Podcasts about louis symphony

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Rachel Potter, an acclaimed Broadway star and accomplished Nashville Recording artist, has been recognized by US Weekly as "One to Watch" and praised by the Hollywood Reporter for her "crystalline vocals." With a successful career in both musical theater and country music, Rachel has showcased her talent on stages of all sizes. Rachel's impressive resume includes her turn as the ever “popular” Glinda u/s on the National Tour of Wicked. Next, she made her Broadway debut as Wednesday Addams in The Addams Family, where she shared the stage with Bebe Neuwirth and Brooke Shields as Morticia. She then went on to originate the role of the Mistress in the Tony Nominated revival of Evita, alongside Ricky Martin and Michael Cerveris. Her standout performance on the Original Broadway Cast Recording of the production, singing the poignant song "Another Suitcase in Another Hall," further solidified her place in the Broadway community. Hailing from St. Petersburg, Florida, Rachel's journey in the entertainment industry began on at Walt Disney World, where she portrayed iconic characters such as Ariel, Belle, and Nemo. She later gained national attention as a top 15 finalist on MTV's Legally Blonde: The Search for Elle Woods.Transitioning from Broadway to Nashville, Rachel pursued her passion for country music and achieved success as a Top 12 finalist on season 3 of FOX's The X Factor. Her audition with her version of Queen's "Somebody to Love" earned international praise, and continues to amass millions of views since the season aired 10 years ago. The song is featured on her solo album, "Not So Black and White," which showcases her unique artistry, songwriting, and musical style. Her music videos have been featured on CMT and Entertainment Tonight, and she has garnered attention from publications such as Billboard, Rolling Stone, and Huffington Post.Most recently, Rachel was the featured soloist on "Journey to Fantasy Springs," the theme song for Tokyo Disney Sea's new land "Fantasy Springs," further expanding her global reach and musical accomplishments.In addition to her solo career, Rachel has collaborated with renowned Acapella groups VoicePlay and Voctave, showcasing her versatility as a performer. With many of their videos achieving viral status, most notably, her “Moana Medley" collaboration with VoicePlay remains an internet favorite. Rachel has been featured as a guest soloist with many symphony orchestras all over the world, in concerts spanning everything from Country to Broadway and Holiday to Patriotic, with orchestras including the Dallas Symphony, St. Louis Symphony, Utah Symphony, among many others. She and fellow country artist, Patrick Thomas, have been celebrating the past icons of country music in their Pops symphony show, “Country Legends,” for the past 10 years.  Residing in Nashville, TN, Rachel remains focused on recording and writing music, as well as enjoying a successful career in real estate. Balancing her professional endeavors with her most important role as “mommy” to Jude, Elliot, and Myla, Rachel's passion for music and family shines through in all aspects of her life. Stay connected with Rachel on social media @therachelpotter. Memorable Moments"It was just this dream that guided me in each different move and change in my life."“Taking my art away from the place in my life that required making music to make money, for my art to no longer be pressured and to now have the freedom to just do whatever I wanted to with music because I love it.  That changed everything for me.”  "I feel great about it, I feel proud of it, and I feel like, you know, I only have one life.  What's most important is that I feel great about me.""I am such a huge proponent of not having regret, and that's been a big thread through my entire life.""I'm hoping that my joy in creating this will also give other people joy. But if it doesn't that's fine, I'm not looking for this to be validating in any other way, other than my own personal journey." Connect with RachelInstagram @rachelpotterTikTok @rachelpotterFacebook: Facebook.com/rachelpottermusiclinktree: https://linktr.ee/therachelpotter  Abundant Success Bundle - Black Friday Special!https://www.allisonwalshconsulting.com/abundantsuccessbundle Thinkific Black Friday Offer!Click here to Claim Thinkific's Black Friday offer before it expiresThese three packages offer everything you need to launch a thriving digital learning business and start earning more, all at their lowest price of the year.   Connect with AllisonInterested in working together? Fill out this form.www.instagram.com/allisonwalshwww.shebelievedbook.comwww.allisonwalshconsulting.comwww.abundantsuccesss.co

This episode of The Other Side of the Bell, featuring trumpeter, Scott Belck, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Scott: Dr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet. He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra.   His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet. He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera. He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions. He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur. He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters. Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.

“Convince me to stay.” This is what Allison Lambacher told Aubrey after years in arts administration and being totally burnt out. If you've been in the industry long enough, you've probably been ready to throw in the towel at least once. "But you are not alone and the narrative is changing". Hear how Allison – now Associate Director of Digital Engagement with the St. Louis Symphony – used arts management tools from Uplevel to go from being ready to quit the industry to advocating for herself and landing her dream job.

Max Foizey reviews every film in the Alien franchise, including Alien: Romulus, and chats with Eric Dundon of the St. Louis Symphony.

Richmond-based musicians and artists from The Pennsylvania State University, The Buffalo Philharmonic, The St. Louis Symphony, and The Phoenix Symphony Orchestra.Mike Davison, trumpet                          Jonathan Lombardo, tromboneMark Nixon, trumpet                              Jeff Hudson, tubaBrian Strawley, Trympet                        Ray Breakall, timpani and percussionCraig Taylor, trumpet                             Christopher Martin, organAmy Roberts, French horn                    Ryan Tibbets, conductorEvan Williams, trombone_________________________________     -------PROGRAM-------A Mighty Fortress Is Our God               Tim Zimmerman, b. 1956Cantate Domino                                     Hieronymus Praetorius, 1560-1629                                                                                                     .arr Gary OlsonSolumn Entry                                           Richard Strauss, 1864-1949                                                                                                     .arr Gary OlsonChorale Prelude:  Lord of All Hopefulness    John Cheetham, 1939-2024Procession of the Nobles                       Nikolai Rimsky-Korsakov, 1844-1908                                                                                                     .arr Dale RamseyRhosymedre                                             Ralph Vaughan Williams, 1872-1958Prelude & Exultation                               Craig Phillips, b. 1961Mr. Jums                                                    Chris Hazell

Welcome to the show. Today we're tackling a topic that sends chills down the spines of many: mastering auditions. Whether you're aiming for a spot in an orchestra, prepping for a college jury, or even gearing up for that pivotal job interview, the anxiety and fear of auditions is a universal experience.Auditions can feel like stepping into the unknown, a daunting challenge that tests not only your skills but also your nerves. But here's the good news: just like any other challenge, the more you familiarize yourself with the process, the less intimidating it becomes. Remember the first time you rode a bike or spoke in public? The fear melted away with practice and preparation, and auditions are no different.Our guest on this episode is Micah Wilkinson, principal trumpet with the Pittsburgh Symphony Orchestra. Micah has been on both sides of the audition table and understands the nuances that can make or break a performance. Our hope is that by the end of this episode, you'll feel more confident and equipped to tackle your next big opportunity with ease. Let's turn those audition fears into triumphs!Episode Highlights:-Micah shares his musical background in the Atlanta area...02:25-"You have what it takes to be a principal player"; a mentor spurs on a promising career...06:06-Micah's personal experience with auditions (what worked, what didn't)...12:05-Success in certain roles requires a certain amount of "healthy arrogance"...17:25-Focus on the music vs. YOU and no one hardly notices the mistakes...23:19-How do you play "consistently"; and what does "consistency" even mean?...28:35-How a giant whiteboard and recording device can help you track progress on audition prep...32:00-"There's no doubt in my mind the person who won [the recent PSO audition] was more prepared than anyone else"...35:00-View articulation more as properly expressing the language of the music vs. tonguing or fingering with a certain technique...43:00-Plus whatever your discerning ears deem worthy of your time and interest...Episode Sponsor:MF Lip GripAbout the Guest:Micah Wilkinson has enjoyed a varied career as an orchestral musician, soloist, chamber artist, and teacher. He was appointed Principal Trumpet of the Pittsburgh Symphony Orchestra by Music Director Manfred Honeck in September 2017. Wilkinson came to the Pittsburgh Symphony from the San Diego Symphony, where he served as Principal Trumpet for three years. He previously held positions with the Houston Symphony, the San Francisco Symphony, the Oregon Symphony, and the Tucson Symphony. He recently performed in subscription programs as Guest Principal Trumpet with the New York Philharmonic, Chicago Symphony Orchestra, St. Louis Symphony, and the Seoul Philharmonic. In the summers, he performs as Principal Trumpet of the Chautauqua Symphony Orchestra.As an educator, he strives to help the next generation of brass players to find their own unique voices as musical artists. He is quickly becoming one of the most sought-after instructors for trumpet in the United States and enjoys working privately with students at his home studio in Pittsburgh and online through virtual platforms. He is currently on the faculty at Duquesne University in Pittsburgh and at the Chautauqua Institution School of Music. He has also taught at the Aspen Music Festival, Eastman Summer Music Institute, Round Top Festival Hill Institute, and the Brevard Music Center. He previously served on the faculties of the University of Houston and Portland State University, and has presented master classes and clinics for colleges and universities all over the United States, as well as Europe and Asia. Wilkinson grew up in Norcross, Georgia. A...

Larry Morris is the Director of Artists in Residency for the Kranzberg Arts Foundation. He is also the Vocalist/MC for St. Louis music legends, Illphonics. He stopped by to speak with Nancy about the program. ———   The Kranzberg Arts Foundation has long been a major patron of the arts in St. Louis and is committed to aligning their resources to aid in and advance the flourishing renaissance of the arts in the St. Louis area. Growth in the local arts community is now more vigorous than ever, however, the shortage of affordable artists' work and presentation spaces has been a clear obstacle in the path of our artists. In consideration of this problem and in support and recognition of St. Louis area artists, the Foundation  is redefining and expanding our short and long-term residency programs. ———    The Foundation hosts partnerships with over 150 arts organizations and presenters in the St. Louis region and provides an intersection of arts  venues and work environments that serve a full range of artistic processes.  ———   Most of their venues are located in the heart of the Grand Center Arts District in Midtown St. Louis and  are surrounded by some of  St. Louis' most distinguished cultural assets,  including the Fox Theater, St. Louis Symphony, Contemporary Arts Museum,  The Pulitzer Arts Foundation, Jazz St. Louis,  the home of Public Media and so much more. ——— •

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

Jennifer Nitchman, flutist with the St. Louis Symphony Orchestra, joins Andy and Sarah to talk about the upcoming Christmas celebrations happening with the St. Louis Symphony, including the Gospel Christmas Concert, Mercy Holiday Celebration, two film scores (with films!), and the New Year's Eve Celebration. Find details for all of these events at slso.org or call the Box Office at (314) 534-1700.

Chris and Amy talk with Thomas Jostlein, the Associate Principal Horn with the St. Louis Symphony. Talking about the upcoming HOliday Concert beginning December 8th. 

Interview with Thomas Jostlein, the Associate Principal Horn with St. Louis Symphony. The holiday concert slate starts December 8th. Choiceful is the new word for CEO. Andy Banker from Fox 2 and tells us about his being shot with a pellet gun yesterday. 

In addition to their new jobs, Will and Carlos have had experiences performing with other major orchestras, such as the New York Philharmonic, the Philadelphia Orchestra, the St. Louis Symphony, and the London Symphony. Our talk then turns to the future, with Will talking about his work with the Vennture Mouthpiece company, and Carlos about training to become an Alexander Technique teacher.

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

Amy Andersson is an Internationally recognized, Grammy-winning conductor and producer. Named by British music critic Norman Lebrecht as “America's most watched Symphony Orchestra Conductor,” Andersson has been praised for her dynamic musicality, expressive technique and cross genre repertoire. She has toured to over twenty-two countries conducting concerts and recording sessions in symphonic, operatic, film, musical theatre and video game genres. She has appeared on the Late Show with Stephen Colbert, CBS Morning News, CBS Evening News and has garnered press coverage in the Wall Street Journal, Variety, Forbes, and Huffington Post. Andersson is founder and conductor of Orchestra Moderne NYC, which debuted at Carnegie Hall and Lincoln Center, and has won critical acclaim for her charismatic and visionary accomplishments as creator and conductor of Women Warriors: The Voices of Change, a live-to-picture symphony production and documentary film. Women Warriors has won over twenty-four international film and music awards including four Telly Awards, a Hollywood Music in Media Award, a GRAMMY in “Best Classical Compendium, a 2022 BMI “Impact Award,” a 2023 SCL “Jury Award” and has screened at film festivals in more than twelve countries, including the Fimucité International Film Music Festival in Tenerife. Known for her commitment to the music of living composers, she has conducted the works of composers Neal Acree, Elitsa Alexandrova, Peter Boyer, Nathalie Bonin, Jessica Curry, Miriam Cutler, Anne-Kathrin Dern, Greg Edmonson, Isolde Fair, Sharon Farber, Steve Jablonsky, Grant Kirkhope, Penka Kouneva, Bear McCreary, Martin O'Donnell, Kol Otani, Starr Parodi, Lolita Ritmanis, Garry Schyman, Yoko Shimomura, Jeremy Soule, George Strezov, Chance Thomas, Nobou Uematsu, Jack Wall, and Austin Wintory, among others, either on the concert stage or in recording sessions. Andersson has made guest appearances the St. Louis Symphony, Houston Symphony, Seattle Symphony, Oregon Symphony, Rochester Philharmonic, Colorado Symphony, Honolulu Symphony, San Diego Symphony, Florida Orchestra, Spanish Philharmonic, Berliner Symphoniker, Royal Philharmonic Concert Orchestra, Stockholm Concert Orchestra, Spanish National Youth Orchestra, Düsseldorfer Symphoniker, Classic FM Radio Orchestra of Bulgaria, Lithuanian National Symphony Orchestra, Junge Deutsche Philharmonie, Neiderrheinsche Symphoniker, LOH Orchestra Sonderhausen, Giessen Philharmonic, Aalborg Symphony Orchestra, Macedonian Philharmonic, Monte Carlo Philharmonic, Jeunesses Musicales Deutschland, Colorado Music Festival Orchestra, National Orchestral of Mexico, and at free-lance orchestras in Switzerland, Belgium, Netherlands, Italy and Ireland. Andersson regularly conducted opera productions in Germany at the Deutsche Oper am Rhein, National Theater of Mannheim, Stadttheater Aachen, Weikersheim Opera Festival, Rheinsberg Chamber Opera, and Schlosstheater Schwetzinger. In 2017 Andersson completed a two year, world tour of the live-to-picture concert Legend of Zelda: Symphony of the Goddesses. Andersson is a devoted teacher and educator and known also for her work with youth orchestras. She was adjunct conducting faculty at the Universität der Künste Berlin, music director of the famed CPE Bach High School of Performing Arts in Berlin, and adjunct faculty in Media and Film Scoring at Brooklyn College/Feirstein Graduate School of Cinema. In Germany she conducted the Rheinberg Chamber Opera Festival and Weikersheim Opera Festival for four summer seasons of productions that featured rising opera singers and youth orchestras. She is currently conducting faculty at the USC Thornton in the Screen Scoring department, and the Hollywood Music Workshop in Baden, Austria. Current projects include Andersson as co-Executive Producer on the soon to be released film (2023)Tahlequah The Whale: A Dance of Grief, by filmmaker Daniel Kreizberg, featuring the music of Lolita Ritmanis. She is also conductor and co-producer of the soon to be released soundtrack.

There is no shortage of activities for the summer and preview what the SLSO has to offer for the season we talked with VP & GM of Enterprise Center and Stifel Theater Todd Mitchell.

Claibs is in New York City with the team and we caught him in the middle of window shopping, so he and Amy talk fashion before we get to some baseball talk. Plus, Imran Ahmed on Tik Tok's dangers for teens and children. Todd Mitchell previews the St. Louis Symphony season.

Larry Morris is the Director of Artists in Residency for the Kranzberg Arts Foundation. He is also the Vocalist/MC for St. Louis music legends, Illphonics. He stopped by to speak with Nancy about the program. The Kranzberg Arts Foundation has long been a major patron of the arts in St. Louis and is committed to aligning their resources to aid in and advance the flourishing renaissance of the arts in the St. Louis area. Growth in the local arts community is now more vigorous than ever, however, the shortage of affordable artists' work and presentation spaces has been a clear obstacle in the path of our artists. In consideration of this problem and in support and recognition of St. Louis area artists, the Foundation  is redefining and expanding our short and long-term residency programs. ———  The Foundation hosts partnerships with over 150 arts organizations and presenters in the St. Louis region and provides an intersection of arts  venues and work environments that serve a full range of artistic processes.  ——— Most of their venues are located in the heart of the Grand Center Arts District in Midtown St. Louis and  are surrounded by some of  St. Louis' most distinguished cultural assets,  including the Fox Theater, St. Louis Symphony, Contemporary Arts Museum,  The Pulitzer Arts Foundation, Jazz St. Louis,  the home of Public Media and so much more. ———

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

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

Synopsis We probably have the irrepressible playwright, music critic, and ardent socialist George Bernard Shaw to thank for this music—the Third Symphony of Sir Edward Elgar. Shaw had been trying to persuade Elgar to write a Third Symphony, and, early in 1932, had written to Elgar: "Why don't you make the BBC order a new symphony. It can afford it!" A few months later, Shaw dashed off a postcard with a detailed, albeit tongue-in-cheek program for the new work: "Why not a Financial Symphony? Allegro: Impending Disaster; Lento mesto: Stone Broke; Scherzo: Light Heart and Empty Pocket; Allegro con brio: Clouds Clearing." Well, there was a worldwide depression in 1932, but the depression that had prevented Elgar from tacking a new symphony was more personal: the death of his beloved wife in 1920. Despite describing himself as "a broken man," unable to tackle any major projects, when Elgar died in 1934, he left behind substantial sketches for a Third Symphony, commissioned, in fact, by the BBC. Fast forward 64 years, to February 15th, 1998, when the BBC Symphony gave the premiere performance of Elgar's Third at Royal Festival Hall in London, in a performing version, or "elaboration" of Elgar's surviving sketches, prepared by the contemporary British composer Anthony Payne. It was a tremendous success, and, we would like to think, somewhere in the hall the crusty spirit of George Bernard Shaw was heard to mutter: "Well—about time!" Music Played in Today's Program Edward Elgar (1857-1934) Symphony No. 3 (elaborated by Anthony Payne) BBC Symphony; Andrew Davis, conductor. NMC 053 On This Day Births 1571 - possible birth date of German composer Michael Praetorius, in Creuzberg an der Werra, near Eisenach; 1847 - Austrian composer Robert Fuchs, in Frauenthal, Styria; 1899 - French composer Georges Auric, in Lodève; 1907 - French composer and organist Jean Langlais, in La Fontenelle; 1947 - American composer John Adams, in Worcester, Mass.; 1949 - American composer Christopher Rouse, in Baltimore, Maryland; Deaths 1621 - German composer Michael Praetorius, supposedly on his 50th birthday, in Wolfenbüttel; 1857 - Russian composer Mikhail Glinka, age 52, in Berlin; 1887 - Russian composer Alexander Borodin (Gregorian date: Feb. 27); 1974 - Swedish composer Kurt Atterberg, age 86, in Stockholm; 1992 - American composer William Schuman, age 81 in New York; He won the first Pulitzer Prize for Music in 1943 for his Walt Whitman cantata, "A Free Song"; Premieres 1686 - Lully: opera "Armide et Renaud," (after Tasso) in Paris; 1845 - Verdi: opera "Giovanna D'Arco" (Joan of Arc) in Milan at the Teatro all Scala; 1868 - Tchaikovsky: Symphony No. 1 ("Winter Dreams") (first version), in Moscow (Julian date Feb. 3); A revised version of this symphony premiered in Moscow on Nov. 19/Dec. 1, 1883; 1874 - Bizet: "Patrie" Overture, in Paris, by the Concerts Pasedeoup; 1884 - Tchaikovsky: opera "Mazeppa" in Moscow at the Bolshoi Theater (Julian date: Feb. 3); 1919 - Loeffler: "Music for Four Stringed Instruments" at New York's Aeolina Hall by the Flonzaley Quartet; 1939 - Miakovsky: Symphony No. 19 for wind band, in Moscow; 1945 - Paul Creston: Symphony No. 2, by the New York Philharmonic, with Arthur Rodzinski conducting; 1947 - Korngold: Violin Concerto, by the St. Louis Symphony, with Jascha Heifetz as soloist; 1958 - Diamond: orchestral suite "The World of Paul Klee," in Portland, Ore.; 1965 - B.A. Zimmermann: opera "Die Soldaten" (The Soldiers), in Cologne at the Städtische Oper; Others 1940 - American Music Center, a library and information center for American composers, is founded in New York City. Links and Resources On Elgar

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

Old film footage of indigenous dancers inspired composer James Lee III's "Visions of Cahokia," premiering this weekend at Powell Hall. The piece references Cahokia Mounds, the historic site of one of the largest Native American settlements in North America, in what is now Collinsville.

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

Roger Kaza, Principal Horn player with the St. Louis Symphony Orchestra, joins Andy and Sarah to talk about Christmas celebrations with the St. Louis Symphony Orchestra, including Gospel Christmas, Mercy Holiday Celebration, film score concert and movie nights, and New Year's Eve concerts. Learn more at slso.org!

"I like the two people on my left and my right...what else is there to life?" Says my guest on today's episode, Scott Moore.Although he has firmly ensconced himself in the lore of greatness with the horse whinny in Sleigh Ride, Mr. Moore, long time principal trumpet with the Memphis Symphony Orchestra, has been in the trenches long enough to know that the grass aint always greener with the "elite" orchestras of America. Indeed, happiness as a musician is oftentimes found in the overlooked parts of the world, away from the busyness of fame and prestige.In this interview, Scott takes us through his journey as a trumpeter, from the small towns of Mississippi, to the New England Conservatory (where he found true mentorship in unlikely places) to his position in Memphis and beyond.Here's what you'll hear in this episode:-How a challenge from a peer in school was motivation to perfect the horse whinny...02:00-Scott's founding origins on trumpet...06:15-A "dirty jobs" type opportunity leads to invaluable on the job orchestral training...12:30-What's wrong with the typical audition process for orchestras?...19:45-What to do when the conductor says "You're too loud!"...23:00-Forays into competitive trumpeting...25:45-Scott's real mentors at the New England Conservatory...31:35-What Scott would tell his twenty something year old self...33:30-Scott's "dream gig" described...35:15-Plus whatever your discerning ears deem worthy of your time and interest...Resources mentioned:Memphis Symphony OrchestraScott's horse whinny tutorial on YouTubeAbout the guest:Scott Moore is Principal Trumpet in the Memphis Symphony Orchestra and the leader of the MSO Big Band. He has also performed with the Chicago Symphony, the St. Louis Symphony, the Baltimore Symphony, the National Symphony, and as guest principal with the symphony orchestras of Atlanta, Toronto, and Jacksonville. He has recorded and performed with the Nashville Chamber Orchestra, and with I Fiamminghi, the Orchestra of Flanders. Mr. Moore is also the Assistant Principal Trumpet in the Arizona MusicFest Orchestra.As a soloist, Mr. Moore has appeared with the San Antonio Symphony, the Nashville Chamber Orchestra, the Tennessee Summer Symphony, the Chattanooga Symphony, and on numerous occasions with the Memphis Symphony. He has also been a featured Guest Artist at the International Trumpet Guild Conference. Scott Moore has a Master of Music degree from the New England Conservatory of Music, and a Bachelor of Arts degree from McNeese State University. His teachers have included Charles Schlueter, Robert Nagel, Arnold Jacobs, and Michael Ewald.Mentioned in this episode:Robinson's Lip RepairPainful chops because of pesky cold sores are a thing of the past with Robinson's Remedies Lip Repair!Robinson's RemediesTrumpet Lessons with Adolph Herseth?Have you heard of a gentleman by the name of Bud Herseth? You have? Great! Well, Right now you can get a 57 minute audio titled Trumpet Lessons with Adolph Herseth for free. Just go to lessonswithbud.com to learn more!JNS MediaNeed a boost in your online presence? What about a podcast? Go to whataboutapodcast.com and see if it's the right call for your business. You know you need a website, but just don't have the time to maintain it. Or maybe you want a customized logo, or a bio that doesn't read like the instructions to a washing machine to set yourself apart from the rest of the pack. Visit jns.media and check out the suite of...

Many people believe Gene Porkorny is the greatest orchestral tubist of his generation. A member of the Chicago Symphony Orchestra since 1989, he has also been a member of the Israel Philharmonic, the Utah Symphony, the St. Louis Symphony, and the Los Angeles Philharmonic. But in addition to his orchestral playing, Gene is an exceptional solo artist and chamber musician.As a young man Gene studied with many of the great brass players of our time. In Part 1 of our discussion, he talks about what he learned from each of his teachers (Jeff Reynolds, Roger Bobo, Larry Johanson, Tommy Johnson, and Arnold Jacobs and what made each of those teachers so special. He also talks about a concert in May of 1973 that changed the course of his life.Dorico Professional music notation and composition software from Steinberg. Download a free 30-trial today!

DeWayne Trainer, St. Louis Symphony Chorus Member, joins Andy and Sarah to talk about the St. Louis Symphony's presentation of Handel's Messiah, including his first experience with this major work, how the orchestra and chorus work together to produce this beautiful music, what makes the Messiah unique, and what the audience will experience during the presentation of the full Messiah. Learn more and find tickets at slso.org. Handel's Messiah Friday, Dec 2, 2022 ,  7:30PM Saturday, Dec 3, 2022 ,  8:00PM Sunday, Dec 4, 2022 ,  3:00PM Laurence Cummings, conductor  Amanda Forsythe, soprano Key'mon Murrah, countertenor John Matthew Myers, tenor Jonathon Adams, baritone St. Louis Symphony Chorus  GEORGE FRIDERIC HANDEL Messiah  Conductor Laurence Cummings makes his SLSO debut with what he calls “a journey from darkness to light.” Handel's treasured Messiah with the St. Louis Symphony Chorus is a masterwork last performed in December 2018.

Founded by pianist Nina Ferrigno of the Calyx Piano Trio and clarinetist Scott Andrews of the St. Louis Symphony and completely powered by volunteers, the nonprofit Missouri Chamber Music Festival (MOCM) brings the fine art of intimate classical music ensemble playing to a wide audience through dynamic and accessible performances of the highest quality. Nationally recognized professional musicians perform a series of chamber music concerts each June. Diverse programming, including new and commissioned works, is a defining attribute of the festival, helping to illuminate the exciting, extraordinary, and diverse nuance of the small ensemble genre.MOCM Trivia Night & Silent Auction is Friday, November 11 at The Heights, 8001 Dale Ave, 63117. Doors open at 6 pm, and Trivia at 7 pm. TICKETS are $25 / each or $200 / Table of 8. Enjoy a wide range of trivia categories and wonderful silent auction items. Proceeds from the event will go towards supporting MOCM. For more information, go to mochambermusic.org.This is Season 5! For more episodes, go to stlintune.com#music #chambermusic #composer #mocm #symphony

Fright Fest at Six Flags St. Louis, Tchaikovsky's First Piano Concerto at the St. Louis Symphony, the legendary Central West End Halloween, the Procure Market at City Foundry, plus more!

In this episode, I wanted to share my audition process, some of the tough parts during the process of preparing, and two reasons why I think my audition process was successful, even though I haven't auditioned yet.Support the show

Kayla Price, Band Director at Hazelwood West Middle School and Norman Huynh, Conductor with St. Louis Symphony join Tom and Megan talking the Extra Credit on Stage at Powell Friday October 7th.

This week on Beethoven Walks into a Bar, New Zealander Gemma New reflects on her week with the Kansas City Symphony conducting Ravel's Mother Goose Suite, a new violin concerto by Chris Rogerson and Saint-Saëns' epic "Organ" Symphony. We chat about her journey from playing violin to conducting orchestras all over the world, including a stint here in Missouri as the resident conductor of the St. Louis Symphony. She also shares her passion for experimenting with concert formats and experiences. Enjoy that and more this week on Beethoven Walks into a Bar. https://open.spotify.com/playlist/1trRFGF7CfWWhLwvZNvYGM?si=1ec52d444f534569 (Episode 508 Playlist) https://sounz.org.nz/ (https://sounz.org.nz)

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

The last performance of the St. Louis Symphony Chorus under Amy Kaiser's direction is May 1. She is retiring after 27 years. Kaiser came to St. Louis after a career as a freelance conductor in New York City.

Itzhak Perlman, (born August 31, 1945, Tel Aviv, Palestine [now Tel Aviv–Yafo, Israel]), Israeli-American violinist known for his brilliant virtuoso technique. His refinement of detail led many to regard him as one of the finest performers of the major violin repertoire of his time. Perlman was drawn to the violin after hearing it on the radio when he was three. His musical education was interrupted, however, when he contracted polio a year later (which left his legs with a permanent disability). After recovering, he showed great skill on the violin and later entered the Tel Aviv Academy of Music. His first public concert was in Tel Aviv when he was 10. In 1958 he went to the United States to study at the Juilliard School in New York City with the renowned teachers Ivan Galamian and Dorothy DeLay; in that same year he performed before a national television audience on the Ed Sullivan Show. He made his Carnegie Hall (New York City) debut in 1963 and won the prestigious Leventritt Prize a year later, which brought him immediate engagements with major American orchestras. (The Leventritt Foundation awarded its violin and piano prizes only sporadically; the rarity of the prize and the value of the guaranteed engagements that came with it separated the Leventritt from other competitions.) As well as performing virtually the entire classical concert repertoire, he occasionally played with klezmer (traditional Jewish dance music) and jazz groups. He also played the solo violin passages in John Williams's Oscar-winning score for the movie Schindler's List (1993). As a conductor, he worked with many of the great orchestras. He held the position of principal guest conductor with the Detroit Symphony from 2001 to 2005 and was music adviser of the St. Louis Symphony, Missouri, from 2002 to 2004. Perlman was also a teacher, regularly giving violin master classes and cofounding in 1998 (with his wife, Toby) the Perlman Music Program to encourage gifted string players aged 12 to 18. He received 15 Grammy Awards between 1977 and 1995, and in 2008 he was given a Grammy for lifetime achievement. Perlman was also a recipient of the U.S. Medal of Freedom (1986), the National Medal of Arts (2000), a Kennedy Center Honor (2003), and the Presidential Medal of Freedom (2015). Itzhak (2017) is a documentary about his life and career. SOURCE: The Editors of Encyclopaedia Britannica. Learn more at britannica.com

Synopsis In New York City on today's date in 2008, The Juilliard School's FOCUS! Festival showcased music from the opposite coast, including the world premiere of a new string quartet by Californian composer John Adams. Some 14 years earlier, Adams had written a work for the Kronos Quartet and pre-recorded tape that he titled “John's Book of Alleged Dances,” because, as he said, “the steps for the dances had yet to be invented.” His new work for 2008 had a more serious title: simply, “String Quartet,” and was premiered by the St. Lawrence String Quartet.  Adams had heard the Saint Lawrence Quartet perform his “Book of Alleged Dances,” and was so impressed he wanted to write a new work for the ensemble, but found it an intimidating experience, given the great string quartets written by composers of the past ranging from Haydn to Ravel. “String quartet writing is one of the most difficult challenges a composer can take on,” confessed Adams. “Unless one is an accomplished string player and writes in that medium all the time – and I don't know many these days who do – the demands of handling this extremely volatile and transparent instrumental medium can easily be humbling, if not downright humiliating.”  Music Played in Today's Program John Adams (b. 1947) — String Quartet (No. 1) (St. Lawrence String Quartet) Nonesuch 523014 On This Day Births 1715 - Austrian composer Georg Christoph Wagenseil, in Vienna; 1782 - French composer Daniel-François-Esprit Auber, in Caen; 1852 - British composer Frederic Hymen Cowen, in Kingston, Jamaica; 1862 - English composer Fritz (Frederick) Delius, in Bradford, Yorkshire; 1876 - English composer Havergal Brian, in Dresden, Staffordshire; 1924 - Italian composer Luigi Nono, in Venice; Deaths 1946 - British composer Sydney Jones, age 84, in London, age 84; 1962 - Austrian composer and violinist Fritz Kreisler, age 86, in New York City; Premieres 1728 - Gay & Pepusch: ballad-opera, “The Beggar's Opera,” at Lincoln's Inn Fields, London; This work, mounted by the London impresario John Rich, proved so popular that it was staged 62 times that season; As contemporary wags put it, the wildly successful work “made Gay Rich and Rich Gay&rdquo(Gregorian date: Feb. 9); 1781 - Mozart: opera, "Idomeneo" in Munich at the Hoftheater; 1826 - Schubert: String Quartet in D minor, "Death and the Maiden," as a unrehearsed reading at the Vienna home of Karl and Franz Hacker, two amateur musicians; Schubert, who usually played viola on such occasions, could not perform since he was busy copying out the parts and making last-minute corrections; 1882 - Rimsky-Korsakov: opera "The Snow Maiden," in St. Petersburg (Gregorian date: Feb. 10); 1892 - Chadwick: “A Pastoral Prelude,” by the Boston Symphony. Arthur Nikisch conducting; 1916 - Prokofiev: "Scythian" Suite ("Ala and Lolly"), Op. 20, at the Mariinsky Theater in Petrograd, with the composer conducting (Julian date: Jan. 16); 1932 - Gershwin: "Second Rhapsody" for piano and orchestra, in Boston, with the Boston Symphony conducted by Serge Koussevitzky and the composer as soloist; 1936 - Constant Lambert: "Summer's Last Will and Testament" for chorus and orchestra, in London; 1981 - John Williams: first version of Violin Concerto (dedicated to the composer's late wife, actress and singer Barbara Ruick Williams), by Mark Peskanov and the St. Louis Symphony conducted by Leonard Slatkin; Williams subsequently revised this work in 1998; This premiere date is listed (incorrectly) as Jan. 19 in the DG recording featuring Gil Shaham; Links and Resources More on John Adams More on the string quartet and its history

Our sponsor: Houghton Hornswww.houghtonhorns.comVirtual equipment consultation videowww.youtube.com/watch?v=NfDOyZXRiXwJared Rodin has been Principal Trombone of the ICO since 1985, and last appeared as soloist in 1993, presenting the premier of “Morph” by Ken Kugler. Active in commissioning and presenting new works, Jared has premiered two other works by Frank Glover, (“Remembrance” and “Welcome to the Skeleton Circus”), “Beneath the Surface” by Steve Allee and “Concerto” with wind ensemble by Stan Adams.After first appearing as Guest Artist at the International Trombone Camp in Germany, he returned as guest in Italy and was subsequently named to the faculty where he appeared for the next ten years coaching, teaching and concertizing with some of the world's most prominent trombonists, including Joe Alessi, Ron Barron, Joe Burnam, Abbie Conant, Stuart Dempster, Jay Friedman, Michael Mulcahy, Charles Vernon and Jiggs Wigham.Presently, Jared is serving as Acting Bass Trombone of the Indianapolis Symphony, and has recently performed with the Chicago Symphony, Minnesota Orchestra, Alabama Symphony, Chicago's Music of the Baroque and the Grand Teton Music Festival. A long time ago, he was bass trombonist of the Italian National Radio Orchestra in Turin, where he met his beautiful wife Debbie (ICO first violinist).Growing up in Chicago, Jared began his studies with a distant relative, Gerald Myrow and continued with Gerhart Schmeltekopf before going off to Southern Illinois University at Carbondale where he continued with Gene Stiman and Mel Jernigan, then of the St. Louis Symphony. Graduate studies at IU Bloomington brought him to the tutelage of Lewis Van Haney and Keith Brown, also at the Music Academy of the West, where he was honored with the “Outstanding Brass Player” award. He also counts among his mentors, Frank Crisafulli, Arnold Jacobs and Michael Mulcahy of the Chicago Symphony.Adjunct Instructor of Trombone at Butler University, Jared has been Lecturer at Northwestern University, Visiting Lecturer at IU Bloomington and Instructor at Ball State and Purdue Universities. He has also presented masterclasses at Cincinnati College-Conservatory, University of New Mexico and Hochschule fur Musik in Trossingen, Germany.No stranger to other musical idioms, Jared has toured and performed with a vast array of entertainers and jazz musicians including Natalie Cole, Frank Sinatra, The Who, Johnny Mathis, Henry Mancini, Andy Williams and trombonists Slide Hampton, Bill Watrous and Kai Winding. He has also played in many Broadway show pits. As a recording artist, Jared can be heard on the Music Heritage Society, Liscio, Archaeus, Delos, Fonit Cetra, Friggemall, Sea Breeze Jazz and Monarch Jazz labels.Support the show (https://thatsnotspit.com/support/)

Maria A. Ellis is a passionate educator and conductor. She is the owner of Girl Conductor LLC, a company that creates diverse music education resources and currently serves as the Director of The Sheldon's City of Music All-Star Chorus and Choral Instructor at Sumner High School. Maria is an active clinician, adjudicator and presenter throughout the United States and abroad. She holds a B.M. in Music Education emphasis on Voice (K-12 Certified) Degree from the University of Missouri- St. Louis. She has served as the Arts and Administrative Fellow for The St. Louis Symphony and has served as the Community Engagement Manager for The St. Louis Children's Choirs. Maria is the host of the Award Winning Show Bach and Beyoncé on Classic 107.3 The Voice for the Arts in St. Louis and is a host for the St. Louis Symphony "Live at Powell" broadcast. Maria is an active member of the American Choral Directors Association, National Association of Music Educators, Missouri Alliance for Arts Education, where she is chair of the RIDE (Race, Inclusion, Diversity & Equity) Committee and holds Level 3 Certification from the CME Institute for Choral Teacher Education. Maria is the wife of Marion Ellis and the mother of Aria, Kendal and Noah Ellis. Check out GIRLCONDUCTOR.COM here! --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

Synopsis On today's date in 1937, a gala concert in Berlin presented the premiere performance of Robert Schumann's Violin Concerto in D-minor, a work composed in the fall of 1853, shortly before Schumann's tragic mental collapse. The Concerto was never given a public performance during Schumann's lifetime, although the great 19th century violinist Joseph Joachim read through the score during an orchestral rehearsal early in 1854, and played the work privately in 1855, with piano accompaniment provided by Schumann's wife, Clara. Clara, Joachim and their mutual friend Johannes Brahms all judged the concerto sub-par and perhaps embarrassing evidence of Schumann's declining mental state. Oddly enough, the 1937 premiere in Berlin, attended by none other than Adolf Hitler, was presented as part of the Nazi's “Strength Through Joy” cultural program. German commentators touted Schumann's ties to the German “folk,” while American critics bemoaned that most of the great German violinists of the day were unavailable for this important premiere, having all left Germany for racial or political reasons. On this side of the Atlantic, it was violinist Yehudi Menuhin who gave the American premiere of Schumann's long-neglected Concerto a month later, first with piano accompaniment at Carnegie Hall, then later with the St. Louis Symphony. Music Played in Today's Program Robert Schumann (1810 – 1856) — Violin Concerto in D Minor (Gidon Kremer, violin; Philharmonia Orchestra; Riccardo Muti, cond.) EMI 69334

Kevin McBeth, Director of the St. Louis Symphony Orchestra IN UNISON Chorus, joins Andy and Sarah to talk about Christmas music opportunities for families with the St. Louis Symphony, including A Gospel Christmas on December 9 featuring IN UNISON Chorus and guest Oleta Adams singing gospel renditions of Christmas tunes, the family-friendly Mercy Holiday Celebration from December 15-19 at Lindenwood University and Powell Hall), and movie experience Muppet Christmas Carol in Concert from December 11-12). Learn more about these events and how you can attend at slso.org.

Synopsis The REAL story behind Richard Strauss' decision to use a chamber orchestra for his opera “Ariadne on Naxos” – which premiered in Stuttgart on today's date in 1912 – is complicated and a little mundane. We prefer a more “colorful” version that some in Stuttgart have proffered. When a new opera house was being planned for that city, Strauss was asked how large the orchestral pit should be. “Oh, it should hold about 100 players,” he suggested. So, to determine the size required, the architects rather naively asked the local military band to assemble 100 players, have them stand at attention, and measured the amount of space they occupied. Now, soldiers standing at attention take up a LOT less space than an equal number of seated symphonic musicians. And so, the resulting space in the new theater could only accommodate a CHAMBER orchestra. The Stuttgart Opera also wanted to launch their new theater with a brand-new opera commissioned from Strauss. When he learned what had happened, being the eminently practical sort he was, simply wrote his new opera for chamber ensemble of about 40 players. Fact or fantasy, that's how some like to tell it in Stuttgart. Music Played in Today's Program Richard Strauss (1861 – 1949) — Ariadne auf Naxos (Vienna Philharmonic; James Levine, cond.) DG 419 225 On This Day Births 1825 - Austrian composer and conductor Johann Strauss, Jr. (aka "The Younger," or II), in Vienna; 1838 - French composer Georges Bizet, in Paris; 1864 - Russian composer Alexander Grechaninov, in Moscow (see Julian date: Oct. 13); 1923 - Australian composer Don Banks, in South Melbourne; Premieres 1823 - Weber: opera "Euryanthe," in Vienna at the Kärtnertor Theater; 1848 - Verdi: opera "Il Corsaro" (The Corsair), in Trieste at the Teatro Grande; 1875 - Tchaikovsky: Piano Concerto No. 1, Op. 23, at the Music Hall in Boston, by the orchestra of the Harvard Musical Association conducted by B.J. Lang, with Hans von Bülow as soloist; 1885 - Brahms: Symphony No. 4 in Meiningen, Germany, with the composer conducting; 1912 - R. Strauss: opera, "Ariadne auf Naxos," and incidental music to "Le Bourgeois Gentilhomme," in Stuttgart at the Hoftheater (Kleines Haus), with the composer conducting, and vocal soloists Maria Jeritza (Ariadne), Margarethe Siems (Zerbinetta), and Hermann Jadlowker (Bacchus); A revised version of this work (with a newly composed prologue) premiered at the Vienna Court Opera on Oct. 4, 1916; 1923 - Milhaud: ballet, "La Création du Monde," in Paris, by the Ballets Suédois at the Théâtre des Champs-Elysées; 1949 - Frank Martin: Concerto for Seven Wind Instruments, Timpani, Percussion, and Strings, by the orchestra of the Bern Musickgesellschaft, Luc Balmer conducting; 1958 - Janácek: opera "Fate" (1st staged performance) in Brno at the National Theater; This opera was written in 1904 and was premiered in a concert performance by the Brno Radio on September 18, 1934; 1973 - Martinu: Violin Concerto (composed in 1932), by the Chicago Symphony, Sir Georg Solti conducting, with Josef Suk as soloist; 1979 - Earl Kim: Violin Concerto, by the New York Philharmonic, conducted by Zubin Mehta, with Itzhak Perlman as soloist; 1986 - Christopher Rouse: "Phantasmata" (first complete performance of three orchestral pieces composed 1981-85: "The Evestrum of Juan de la Cruz in the Sagrada Familia, 3 A.M."; "The Infernal Machine"; and "Bump"), by the St. Louis Symphony, Leonard Slatkin conducting; Links and Resources On Richard Strauss

University of Nebraska-Omaha (UNO) Percussion Professor Hannah Weaver stops by to talk about her teaching responsibilities at UNO, getting the job through a challenging health situation, and choral professor Dr. Derrick Fox (04:25), underrated Omaha (24:55), getting connected with Heartland Marimba and being a good colleague (32:15), the background to her decision to join the PAS Health & Wellness Committee (46:10), and growing up near Indianapolis, her piano background, along with her sports activities in softball and riding crew (57:55).Finishing with a Rave on the St. Louis Symphony performing at Mizzou (01:21:20).Links:Hannah Weaver's websiteHeartland Marimba QuartetMatthew Coley on the podcastDoug MonteraTomm RolandDerrick FoxMichael BurrittCarpal tunnel syndromeCubital tunnel syndromeOmaha Under the RadarAmanda DeBoerOmaha ZooRunzaThird Coast PercussionLaurel Black on the podcast“Velocities” - Joseph Schwantner“Merlin - movement II” - Andrew ThomasAvon (IN) Marching BandParks and Recreation“Benjamin Calypso” - Joseph and the Amazing Technicolor Dreamcoat“Light of the World” - Godspell“Day by Day” - Godspell“Beethoven Day” - You're a Good Man Charlie Brown“If I Were a Rich Man” - Fiddler on the RoofLifeTeen“Awesome God” - Rich MullinsUn Sospiro - Franz LisztRhapsody in Blue - George GershwinRaves:St. Louis Symphony at Mizzou

Synopsis By the mid-1940s, the famous American bandleader Paul Whiteman was not as popular as he once was during the 20s and 30s. Even so, his name and orchestra were still a draw, and Whiteman was ever hopeful of introducing new pieces that might prove as popular as Gershwin's “Rhapsody in Blue” and Grofé's “Grand Canyon Suite” – both commissioned by Whiteman in those earlier decades. In 1944, Whiteman commissioned a number of short chamber orchestra works, or “symphonettes” as he dubbed them, for his new radio show called “Music out of the Blue.” The show aired at midnight. “So if the pieces are too bad,” explained Whiteman to his radio bosses, “few people will know it.” And so it was on today's date in 1944 that one of these new pieces, commissioned from Aaron Copland, had its radio premiere. Its title was “A Letter from Home.” In the context of an America still at war in Europe, this title had a special resonance for those with loved ones serving abroad. Copland himself had a brother in the army, and wrote the work while living in Mexico, where he, too, received letters from his sister back home. Music Played in Today's Program Aaron Copland (1900 – 1990) — Letter from Home (St. Louis Symphony; Leonard Slatkin, cond.) EMI 49766

Amy Kaiser, Director of the St. Louis Symphony Chorus, stopped by to talk to Nancy about her 50 year plus long career, as well as the The Arts and Education Council lifetime achievement award that she recently received.  Also discussed is her radio show, Musical Moments on Classic 107.3 fm. Amy Kaiser Director of the St. Louis Symphony Chorus since 1995, Amy Kaiser is one of the country's leading choral directors. She has conducted the St. Louis Symphony Orchestra in Handel's Messiah, Schubert's Mass in E-flat, Vivaldi's Gloria, and sacred works by Haydn and Mozart, as well as Young People's Concerts. Guest conductor for the Berkshire Choral Festival in Massachusetts, Santa Fe and at Canterbury Cathedral and Music Director of the Dessoff Choirs in New York for 12 seasons, she led many performances of major works at Lincoln Center. Other conducting engagements include Chicago's Grant Park Music Festival, Peter Schickele's PDQ Bach with the New Jersey Symphony, and more than 50 performances with the Metropolitan Opera Guild. Principal Conductor of the New York Chamber Symphony's School Concert Series for seven seasons, Kaiser also led Jewish Opera at the Y, and many programs for the 92nd Street Y's acclaimed Schubertiade. She has prepared choruses for the New York Philharmonic, Ravinia Festival, Mostly Mozart Festival, and Opera Orchestra of New York. Kaiser is a regular pre-concert speaker for the SLSO and presents popular classes for the Symphony Lecture Series and Opera Theatre of St. Louis. A former faculty member at Manhattan School of Music and The Mannes College of Music, she was a Fulbright Fellow at Oxford University and holds a degree in musicology from Columbia University. A graduate of Smith College, she was awarded the Smith College Medal for outstanding professional achievement.   Podcast Curator and Editor: Jon Valley with Technical Support by Mid Coast Media  

Thomas Hooten, Principal Trumpet of the Los Angeles Philharmonic, is one of the world's most prominent classical trumpeters today. He can be heard on numerous recordings with the Los Angeles Philharmonic, the Atlanta Symphony Orchestra, and the National Brass Ensemble. Tom began his career in 2000 with a trumpet/cornet position in “The President's Own” United States Marine Band in Washington, D.C., where he was often a featured soloist. He went on to join the Indianapolis Symphony as Assistant Principal Trumpet in 2004, the Atlanta Symphony Orchestra as Principal Trumpet in 2006, and the LA Philharmonic in 2012. He released “Trumpet Call,” his first solo album, in 2011. Thomas is an active soloist and has appeared with many groups, including the Los Angeles Philharmonic, Atlanta Symphony Orchestra, Saint Paul Chamber Orchestra, “The President's Own” US Marine Band, United States Air Force Band, Fort Wayne Philharmonic, Richmond Symphony Orchestra, Nagoya Philharmonic Orchestra. As an orchestral and chamber musician, he has performed with ensembles such as the Chicago Symphony Orchestra, National Symphony Orchestra, St. Louis Symphony, Grand Teton Music Festival, Harrisburg Symphony, and the Baltimore Symphony. Here's what you'll hear in this episode with Tom Hooten: -What has Tom fired up about trumpet, life, and how the two intersect...01:30 -Why success can be terrifying...12:40 -Discoveries made producing the album https://amzn.to/3oSZU08 (Trumpet Call)...15:40 -How one grows as a teacher as he grows as a person...21:44 -Knowing when to teach, and when to let the student learn to teach themselves...30:51 -Geeking out on the new concerto to be performed w/ the L.A. Phil...42:22 -How a younger Tom Hooten would have responded to the challenges the present-day Tom Hooten embraces with fire in the eyes...45:15 https://amzn.to/3FC4NR7 (The Big Leap) https://amzn.to/3FAso4T (Zero to One by Peter Thiel) https://www.gabrielecassone.it/ (Gabriel Cassone) https://amzn.to/3aruMfZ (Time to Think) and https://amzn.to/2X1rDAg (More Time to Think) by Mary Klein Credits: Trumpet Dynamics: The Story of the Trumpet, In the Words of Those Who Play It Host: James Newcomb Guest: http://tomhooten.com/ (Tom Hooten) Opening music: "Folklore" by https://bigbigtrain.com/ (Big Big Train) Closing music: "Creepin' With Clark" written and performed by Mike Vax Audio editing by: James Newcomb Show notes prepared by: http://podcastartistry.com/ (Podcast Artistry™)

President Richard Nixon was facing his first midterm election when Kansas native Tom Stubbs joined the St. Louis Symphony Orchestra. He is retiring, as associate principal timpanist and cymbal specialist, after 51 years.

Beth Duhon is, to borrow Tracy King's phrase, the K-5 "ambassador of joy" at Travis Elementary in Rosenberg, TX. This is her fifth year teaching in Lamar Consolidated ISD. Longer bio: Beth Duhon is, to borrow Tracy King's phrase, the K-5 “ambassador of joy” at Travis Elementary in Rosenberg, TX. This is her fifth year teaching in Lamar Consolidated ISD. She has received over $14,000 in classroom grants for a keyboard lab, iPads, and music manipulatives in addition to regularly receiving travel grants for music education conferences. In 2021, she presented “Self-Care for the Music Educator: Not Just a Buzzword” for TMEA and the LCISD elementary music teacher cohort. Previously, Ms. Duhon was a successful horn private lesson teacher, clinician, and freelance performer in the West Houston area for over a decade. She also taught elementary music in Williamsburg, VA and middle school general music in Falls Church, VA before moving to Texas. She was an honors recitalist, principal horn in the wind ensemble and orchestra, cum laude and an inductee of Pi Kappa Lambda from Illinois Wesleyan University where she received a B.M.E. At the University of Houston, Ms. Duhon was a teaching assistant in the music history department, summa cum laude and a student of Roger Kaza (St. Louis Symphony) and Nancy Goodearl (Houston Symphony). She received an M.M. in horn performance. Ms. Duhon met her husband, Jimmy, when they were both performing as instrumentalists at Busch Gardens Williamsburg. They have a ten-year-old son, Mark. You can watch Ms. Duhon's TMEA presentation "Self Care for the Music Educator: More Than a Buzzword" by clicking HERE! You can access the "Self Care for the Music Educator: More Than a Buzzword" supplementary materials by clicking HERE! You can access the F-flat Books THAW replay by downloading the session pack on the website! --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

La Tanya Hall is a renown singer and musician who has played with some of the world's most celebrated artists, including  Steely Dan, Diana Ross, and Aretha Franklin among many others. She has also appeared as a solo artist in her own right with the  American Composers Orchestra, The Denver Symphony, and the St. Louis  Symphony and at jazz clubs around the world. Her new record, Say Yes (Blue  Canoe Records), debuted in November of 2020. She is also a teacher, having created the first vocal jazz degree program at Oberlin Conservatory five  years ago and continues to teach there as an associate professor of jazz voice.In this episode John and La Tanya sit down to talk about the roots of Jazz, and by extension, almost all modern music not classical in nature. They discuss the soul and it's reaction to the beauty found in music. And along the way there is a Light-O-Meter test and a bunch of musical insight.Links:About La Tanya: www.latanyahall.comInterested in joining First Things Foundation? Check out our Join FTF page: https://first-things.org/opportunities for more info, or email Daniel at danielpadrnos@first-things.org.Gagimargos! Wait, what does that mean? Learn more about the Georgian Supra, why it's integral too our work, and its symbolic significance here: https://thesymbolicworld.com/articles/the-symbolism-of-the-supra/If you like this podcast, please consider leaving a review with your comments. Your support keeps this podcast alive and allows us to broaden our discussion. You can also check out First Things Foundation: https://first-things.org/ for more information on who we are and what we do.You can support our work around the world and this podcast by visiting https://first-things.org/donate - all recurring donors will also gain access to our weekly Podcourse: https://first-things.org/wawtar-podcourse where we further explore New World, Old World themes in an online class setting (capped off by a Supra dinner at the end of the semester).---CreditsMusic:Intro / Outro Provided by Edward Gares / Pond5.comSound effects and additional music:Sounds provided by https://www.zapsplat.comSupport the show (https://first-things.org/donate)

Synopsis On today's date in 1938, at the New York Philharmonic's summertime concert home at Lewissohn Stadium, a 24-year-old American composer named Morton Gould conducted the first performance of his new piece entitled “American Symphonette No. 2.” The new piece was in three movements, and the second, entitled “Pavanne,” proved especially popular. It fused elements of jazz in swing time with the form of the old-fashioned courtly dance made famous by Maurice Ravel's “Pavane for Dead Princess.” In the published score, Gould spelled “Pavanne” with two “n's.” At the time I wrote the piece” said Gould, “'pavane' was not a well-known word. Those who knew their Ravel could spell and say it right, but the people who knew only mine had difficulty in pronouncing the title. So I decided to use two n's to give at least some idea of what the phonetic sounds were.” For many decades, Morton Gould was much in demand as a conductor and arranger, but writing original music was what he loved best. “Composing is my life blood,” he claimed. “That is basically me, and although I have done many things in my life – conducting, arranging, playing piano, and so on – what is fundamental is my being a composer.” Music Played in Today's Program Morton Gould (1913 – 1996): Pavanne, fr American Symphonette No. 2 (St. Louis Symphony; Leonard Slatkin, cond.) RCA 60778

Our sponsor: Houghton Hornswww.houghtonhorns.comThe GOLD Method App - Use code "GOLD21" when subscribing for your first month free!www.ryanbeachtrumpet.com/gold-method-appScott Belck's websitewww.scottbelck.comDr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet.He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding the Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra.His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet.He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera.He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions.He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur.He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters.Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.Support the show (https://thatsnotspit.com/support/)

Synopsis The American composer Joan Tower says that explaining her own music is (quote) “sheer torture for me.” Understandably, she prefers to let her music speak for itself, and many of her works have simple generic titles like: “Piano Concerto” or “Concerto for Orchestra.” But audiences generally prefer more evocative titles, and on more than one occasion Tower has provided them.  On today's date in 1985, the Florida Orchestra premiered a piece by Tower entitled “Island Rhythms,” a celebratory work commissioned for the opening of Tampa's Harbour Island. Tower suggested that Caribbean music influenced the livelier outer sections of her new piece, and its central, slower section evoked the  image of an underwater swimmer rising slowly, but steadily towards the light. And for the St. Louis Symphony's oboist, Peter Bowman, Tower composed in 1989 an “Island Prelude,” for solo oboe and orchestra. When pressed to describe what sort of “island” she had in mind, Tower replied with (her) usual poetic eloquence: “The island is remote, lush and tropical with stretches of white beach interspersed with thick green jungle. Above is a large, powerful and brightly colored bird which soars and glides, … in complete harmony with its island home.” Music Played in Today's Program Joan Tower (b. 1938) — Island Rhythms (Louisville Orchestra; Lawrence Leighton Smith, cond.) Louisville 6 Joan Tower (b. 1938) — Island Prelude (Peter Bowman, oboe; Saint Louis Symphony; Leonard Slatkin, cond.) Nonesuch 79245

Synopsis The American composer Joan Tower says that explaining her own music is (quote) “sheer torture for me.” Understandably, she prefers to let her music speak for itself, and many of her works have simple generic titles like: “Piano Concerto” or “Concerto for Orchestra.” But audiences generally prefer more evocative titles, and on more than one occasion Tower has provided them.  On today's date in 1985, the Florida Orchestra premiered a piece by Tower entitled “Island Rhythms,” a celebratory work commissioned for the opening of Tampa's Harbour Island. Tower suggested that Caribbean music influenced the livelier outer sections of her new piece, and its central, slower section evoked the  image of an underwater swimmer rising slowly, but steadily towards the light. And for the St. Louis Symphony's oboist, Peter Bowman, Tower composed in 1989 an “Island Prelude,” for solo oboe and orchestra. When pressed to describe what sort of “island” she had in mind, Tower replied with (her) usual poetic eloquence: “The island is remote, lush and tropical with stretches of white beach interspersed with thick green jungle. Above is a large, powerful and brightly colored bird which soars and glides, … in complete harmony with its island home.” Music Played in Today's Program Joan Tower (b. 1938) — Island Rhythms (Louisville Orchestra; Lawrence Leighton Smith, cond.) Louisville 6 Joan Tower (b. 1938) — Island Prelude (Peter Bowman, oboe; Saint Louis Symphony; Leonard Slatkin, cond.) Nonesuch 79245

For Video Edition, Please Click and Subscribe Here:  https://youtu.be/57WJ71XzLcI JOHN McDANIEL is a Grammy and Emmy Award winning Music Director, Composer, Director, Arranger, Orchestrator and Producer and is an Artistic Director at the Tony Award winning O'Neill Theater Center. Recently, McDaniel produced and directed a virtual concert of Sticks and Stones, for which he is also the composer, starring Audra McDonald and Javier Muñoz. He is also one of the camp directors of Kristin Chenoweth's Broadway Boot Camp. John directed Into The Woods and Hair in Concert at the historic Patchogue Theater, Sondheim Originals at 54 Below and Piano Men at Birdland,. Broadway music credits include Bonnie and Clyde (Drama Desk Nomination, Best Orchestrations), Catch Me If You Can, Brooklyn (Producer and Orchestrator), Annie Get Your Gun (Grammy Award), Taboo, Chicago, Grease, Patti LuPone on Broadway and Company – the Original Cast in Concert at Lincoln Center. On Television: “The Rosie O'Donnell Show” (two Emmy Awards and eight nominations). John has collaborated with Cab Calloway, Shirley MacLaine, George Burns, Joel Grey, Carol Burnett, Betty Buckley, Bette Midler and has guest conducted at 15 Symphony Orchestras across America, including 5 concerts with his hometown St. Louis Symphony.  John received a BFA in Drama from Carnegie Mellon University. 

For you today: an insight-packed gem of a conversation with LA Phil trumpet player and Honesty Pill founder, Christopher Still! This summer on the Mind Over Finger Podcast, I promise you fantastic time with wonderful guests! Every month I'm having a live Q&A with amazing musicians in my Facebook group, the Mind Over Finger Tribe and, as to be expected, much wisdom is being shared! We start with pianist Konstantin Soukhovetski, we continue in May with violinist Callum Smart, in June you'll hear from trumpet player Christopher Still from Honesty Pill, July will bring violinist Esther Abrami, and we'll spend time with guitarist Brandon Jack Acker in August. I hope you can join us live for the upcoming sessions. All of the details are in the Mind Over Finger Tribe at facebook.com/groups/mindoverfingertribe.  If you're enjoying today's content, take a screenshot as you're listening, share on social and tag me and my guest so we can thank you for tuning in!   MORE ABOUT CHRISTOPHER STILL AND HONESTY PILL: Website: https://honestypill.com LinkedIn: https://www.linkedin.com/in/christopher-still-056423108/ YouTube channel: https://www.youtube.com/channel/UCd0_NS1GmKSc0viEcbyoQSQ?view_as=subscriber Facebook: https://www.facebook.com/honestypill/ Instagram: https://www.instagram.com/honestypill/ Twitter: https://twitter.com/HonestyPill   CHRISTOPHER STILL joined the Los Angeles Philharmonic in 2007. Before coming to California, he was the Principal Trumpet of the Colorado Symphony Orchestra. He has also held the positions of Associate Principal Trumpet of the Dallas Symphony and Principal Trumpet of the Charleston (SC) Symphony. Additionally, Christopher has served as Assistant Principal Trumpet with the Grant Park Festival Orchestra in Chicago's Millennium Park and Guest Principal with the St. Louis Symphony. He has performed with numerous other orchestras including the Boston Symphony, the Boston Pops, and the Orquesta Sinfónica de Galicia in La Coruña, Spain. He has appeared as a soloist with the Chamber Orchestra of Northern New York and the Colorado and the Littleton (CO) symphonies. He can be heard on recordings with the Los Angeles Philharmonic, Grant Park, Dallas, and Albany (NY) symphony orchestras. A Yamaha Artist, Christopher is a dedicated educator and an active clinician. Having grown up in a musical household, Christopher originally intended to become a band director and earned a Bachelor of Music Education degree from the Crane School of Music (SUNY – Potsdam). Switching to performance, he received his Master of Music Performance degree from the New England Conservatory in Boston. He was a Tanglewood Music Center Fellow in 1995 and 1996. Christopher's favorite aspect of his job is the orchestra's frequent performance of contemporary music, especially the Green Umbrella concert series. Christopher lives in Altadena with his wife, clarinetist Amanda McIntosh, and two children. He enjoys distance running, skiing, brewing beer, and hiking in the trails behind his house.   HONESTY PILL Honesty Pill is the project of Christopher Still, a trumpet player with the Los Angeles Philharmonic. Chris creates focused, actionable plans that help musicians and other creatives address the issues standing between them and their goals. Intermediate through professional instrumentalists and singers can benefit from Honesty Pill coaching. This includes motivated high school students, college students, serious hobbyists, and professionals of all ages and levels of accomplishment. Honesty Pill is for anyone who wants to master their art. Even if you've already achieved some level of success, Honesty Pill has information and tools that will help you take your musical life to the next level.   Join the Mind Over Finger Tribe for access to my weekly live videos and to exchange with a community of like-minded musicians   Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to an exceptionally productive practice using the metronome.  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights.   If you enjoy the show, leave a review on Apple Podcast or your favorite podcast provider.  I genuinely appreciate your support.     THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for you. Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme.  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Thank you to Susan Blackwell for the introduction.  You can find out more about Susan, her fantastic podcast The Spark File, and her work helping creatives of all backgrounds expand their impact by visiting https://www.susanblackwell.com/home.   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Synopsis Wynton Marsalis says it all began with a dare in the 1990s from the late German conductor Kurt Masur, then the music director of the New York Philharmonic.  “He came to a concert of mine,” said Marsalis, “when I was like 28 or 29, and said he wanted me to write for the New York Philharmonic. I started laughing like, man, I have never even written for a big band.” Well, since then jazz trumpeter Marsalis has written more than one work for a big bands like the New York Philharmonic, and in 2010 that ensemble, along with the Los Angeles Philharmonic, the London Symphony, and the Berlin Philharmonic commissioned his Third Symphony, a work titled “Swing Symphony.” It was the Berlin Philharmonic who gave the first performance of the work, and on today's date in 2010 encored their premiere on the internet. Said Wynton Marsalis, “Swing to a jazz musician means ‘coming together, and in this case it's about TWO orchestras coming together.” Marsalis included parts for himself and his Jazz at Lincoln Center Orchestra in his new score, in contrast – and in harmony – with the forces of a traditional symphony orchestra. Music Played in Today's Program Wynton Marsalis (b. 1961 ): Swing Symphony (Symphony No. 3) (Jazz at Lincoln Center Orchestra; St. Louis Symphony; David Robertson, cond.) Blue Engine Records BE-0017

Synopsis Wynton Marsalis says it all began with a dare in the 1990s from the late German conductor Kurt Masur, then the music director of the New York Philharmonic.  “He came to a concert of mine,” said Marsalis, “when I was like 28 or 29, and said he wanted me to write for the New York Philharmonic. I started laughing like, man, I have never even written for a big band.” Well, since then jazz trumpeter Marsalis has written more than one work for a big bands like the New York Philharmonic, and in 2010 that ensemble, along with the Los Angeles Philharmonic, the London Symphony, and the Berlin Philharmonic commissioned his Third Symphony, a work titled “Swing Symphony.” It was the Berlin Philharmonic who gave the first performance of the work, and on today's date in 2010 encored their premiere on the internet. Said Wynton Marsalis, “Swing to a jazz musician means ‘coming together, and in this case it's about TWO orchestras coming together.” Marsalis included parts for himself and his Jazz at Lincoln Center Orchestra in his new score, in contrast – and in harmony – with the forces of a traditional symphony orchestra. Music Played in Today's Program Wynton Marsalis (b. 1961 ): Swing Symphony (Symphony No. 3) (Jazz at Lincoln Center Orchestra; St. Louis Symphony; David Robertson, cond.) Blue Engine Records BE-0017

Synopsis Joan Tower is one of America’s most famous–and quotable–composers. She once asked audiences to imagine Beethoven as a composer-in-residence with a modern American orchestra: “If Beethoven walked in here right now,” said Tower, “I think we’d ALL be a bit shocked. He’d probably look very scruffy and be an obnoxious pain-in-the-butt. Orchestras would NEVER ask him back.” Tower can be equally blunt about her own music. Among her most frequently performed works is the series pieces entitled “Fanfares for the Uncommon Woman.” Of these, Tower remarked, perhaps with tongue firmly in cheek: “Maybe the title is better than the music.” On today’s date in 1991, Leonard Slatkin and the St. Louis Symphony gave the premiere performance of Joan Tower’s “Concerto for Orchestra.” “It’s my WORST title,” Tower declared. “I really didn’t want people to think of Bartok’s Concerto for Orchestra, but it IS a concerto in the sense that it features different parts of the orchestra.” This work was a joint commission from the St. Louis Symphony, the New York Philharmonic, and the Chicago Symphony. Reviewing the Chicago performance, music critic John von Rhein wrote: “Tower's talent for flinging bold, dramatic sounds over a large orchestral palette is much on display.” Music Played in Today's Program Joan Tower (b. 1938) Concerto for Orchestra Colorado Symphony; Marin Alsop, cond. Koch 7469 On This Day Births 1931 - American composer Donald James Martino, in Plainfield, N.J.; Deaths 1910 - Russian composer Mily Balakirev (Gregorian date: May 29); Premieres 1726 - Handel: opera "Alessandro" (Julian date: May 5); 1889 - Massenet: opera "Esclarmonde" at the Paris Opéra; 1948 - Quincy Porter: Viola Concerto, in New York City; 1948 - Wallingford Rieger: Symphony No. 3, in New York City; 1966 - Ralph Shapey: "Rituals," in Chicago; 1966 - Villa-Lobos: Sinfonia No. 9, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1969 - Cage: "HPSCHD," for amplified harpsichord and 51 tapes, in Urbana, Ill.; 1971 - Britten: opera "Owen Wingrave," as a telecast on BBC-TV in England and NET (National Educational Television) in the United States; 1972 - Jaocb Druckman: "Windows" for orchestra, by the Chicago Symphony; This work was awarded the Pulitzer Prize for Music in 1972; 1974 - Bernstein: ballet "Dybbuk," by the New York City Ballet at Lincoln Center, with choreography by Jerome Robbins and the composer conducting; 1991 - Joan Tower: "Concerto for Orchestra," by the St. Louis Symphony, Leonard Slatkin conducting; Others 1792 - The Teatro la Fenice ("The Phoenix") opens in Venice; 1888 - Emile Berliner gives the first public display of his invention, the flat gramophone disk, at the Franklin Institute in Philadelphia. Links and Resources On Joan Tower A 1987 interview with Tower

Synopsis Joan Tower is one of America’s most famous–and quotable–composers. She once asked audiences to imagine Beethoven as a composer-in-residence with a modern American orchestra: “If Beethoven walked in here right now,” said Tower, “I think we’d ALL be a bit shocked. He’d probably look very scruffy and be an obnoxious pain-in-the-butt. Orchestras would NEVER ask him back.” Tower can be equally blunt about her own music. Among her most frequently performed works is the series pieces entitled “Fanfares for the Uncommon Woman.” Of these, Tower remarked, perhaps with tongue firmly in cheek: “Maybe the title is better than the music.” On today’s date in 1991, Leonard Slatkin and the St. Louis Symphony gave the premiere performance of Joan Tower’s “Concerto for Orchestra.” “It’s my WORST title,” Tower declared. “I really didn’t want people to think of Bartok’s Concerto for Orchestra, but it IS a concerto in the sense that it features different parts of the orchestra.” This work was a joint commission from the St. Louis Symphony, the New York Philharmonic, and the Chicago Symphony. Reviewing the Chicago performance, music critic John von Rhein wrote: “Tower's talent for flinging bold, dramatic sounds over a large orchestral palette is much on display.” Music Played in Today's Program Joan Tower (b. 1938) Concerto for Orchestra Colorado Symphony; Marin Alsop, cond. Koch 7469 On This Day Births 1931 - American composer Donald James Martino, in Plainfield, N.J.; Deaths 1910 - Russian composer Mily Balakirev (Gregorian date: May 29); Premieres 1726 - Handel: opera "Alessandro" (Julian date: May 5); 1889 - Massenet: opera "Esclarmonde" at the Paris Opéra; 1948 - Quincy Porter: Viola Concerto, in New York City; 1948 - Wallingford Rieger: Symphony No. 3, in New York City; 1966 - Ralph Shapey: "Rituals," in Chicago; 1966 - Villa-Lobos: Sinfonia No. 9, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1969 - Cage: "HPSCHD," for amplified harpsichord and 51 tapes, in Urbana, Ill.; 1971 - Britten: opera "Owen Wingrave," as a telecast on BBC-TV in England and NET (National Educational Television) in the United States; 1972 - Jaocb Druckman: "Windows" for orchestra, by the Chicago Symphony; This work was awarded the Pulitzer Prize for Music in 1972; 1974 - Bernstein: ballet "Dybbuk," by the New York City Ballet at Lincoln Center, with choreography by Jerome Robbins and the composer conducting; 1991 - Joan Tower: "Concerto for Orchestra," by the St. Louis Symphony, Leonard Slatkin conducting; Others 1792 - The Teatro la Fenice ("The Phoenix") opens in Venice; 1888 - Emile Berliner gives the first public display of his invention, the flat gramophone disk, at the Franklin Institute in Philadelphia. Links and Resources On Joan Tower A 1987 interview with Tower

Self care is more than a buzzword. So many times, we hear phrases like "just take care of yourself" or "find the one thing that works for you" or even "pencil in time to get that pedicure." But, self care isn't the same as self soothing. In fact, it's about the daily, mundane, and boring stuff that will help you to feel better every single day that matters. In this episode, Beth Duhon does a great job of explaining what self care REALLY is and has an easy to remember acronym called "MAP" that will give you amazing tips to implement what you're hearing today. Beth Duhon is, to borrow Tracy King's phrase, the K-5 “ambassador of joy” at Travis Elementary in Rosenberg, TX. This is her fifth year teaching in Lamar Consolidated ISD. She has received over $14,000 in classroom grants for a keyboard lab, iPads, and music manipulatives in addition to regularly receiving travel grants for music education conferences. In 2021, she presented “Self-Care for the Music Educator: Not Just a Buzzword” for TMEA and the LCISD elementary music teacher cohort. Previously, Ms. Duhon was a successful horn private lesson teacher, clinician, and freelance performer in the West Houston area for over a decade. She also taught elementary music in Williamsburg, VA and middle school general music in Falls Church, VA before moving to Texas. She was an honors recitalist, principal horn in the wind ensemble and orchestra, cum laude and an inductee of Pi Kappa Lambda from Illinois Wesleyan University where she received a B.M.E. At the University of Houston, Ms. Duhon was a teaching assistant in the music history department, summa cum laude and a student of Roger Kaza (St. Louis Symphony) and Nancy Goodearl (Houston Symphony). She received an M.M. in horn performance. Ms. Duhon met her husband, Jimmy, when they were both performing as instrumentalists at Busch Gardens Williamsburg. They have a ten-year-old son, Mark. You can connect with Beth here: On her Facebook account here See her YouTube presentation (as long as it's available) right here Join her "Self Care for the Music Educator" Facebook group here. Find out more about and sign up for the HARMONY membership waitlist here. Head to my website to grab your free music teaching resource. Join the Elementary Music Teacher Community Facebook group to continue the conversation. I'd love for you to leave a rating and a review of the podcast on I-tunes, be sure to share the podcast with any music teacher friends who would find it helpful and be sure to tag me on Instagram or Facebook.

Synopsis At Queen’s Hall in London, on today’s date in 1920, conductor Albert Coates led the premiere of the revised version of the “London” Symphony of Ralph Vaughan Williams. A longer version of this Symphony had premiered six years earlier, and Vaughan Williams would continue to tinker with this work, on and off, for decades. “The London Symphony is past mending,” wrote Vaughan Williams in 1951, “though with all its faults I love it still; indeed, it is my favorite.” For most music lovers, Vaughan Williams means English folk tunes or hymns woven into lush works for strings, or musical pictures of English countryside… But it was a city view that inspired his “London Symphony,” described by Vaughan Williams himself as “a good view of the river and a bridge and three great electric-light chimneys and a sunset.” In fact, you could call the Vaughan Williams Second a “sunset” symphony. Its final pages were inspired by an H. G. Wells novel describing a night passage on the Thames to the open sea: “To run down the Thames so is to run one’s hand over the pages in the book of England from end to end... The river passes... London passes… England passes…“ Music Played in Today's Program Ralph Vaughan Williams (1872 – 1958) A London Symphony (Symphony No. 2) London Symphony; Richard Hickox, cond. Chanos 9902 On This Day Births 1744 - Austrian composer of Spanish descent Marianne (Anna Katharina) von Martínez, in Vienna; She studied composition with Haydn, and Haydn and Mozart attended her musical soirées; 1860 - Austrian composer Emil Nikolaus Von Reznicek, in Vienna; 1905 - Hungarian-born British composer and teacher Mátyás(György) Seiber, in Budapest; Deaths 1604 - Italian composer and publisher Claudio Merulo, age 71, in Parma; 1955 - Rumanian composer Georges Enesco, age 73, late on May 3 or early on May 4, in Paris; Premieres 1795 - Haydn: Symphony No. 104, conducted by the composer, at the King's Theater in London; This symphony is sometimes nicknamed the "Salomon" Symphony, although it (along with Haydn's Symphonies 102 and 103) was in fact commissioned for and premiered at Viotti's Opera Concerts, not as part of the earlier series of Haydn concerts arranged by the impresario Salomon; 1895 - Dvorák: cantata "The American Flag," Op. 102, in New York; 1920 - Vaughan Williams : revised version of Symphony No.2 ("A London Symphony") at Queens Hall in London, conducted by Albert Coates; The first version of this symphony had premiered at Queen's Hall in London on March 27, 1914, conducted by Geoffrey Toye; A final (twice revised) version of this symphony was published in 1936; 1924 - Miaskovsky: Symphony No. 6, in Moscow; 1974 - Rautavaara: Flute Concerto, in Stockholm, with flutist Gunilla von Bahr and the Swedish Radio Symphony, Stig Westerberg conducting; 1976 - Bernstein: musical "1600 Pennsylvania Avenue" at the Mark Hellinger Theater in New York City, conducted by Roland Gagnon; A trial run of this show had opened in Philadelphia at the Forrest Theater on February 24, 1976; 1976 - Sondheim: revue "Side by Side by Sondheim" (compiled from various Sondheim musicals by British singer-actor David Kernan and others); This revue opened on Broadway on April 18, 1977; 1989 - Joan Tower: "Island Prelude" for oboe and strings, by soloist Peter Bowman and the St. Louis Symphony, Leonard Slatkin conducting. Links and Resources Vaughan Williams Society Web site (biography, timeline, and more)

Synopsis At Queen’s Hall in London, on today’s date in 1920, conductor Albert Coates led the premiere of the revised version of the “London” Symphony of Ralph Vaughan Williams. A longer version of this Symphony had premiered six years earlier, and Vaughan Williams would continue to tinker with this work, on and off, for decades. “The London Symphony is past mending,” wrote Vaughan Williams in 1951, “though with all its faults I love it still; indeed, it is my favorite.” For most music lovers, Vaughan Williams means English folk tunes or hymns woven into lush works for strings, or musical pictures of English countryside… But it was a city view that inspired his “London Symphony,” described by Vaughan Williams himself as “a good view of the river and a bridge and three great electric-light chimneys and a sunset.” In fact, you could call the Vaughan Williams Second a “sunset” symphony. Its final pages were inspired by an H. G. Wells novel describing a night passage on the Thames to the open sea: “To run down the Thames so is to run one’s hand over the pages in the book of England from end to end... The river passes... London passes… England passes…“ Music Played in Today's Program Ralph Vaughan Williams (1872 – 1958) A London Symphony (Symphony No. 2) London Symphony; Richard Hickox, cond. Chanos 9902 On This Day Births 1744 - Austrian composer of Spanish descent Marianne (Anna Katharina) von Martínez, in Vienna; She studied composition with Haydn, and Haydn and Mozart attended her musical soirées; 1860 - Austrian composer Emil Nikolaus Von Reznicek, in Vienna; 1905 - Hungarian-born British composer and teacher Mátyás(György) Seiber, in Budapest; Deaths 1604 - Italian composer and publisher Claudio Merulo, age 71, in Parma; 1955 - Rumanian composer Georges Enesco, age 73, late on May 3 or early on May 4, in Paris; Premieres 1795 - Haydn: Symphony No. 104, conducted by the composer, at the King's Theater in London; This symphony is sometimes nicknamed the "Salomon" Symphony, although it (along with Haydn's Symphonies 102 and 103) was in fact commissioned for and premiered at Viotti's Opera Concerts, not as part of the earlier series of Haydn concerts arranged by the impresario Salomon; 1895 - Dvorák: cantata "The American Flag," Op. 102, in New York; 1920 - Vaughan Williams : revised version of Symphony No.2 ("A London Symphony") at Queens Hall in London, conducted by Albert Coates; The first version of this symphony had premiered at Queen's Hall in London on March 27, 1914, conducted by Geoffrey Toye; A final (twice revised) version of this symphony was published in 1936; 1924 - Miaskovsky: Symphony No. 6, in Moscow; 1974 - Rautavaara: Flute Concerto, in Stockholm, with flutist Gunilla von Bahr and the Swedish Radio Symphony, Stig Westerberg conducting; 1976 - Bernstein: musical "1600 Pennsylvania Avenue" at the Mark Hellinger Theater in New York City, conducted by Roland Gagnon; A trial run of this show had opened in Philadelphia at the Forrest Theater on February 24, 1976; 1976 - Sondheim: revue "Side by Side by Sondheim" (compiled from various Sondheim musicals by British singer-actor David Kernan and others); This revue opened on Broadway on April 18, 1977; 1989 - Joan Tower: "Island Prelude" for oboe and strings, by soloist Peter Bowman and the St. Louis Symphony, Leonard Slatkin conducting. Links and Resources Vaughan Williams Society Web site (biography, timeline, and more)

Synopsis On today’s date in 1692, London audiences were treated to a lavish theatrical entertainment entitled “The Fairy Queen.” This show was loosely based on Shakespeare’s comedy “A Midsummer Night’s Dream,” a play already 100 years old in 1692. To make it more in line with contemporary taste, characters were added or cut, and scenes shifted around to such an extent that Shakespeare, were he alive to see it, would be hard put to recognize much of his original concept. Musical sequences were also expanded, and the producers hired the leading British composer of the day to write them. His name was Henry Purcell, and “The Fairy Queen” would turn out to be the biggest success of his career. In addition to writing the show’s songs and dances, Purcell provided music to entertain the audience as they entered and exited the theater or stretched their legs during the intermission. The good news is that no expense was spared in the show’s production. The bad news was the show’s producers barely recovered their expenses. Subsequent productions, they decided, would be less flashy, but, recognizing the quality of Purcell’s music, they signed him on once again for their next extravaganza. Music Played in Today's Program Henry Purcell (1659 – 1695) The Fairy Queen Le Concert des Nations; Jordi Savall, cond. Auvidis 8583 On This Day Births 1660 - Italian composer Alessandro Scarlatti, in Palermo; founder of the "Neopolitan School" of music and father of the composer, Dominico Scarlatti; 1752 - Baptismal date of German oboist and composer Ludwig August Lebrun, in Mannheim; 1810 - Danish conductor and composer Hans Christian Lumbye, in Copenhagen; 1843 - Austrian conductor and operetta composer Carl Michael Ziehrer, in Vienna; 1905 - English composer Alan Rawsthorne, in Haslingden; Deaths 1864 - German composer Giacomo Meyerbeer (Jakob Liebmann Beer), age 72,in Paris; 1990 - American composer William Levi Dawson, age 90, in Montgomery, Ala.; Premieres 1692 - Purcell: opera "The Fairy Queen," in London at the Queen's Theater, Dorset Garden; 1935 - Ibert: "Concertino da Camera" for saxophone and chamber orchestra, in Paris; 1936 - Prokofiev: "Peter and the Wolf" at a children's concert by the Moscow Philharmonic, conducted by the composer; 1947 - Copland: "In the Beginning" for mezzo-soprano and chorus, at Harvard University; 1947 - Schoenberg: String Trio, Op. 45, at Harvard University; 1951 - Cage: "Imaginary Landscape No. 4" for 12 radios, in New York; 1951 - Ulysses Kay: "Sinfonia" for orchestra, in Rochester, N.Y.; 1965 - Bolcom: "Oracle" for orchestra, in Seattle; 1965 - Grofé: "Trick or Treat: Halloween," by the Philadelphia Orchestra, André Kostelanetz conducting; 1981 - David Amram: Violin Concerto, by the St. Louis Symphony, Leonard Slatkin conducting, with Charles Castleman the soloist; 1984 - Ezra Laderman: String Quartet No. 7, in New York City, by the Colorado Quartet; 1984 - Broadway premiere of Sondheim: musical "Sunday in the Park with George"; 1990 - Elliott Carter: Violin Concerto, by the San Francisco Symphony conducted by Herbert Blomstedt, with Ole Böhn as soloist; Others 1855 - American premiere of Verdi's opera "Il Trovatore" (The Troubadour) at the Academy of Music in New York. 1872 - First documented American performance of Beethoven's "Missa solemnis" in D (Op. 123), at Steinway Hall in New York , by the Church Music Association, Dr. James Pech conducting; Subsequent regional premieres of this work occurred in Cincinnati (May 19, 1880) and Boston (Mar. 12, 1897). Links and Resources More on "The Fairy Queen" More on Purcell

Synopsis On today’s date in 1692, London audiences were treated to a lavish theatrical entertainment entitled “The Fairy Queen.” This show was loosely based on Shakespeare’s comedy “A Midsummer Night’s Dream,” a play already 100 years old in 1692. To make it more in line with contemporary taste, characters were added or cut, and scenes shifted around to such an extent that Shakespeare, were he alive to see it, would be hard put to recognize much of his original concept. Musical sequences were also expanded, and the producers hired the leading British composer of the day to write them. His name was Henry Purcell, and “The Fairy Queen” would turn out to be the biggest success of his career. In addition to writing the show’s songs and dances, Purcell provided music to entertain the audience as they entered and exited the theater or stretched their legs during the intermission. The good news is that no expense was spared in the show’s production. The bad news was the show’s producers barely recovered their expenses. Subsequent productions, they decided, would be less flashy, but, recognizing the quality of Purcell’s music, they signed him on once again for their next extravaganza. Music Played in Today's Program Henry Purcell (1659 – 1695) The Fairy Queen Le Concert des Nations; Jordi Savall, cond. Auvidis 8583 On This Day Births 1660 - Italian composer Alessandro Scarlatti, in Palermo; founder of the "Neopolitan School" of music and father of the composer, Dominico Scarlatti; 1752 - Baptismal date of German oboist and composer Ludwig August Lebrun, in Mannheim; 1810 - Danish conductor and composer Hans Christian Lumbye, in Copenhagen; 1843 - Austrian conductor and operetta composer Carl Michael Ziehrer, in Vienna; 1905 - English composer Alan Rawsthorne, in Haslingden; Deaths 1864 - German composer Giacomo Meyerbeer (Jakob Liebmann Beer), age 72,in Paris; 1990 - American composer William Levi Dawson, age 90, in Montgomery, Ala.; Premieres 1692 - Purcell: opera "The Fairy Queen," in London at the Queen's Theater, Dorset Garden; 1935 - Ibert: "Concertino da Camera" for saxophone and chamber orchestra, in Paris; 1936 - Prokofiev: "Peter and the Wolf" at a children's concert by the Moscow Philharmonic, conducted by the composer; 1947 - Copland: "In the Beginning" for mezzo-soprano and chorus, at Harvard University; 1947 - Schoenberg: String Trio, Op. 45, at Harvard University; 1951 - Cage: "Imaginary Landscape No. 4" for 12 radios, in New York; 1951 - Ulysses Kay: "Sinfonia" for orchestra, in Rochester, N.Y.; 1965 - Bolcom: "Oracle" for orchestra, in Seattle; 1965 - Grofé: "Trick or Treat: Halloween," by the Philadelphia Orchestra, André Kostelanetz conducting; 1981 - David Amram: Violin Concerto, by the St. Louis Symphony, Leonard Slatkin conducting, with Charles Castleman the soloist; 1984 - Ezra Laderman: String Quartet No. 7, in New York City, by the Colorado Quartet; 1984 - Broadway premiere of Sondheim: musical "Sunday in the Park with George"; 1990 - Elliott Carter: Violin Concerto, by the San Francisco Symphony conducted by Herbert Blomstedt, with Ole Böhn as soloist; Others 1855 - American premiere of Verdi's opera "Il Trovatore" (The Troubadour) at the Academy of Music in New York. 1872 - First documented American performance of Beethoven's "Missa solemnis" in D (Op. 123), at Steinway Hall in New York , by the Church Music Association, Dr. James Pech conducting; Subsequent regional premieres of this work occurred in Cincinnati (May 19, 1880) and Boston (Mar. 12, 1897). Links and Resources More on "The Fairy Queen" More on Purcell

The Cello Sherpa Podcast host, Joel Dallow, interviews St. Louis Symphony  Orchestra cellist, Jennifer Humphreys on her journey to successfully winning positions in the Charlotte Symphony, the Atlanta Symphony, the Dallas Symphony, and the St. Louis Symphony. If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on twitter @theCello Sherpa

Join Dr. Ashley Pribyl as she interviews St. Louis Symphony violist Michael Casimir about his experience as a musician of color. In this episode, the two explore the importance of teaching, how to reach diverse audiences, the historical and systematic barriers faced to expanding participation in classical music, and why everyone should love the viola!The theme for MOSY Motifs is the overture to Treemonisha by Scott Joplin, recorded by Cristian Chiappini & Orchestra dell'Università di Firenze. Music examples:Lawrence Power, Maxim Vengerov, UBS Verbier Festival Chamber Orchestra perform Wolfgang Amadeus MozartSinfonia concertante in E flat major, K. 364Michael Casimir and Nathan Chan, Dmitri Shostakovich's Preludes for Two Violins, arr. for Viola and CelloBrian Owens and the 442s, Sam Cooke's "A Change is Gonna Come"Tyler Stahl and Michael Casimir, "Come Back Inside"These complete examples, as well as more music related to this episode, can be found here or on our YouTube page.Support the show

Jan Swafford is known as both a composer and biographer. His compositions have been performed by orchestras such as the St. Louis Symphony, the Indianapolis Symphony, and the Dutch Radio Orchestra. His biographies of Ives, Brahms, Beethoven, and Mozart have received rave reviews, and so it was a total joy to have this conversation with Jan about all things musical (and a few things non-musical).In Part 1 of our conversation, Jan talks about his beginnings in music, his ideas about writing, and how he has conveyed those ideas to students over the years. Then we begin our conversation about his four main biographies: Ives, Brahms, Beethoven, and Mozart.

In this episode, international soloist Stefan Jackiw talks to us about his journey overcoming a serious injury.  He tells us how he got injured, the steps he took to heal, the mental impact it had on him, and how he stays injury free. He also elaborates on: What his musicology studies brought to his playing What collaborating with other musicians mean to him Establishing strong fundamentals on the instrument How he maximizes his practice time His injury story: How it happened Facing the stigma attached to being an injured musician The mental impact it had on him and the new mindsets he developed as a result The reflection he did, the changes he implemented and how he overcame it How he modified his setup and technique as a result How he remains injury free The very important concept of surrendering in practicing How our level of stress and the amount of pressure we tolerate affects our playing How to plan practice     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use every day!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we're currently discussing The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT STEFAN JACKIW: Website: https://stefanjackiw.com/ YouTube: https://www.youtube.com/results?search_query=stefan+jackiw Instagram: https://www.instagram.com/stefanjackiwviolin/ Facebook: https://www.facebook.com/StefanJackiw/   Stefan Jackiw is one of America's foremost violinists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. This season, he will re-unite with Juraj Valcuha to make his debut with the Konzerthaus Orchestra Berlin performing Korngold's Violin Concerto. He also returns performing Stravinsky to the Bournemouth Symphony with Kirill Karabits, the Helsinki Philharmonic with Hans Graf, and the RTÉ National Symphony in Dublin with Leonard Slatkin.  Other highlights include performances with the San Diego Symphony and Rafael Payare, the Indianapolis and Baltimore Symphonies with David Danzmayr, and the Omaha Symphony. In recital, Stefan continues touring the complete Ives Sonatas with Jeremy Denk, with whom he has recorded the sonatas for future release on Nonesuch Records. He also appears on tour with harpsichordist Mahan Esfahani, exploring works for violin and harpsichord and featuring a new commission by Lester St. Louis, and continues to perform alongside pianist Conrad Tao and cellist Jay Campbell as part of the Junction Trio, with stops this season in Massachusetts, Washington D.C., Ohio, California, Texas, New Mexico, Florida, and more. Highlights of recent seasons include his debut with the Cleveland Orchestra and Juraj Valcuha, with whom he also re-united for performances in Dallas, Detroit, and Luxembourg; performances of Prokofiev's Second Violin Concerto at Carnegie Hall with Mikhail Pletnev, as part of a multi-city tour with the Russian National Orchestra; as well as performances with the St. Louis Symphony under Nicholas McGegan, the Minnesota Orchestra under Ilyich Rivas, the Rotterdam Philharmonic under Yannick Nézet-Séguin, the Indianapolis Symphony under Krzysztof Urbanski, and the Pittsburgh Symphony under Valčuha. Other highlights in Europe included his performances with the Netherlands Radio Symphony and Ludovic Morlot at the Concertgebouw. In Asia, Stefan has appeared with the Tokyo Symphony at Suntory Hall under the direction of Krzysztof Urbanski, and the Seoul Philharmonic under Venzago. He has also toured Korea, playing chamber music with Gidon Kremer and Kremerata Baltica. In Australia, Stefan toured with the Australian Chamber Orchestra play-directing Mendelssohn. He also gave the world premiere of American composer David Fulmer's Violin Concerto No 2 “Jubilant Arcs”, written for him and commissioned by the Heidelberg Festival with the Deutsche Kammerphilharmonie under Matthias Pintscher. Recital highlights have included his performances of the complete Ives violin Sonatas with Jeremy Denk at Tanglewood and Boston's Jordan Hall, and performance of the complete Brahms violin sonatas, which he has recorded for Sony. He also recently recorded the Beethoven Triple with Inon Barnatan, Alisa Weilerstein, Alan Gilbert and Academy St. Martin in the Fields. Jackiw has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York's Mostly Mozart Festival, the Philharmonie de Paris, Amsterdam's Concertgebouw, the Celebrity Series of Boston, and the Washington Performing Arts Society. As a chamber musician, he has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham, and forms a trio with Jay Campbell and Conrad Tao. At the opening night of Carnegie Hall's Zankel Hall in New York, Jackiw was the only young artist invited to perform, playing alongside such artists as Emanuel Ax, Renée Fleming, Evgeny Kissin, and James Levine. Born to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Happy end of the school year/pre-Midwest Clinic! Matt Bufis and I discuss his journey to Illinois, adapting a program to the current needs of students, repertoire selection, and work-life balance. Musical selections featured in this episode include March for the Sultan Abdul Madjid by Rossini and After the Thunderer by Hearshen. Both selections are performed by the Evanston Township High School Wind Symphony.FULL BIOMatthew P. Bufis joined the music faculty at Evanston Township High School in June of 2012 and was later named Director of Bands in June of 2016. Mr. Bufis leads the Wildkit Marching Band, Jazz Ensemble, and Wind Symphony, teaches Guitar classes, and is the instrumental sponsor for the YAMO pit orchestra – the musical accompaniment to a student written and directed theatre production at ETHS. Under his direction, the ETHS Wind Symphony has risen to new levels of distinction, with multiple invite performances at the University of Illinois Superstate Concert Band Festival and a 2018 Illinois Music Educators Conference performance, both of which are first-time honors for the program. The Wildkit Marching Band also continues an upward trajectory, with a seventy percent enrollment growth rate and steady progress in scores and placements at competitions over the last five seasons. Mr. Bufis is actively involved in activities that enhance learning at ETHS, serving on the Disciplinary Literacy, Teacher Evaluation, School Day (scheduling), and ETHS Foundation committees as well as maintaining his role as Lead Teacher for Fine Arts through which he organizes events, maintains the facility and equipment, plans professional development opportunities, and facilitates the music honors program.Prior to his appointment at ETHS, Mr. Bufis completed two successful tenures at Westmont High School in Illinois and Great Mills High School in Maryland, where he is responsible for leading both programs to distinction. Ensembles under his direction performed at the Maryland State High School Band Festival and the Illinois Superstate Band Festival many times. Mr. Bufis is responsible for pioneering artist-in-residency programs at each of his former posts, collaborating with guest performers and conductors – most notably Ronald Romm (The Canadian Brass), Thomas Jöstlein (St. Louis Symphony), and composer Eric Ewazen (Concerto for Marimba and Orchestra – wind ensemble transcription premiere 2006). The Great Mills Wind Ensemble also performed annually at the Maryland Day ceremony in historic St. Mary's City, including a performance attended by Governor Robert Ehrlich.A native of New Jersey, he holds a Bachelor of Music in Music Education degree from Ithaca College in Ithaca, New York and a Master in Music Education degree from the University of Illinois at Urbana-Champaign. He is currently completing coursework for a Master in Principal Preparation at Concordia University in Chicago. Mr. Bufis studied conducting with Stephen G. Peterson, James F. Keene, Joseph Manfredo, and Donald Schleicher and has pursued additional training through conducting symposiums lead by Mallory Thompson, John Whitwell, Jamie Nix, H. Robert Reynolds, and Allan McMurray. He studied euphonium, his primary instrument, with David Unland, Mark Moore, and Kenneth Steinsultz.Mr. Bufis is an active guest lecturer on the topics of leadership and management, curriculum design, music teacher evaluation, music technology, and music education advocacy, presenting his work in these areas at state and national conferences and universities. He is also an active clinician and adjudicator, working with bands of all ages and ability levels. He has served as a leadership consultant for bands and sports teams on the East Coast and throughout the Midwest working with students, coaches, and teachers. Mr. Bufis has received many National Band Association Citations of Excellence in recognition of the Westmont and Evanston Township High School Band performances at the Illinois Superstate Concert Band Festival and has been nominated for inclusion in various “Who's Who” publications since 2004. He is an active member of ILMEA, NAfME, Phi Beta Mu, and Phi Mu Alpha Sinfonia. Mr. Bufis is an Eagle Scout of Troop 76 in Ringwood, New Jersey and garnered a varsity letter in collegiate men's swimming for his three years as an Ithaca College Bomber.

Great music is a game of expertise, luck, and chance. Seth deals out a playlist of great music including David Maslanka and discusses why it's a winner in this year's Dealer's Choice. Hosted by Seth Boustead Produced by Sarah Zwinklis Music A Child's Garden of Dreams by David Maslanka Illinois State University Wind Symphony; Stephen K. Steele, conductor Shadow Light by Elena Ruehr New Orchestra for Washington; Marcus Thompson, viola The Glass Bead Game; Mvmt III. The Glass Bead Game (Fantasia) by Claude Baker St. Louis Symphony; Leonard Slatkin, conductor The Shaman by Vincent Ho Winnipeg Symphony Orchestra; Alexander Mickelthwate, conductor; Dame Evelyn Glennie, percussion Elastic Band; Mvmt II. Pure Happenchance by Joel Philip Freidman New Orchestra for Washington