the institutional grants that often support contemporary composers’ work; and she is a woman in a field still dominated by men. While she was in graduate school, Larsen helped found the American Composers Forum which has become one of the most important organizations that supports the work of new composers in the United States. Today, Larsen is one of America’s most successful composers having written for many of the best orchestras, opera companies, instrumental and vocal soloists in the country. Her music is eclectic, thoughtful, never pretentious, and always concerned with communicating with the listener. Denise Von Glahn is the Curtis Mayes Orpheus Professor of Musicology at Florida State University where she is the Coordinator of the Musicology Area and Director of the Center for Music of the Americas. Her work centers on music and place, ecomusicology, gender studies, and biography. She has published three previous award-winning monographs: The Sounds of Place: Music and the American Cultural Landscape, Leo Ornstein: Modernist Dilemmas, Personal Choices (coauthored with Michael Broyles), and Music and the Skillful Listener: American Women Compose the Natural World. She has received multiple grants including from the National Endowment for the Humanities, the Andrew W. Mellon Foundation, and the Henry and Edna Binkele Classical Music Fund. In addition to her scholarly work, Dr. Von Glahn has won university awards for her undergraduate and graduate teaching. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
There are few living American classical composers for whom an academic biography has been published, but Libby Larsen deserves this type of study. At the opening of her book, Libby Larsen: Composing an American Life (University of Illinois Press, 2017), Denise Von Glahn describes her subject’s life as a “polyphony”—made up of multiple strands of music, career, and family. In order to make sense of Larsen’s long and accomplished career (and her hundreds of pieces of music), Von Glahn divides the biography into a close examination of the factors that most influenced Larsen’s life and music: family, religion, nature, the academy, gender, technology, and her collaborations. In each chapter, Von Glahn weaves a consideration of Larsen’s life with analyses of some of her major compositions. Larsen grew up and still lives in Minneapolis, Minnesota, and has always considered herself something of an outsider in the world of classical music. She does not live in New York City (the epicenter of American classical music); she does not hold an academic appointment; she has never applied for some of the institutional grants that often support contemporary composers’ work; and she is a woman in a field still dominated by men. While she was in graduate school, Larsen helped found the American Composers Forum which has become one of the most important organizations that supports the work of new composers in the United States. Today, Larsen is one of America’s most successful composers having written for many of the best orchestras, opera companies, instrumental and vocal soloists in the country. Her music is eclectic, thoughtful, never pretentious, and always concerned with communicating with the listener. Denise Von Glahn is the Curtis Mayes Orpheus Professor of Musicology at Florida State University where she is the Coordinator of the Musicology Area and Director of the Center for Music of the Americas. Her work centers on music and place, ecomusicology, gender studies, and biography. She has published three previous award-winning monographs: The Sounds of Place: Music and the American Cultural Landscape, Leo Ornstein: Modernist Dilemmas, Personal Choices (coauthored with Michael Broyles), and Music and the Skillful Listener: American Women Compose the Natural World. She has received multiple grants including from the National Endowment for the Humanities, the Andrew W. Mellon Foundation, and the Henry and Edna Binkele Classical Music Fund. In addition to her scholarly work, Dr. Von Glahn has won university awards for her undergraduate and graduate teaching. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
There are few living American classical composers for whom an academic biography has been published, but Libby Larsen deserves this type of study. At the opening of her book, Libby Larsen: Composing an American Life (University of Illinois Press, 2017), Denise Von Glahn describes her subject’s life as a “polyphony”—made up of multiple strands of music, career, and family. In order to make sense of Larsen’s long and accomplished career (and her hundreds of pieces of music), Von Glahn divides the biography into a close examination of the factors that most influenced Larsen’s life and music: family, religion, nature, the academy, gender, technology, and her collaborations. In each chapter, Von Glahn weaves a consideration of Larsen’s life with analyses of some of her major compositions. Larsen grew up and still lives in Minneapolis, Minnesota, and has always considered herself something of an outsider in the world of classical music. She does not live in New York City (the epicenter of American classical music); she does not hold an academic appointment; she has never applied for some of the institutional grants that often support contemporary composers’ work; and she is a woman in a field still dominated by men. While she was in graduate school, Larsen helped found the American Composers Forum which has become one of the most important organizations that supports the work of new composers in the United States. Today, Larsen is one of America’s most successful composers having written for many of the best orchestras, opera companies, instrumental and vocal soloists in the country. Her music is eclectic, thoughtful, never pretentious, and always concerned with communicating with the listener. Denise Von Glahn is the Curtis Mayes Orpheus Professor of Musicology at Florida State University where she is the Coordinator of the Musicology Area and Director of the Center for Music of the Americas. Her work centers on music and place, ecomusicology, gender studies, and biography. She has published three previous award-winning monographs: The Sounds of Place: Music and the American Cultural Landscape, Leo Ornstein: Modernist Dilemmas, Personal Choices (coauthored with Michael Broyles), and Music and the Skillful Listener: American Women Compose the Natural World. She has received multiple grants including from the National Endowment for the Humanities, the Andrew W. Mellon Foundation, and the Henry and Edna Binkele Classical Music Fund. In addition to her scholarly work, Dr. Von Glahn has won university awards for her undergraduate and graduate teaching. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
Libby Larsen is one of America’s most performed living composers. Her catalogue of some 500 compositions spans every genre from vocal to chamber music to massive orchestra and operatic works. Including a Grammy winning album in 1993, she has over 50 recordings to her credit. She continues to be in demand for commissions and premieres by artists worldwide. She is the co-founder of the Minnesota Composers Form, now the American Composers Forum, and has held residencies with the Minnesota Orchestra, the Charlotte Symphony, and the Colorado Symphony.
Considered “highly imaginative…with big ideas” (Baltimore Sun) and “stirring and uplifting” (Miami Herald), award-winning composer Jake Runestad (b. 1986) has received commissions and performances from leading ensembles and organizations such as Washington National Opera, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, Seraphic Fire, the Dayton Philharmonic Orchestra, the Virginia Arts Festival, the Rockford Symphony Orchestra, Craig Hella Johnson and the Cincinnati Vocal Arts Ensemble, Spire Chamber Ensemble, and the Master Chorale of Tampa Bay. Dubbed a “choral rockstar” by American Public Media, Jake is one of the most frequently performed composers in the U.S.A. and travels extensively to work with ensembles as a clinician and resident composer. Jake Runestad holds a Master's degree in composition from the Peabody Conservatory of the Johns Hopkins University where he studied with Pulitzer Prize-winning composer Kevin Puts. Prior to graduate school, he studied privately with acclaimed composer Libby Larsen. A native of Rockford, IL, Mr. Runestad currently lives in Minneapolis, MN and his music is published by Boosey & Hawkes and JR Music. Join The Portfolio Composer community and support the creation of the platform on Patreon. Just $1/month to enable the creation of more great content to help you build your career! In this episode Jake discusses the value of learning from other composers, as well as: Time management F.A.Q.s Websites Commissions Meditation Website: www.jakerunestad.com Recommended Listening: Dominick Argento, Walden Pond Recommended Reading: Robert Pirsig, Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values Give The Portfolio Composer a review on iTunes! This post contains affiliate links.
Meet the Composer with Nadia Sirota – Q2 Music's podcast about the musical creative process – returns for its third season on Monday, March 6. Pre-game for the new season with a week of clips from the original WNYC radio program. Meet the Composer is available on iTunes or wherever you get your podcasts. A blast from the past featuring the composer Libby Larsen. Larsen explains how living in Minneapolis facilitated her success as a composer, and how federal regulations in Title IX provided an uplift to women composers in the U.S. This week, we're revisiting interviews conducted in the 1980s by the influential music critic and educator Tim Page. His show, which aired from 1981 until 1992, was called Meet the Composer and featured some of the most towering musical figures of the previous century. Join us tomorrow for one more throwback episode, and stay tuned on Monday for the premiere of Meet the Composer's third season. Hear a piece of music you loved? Discover it here! 0:05—Aaron Copland: Appalachian Spring | Listen | Buy 1:05—Aaron Copland: Hoedown | Listen | Buy 1:09—Paul Simon: I Know What I Know | Listen | Buy 1:27—Kaija Saariaho: Nymphea | Listen | Buy 1:39—Julius Eastman: Stay On It | Listen | Buy 1:48—Libby Larsen: Barn Dances | Listen | Buy 4:34—Virgil Thomson: Autumn, Promenade | Listen 6:47—Libby Larsen: Full Moon in the City | Listen | Buy
Jake Runestad stops by to tell some stories of his youth, including "Old Kmart", the origins of "Nyon Nyon" (and "Ner Ner"), and his viewpoint as a composer when it comes to sharing his art with the world. An entertaining listen, sponsored by KI Concerts. Oliver Scofield of KI drops in to announce a World Premiere commission by Jake as well! Support our sponsor for this episode: KI Concerts Listen Jake's Bio Jake Runestad is an award-winning and frequently-performed composer of “highly imaginative” (Baltimore Sun) and “stirring and uplifting” (Miami Herald) musical works. He has received commissions and performances from leading ensembles and organizations such as Washington National Opera, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, the Virginia Arts Festival, the Dayton Philharmonic Orchestra, the Santa Fe Desert Chorale, Seraphic Fire, Craig Hella Johnson and Conspirare, and many more. Jake’s visceral music and charismatic personality have fostered a busy schedule of commissions, residencies, workshops, and speaking engagements, enabling him to be one of the youngest full-time composers in the world. Jake Runestad holds a Master’s degree in composition from the Peabody Conservatory of the Johns Hopkins University where he studied with Pulitzer Prize-winning composer Kevin Puts. Has has also studied extensively with acclaimed composer Libby Larsen. A native of Rockford, IL, Mr. Runestad is currently based in Minneapolis, MN and his music is published by JR Music. Find out more at: JakeRunestad.com Links Jake's Soundcloud #ikeptliving on Twitter
This week, on Music for Life, Music from DePauw...Elissa Harbertwe meet musicology professor Elissa Harbert and 21CM intern Brooke Addison...he’s been here for less than a month, but so what — we’re stranding professor Thomas King on a desert island with a defective iPod...Hannah learns about the summer abroad that Dana Hart and Annie Chase had, and Rachel talks to Burke Stanton about his semester abroad...and we bring you some great performances that DePauw students, faculty, and guests presented this week, including from the inaugural performance at Music on the Square! SOURCES Elena Escudero and pianist Tony Weinstein perform Libby Larsen’s “Bucking Bronco” at this past Wednesday’s Student Recital Hour.Our first Green Guest Artists of the year, Boston-based string chamber orchestra A Far Cry, presented a concert on September 11th. Here they play the third movement of Philip Glass’s third symphony.Wednesday, September 16 saw the first performance at DePauw’s new Music on the Square. Drummer Jason Tiemann, guitarist David Stryker, and DePauw professor Steve Snyder on organ play Horace Silver’s “Nica’s Dream.”Soprano Shannon Barry and pianist Amanda Hopson perform Richard Strauss’s “Sehnsucht” at this past Wednesday’s Student Recital Hour.Prof. King’s 5 Minute iPod segment included music from the following CDs: Die Zauberflöte Highlights/Berlin Philharmonic/Karl Böhm: Deutsche Grammophon 429825-2; Mahler Symphony no. 5/Chicago Symphony/Georg Solti: London 433329-2; Saint-Saëns Symphony no. 3/Boston Symphony/Charles Munch: BMG Classics 09026-61500-2
Libby Larsen - A Composer on Composing - 02/21/13 by westminsterforum
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